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Giulio Squillacciotti

@giuliosq

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A Dispute (Italy, 2020) Looped Short Film Single Channel 1’ A Film by: @giuliosq Cinematography: @giuseppefavale Creative Direction: @giorgiodisalvo Produced by: @trussardi Executive Production: @c41.eu Producer: @beatricelebrun_ Editor: @margheritafreyrie Stylist: @annacarrangeles_ @fabipoppy Make-Up: @alliesmakeup Colorist: @orashr by @giuliosq
4
4 years ago
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Mut (Italy, 2025) Short Film Single Channel - 18’ - 2K Video 1:1 - Stereo Sound MUT (mountain in the dialect of Bergamo) is a day in the highlands, an allegory for a centuries-old summer tradition of life across mountain pastures. Through the eyes of two young herders and their parents, the cyclical rhythm of life becomes a universal testament to the enduring bond between humans and animals, revealing a kinship molded by gestures, silences, and affection, deeply embedded within the surrounding natural world Mut (Italy, 2024) Short Film Single Channel - 18’ - 2K Video 1:1 - Stereo Sound A Film by: @giuliosq With (in order of Appearance): Dario, Omar, Alessandro Mussetti and Francesca Cometti Produced by: @gamec_bergamo (@chakulamaji @vale_gerva @marta_papini @_lorenzogiusti ) Executive Production and Distribution: @lab80film Executive Producer: Andrea Zanoli Cinematography: Giulio Squillacciotti Editing and Color Grading: @stefanoptesta Sound Design and Original Score: @nicolarattee Audio Mix: Nicola Gualandris Camera: Giulio Squillacciotti, Stefano P. Testa Graphic Design and Titling: @studiotemp by @giuliosq
13
2 years ago
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Archipelago (Iran, Italy, 2017) - Trailer

A film by Giulio Squillacciotti & Camilla Insom
HD Film - 1.85:1 - Audio Dolby 5.1 - 61’ - Persian Language Filmed in the Strait of Hormuz, Archipelago opens a rare passage into a place constantly invoked in global politics yet almost never seen from within. Across a group of Iranian islands suspended between Africa, Arabia and Persia, the film moves through a living world where myth, music and invisible forces remain part of daily existence. Here, centuries of migration, trade and displacement have generated a singular syncretic culture, shaped by the presence of the Bād—spirits, or “winds,” believed to move through bodies, disturb lives, and demand negotiation. Their domestication takes place in the Zār ritual, a musical exorcism where pounding drums, chants and collective trance summon the unseen into the social realm. Blending landscapes, gestures, oral narratives and ritual performances, Archipelago reveals an island world rarely represented on screen—where spiritual cosmologies endure within the fabric of contemporary life. At once sensory journey and political counter-image, the film offers an unexpected view of Iran from one of the least accessible territories of the region. 
Written, directed and edited by: @giuliosq and @camillainsom 
Cinematography and Sound: Giulio Squillacciotti
Field Producer and Interpreter: Mania Kangah
Fixer Qeshm: @keyvanpeykar 
Fixers Teheran: @haniehkordkazemi Azin Mohammadali
Post-production Sound: @marian_mentrup 
Post-production Picture: @gianlucaroccopalma 
Produced with the Support of: Qeshm Free Area
Translators: setarehalidoost Samantha Mayouf, Zhaleh Nayebossadrian by @giuliosq
10
2 years ago
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What Has Left Since we Left (Italy, The Netherlands, 2020) Trailer On February 7th 1992, the Treaty on European Union was signed in the Dutch city of Maastricht. Decades later, the representatives of the last three countries left in Europe meet again in the very same room where it was signed, this time to deliberate on the permanent shutdown of their Union. In what seems to be a looped therapy session, the three characters - helped by a British interpreter as a self-appointed analyst - try to deal with their feeling of loss. The conversation allows their political and personal bonds to be woven together metaphorically, compelling them to face their identity crisis and acknowledge what no longer is, what is left and what still can be of that Union. Directed and Edited by: Giulio Squillacciotti With: @jannekeremmers and Anna Brooks-Beckman @annabrooksb Written by: Daan Milius, Giulio Squillacciotti, Huib Haye van der Werf @huibhaye Cinematography: Dennis de Pijper @shootby_dennisdepijper and Kasper van 't Hoff @shootby_kaspervanthoff Sound: Ivo Bemelmans, Lars Henderiks Music: Luca Bolognesi @luc.bolognesi Produced by: @careof_milano (I) | @kingswood_films (NL) With the support of: Italian Council @creativita_contemporanea | Limburg Film Fonds @limburgfilm Additional Funds: Arte Visione Prize/Sky Arte (I) | Brand Cultuur Fonds (NL) | Dommering Fonds (NL) | Kanunniken Salden (NL) In Partnership with: @everstory.productions (BE) | @janvaneyckacademie (NL) | @museocivicocastelbuono (I) | @video_power (NL) Selected Screenings: . Les Rencontres Internationales @ripbm at Musee du Louvre @museelouvre (FR) and Haus Der Kulturen Der Welt @hkw_berlin (D) . Artist’s Film International 2021 at: @whitechapelgallery London (UK), @gamec_bergamo (IT), @crawfordartgallery Cork (IE), @istanbulmodern Istanbul (TR), @hammer_museum Los Angeles (USA), @ballroommarfa (USA), @bonnierskonsthall Stockolm (SWE), @fundacion_proa Buenos Aires (AR), @neuerberlinerkunstverein Berlin (D), @cacvilnius Vilnius (LT) . @wysiwygcinema at Filmhuis Den Haag @filmhuisdenhaag (NL) . @lagofilmfest . @pignetofilmfestival by @giuliosq
2
4 years ago
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RMHC 1989/1999 Hardcore a Roma (Italy 2012) HD Video 1.77:1 - 76’ - Italian Audio - English and French Subtiltes Full Film on my Vimeo A Film by @giuliosq Produced by: Championship Films and Digital Room Written by Giulio Squillacciotti & @alessandro_grdn Editing: Alessandro Giordani Sound Mix: Giuseppe Silvi Original Music: @gipsy_rufina From the mid 80s through the 90s, Rome was the scene of a local phenomenon linked to the music and lifestyle of American Punk/Hardcore. This is the story of the Romans who used the foundation of American Hardcore to shape their own local culture. The film is an anthropological journey shot over 5 years, showcasing the history of the struggle to launch a Hardcore scene within the established underground and political movements in Rome. The narrative investigates the domestication of a foreign culture before the days of Internet and easy globalisation, when kids distributed fanzines in lieu of Internet and exchanged records instead of file sharing. How can a foreign phenomenon be imported and reinterpreted to become an authentic expression of a brand new tradition? by @giuliosq
48
4 years ago
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Editing Excerpt from: ‘The Face That I Loved Let Me Down’ Mid-length in post-production I shot in Iraqi Kurdistan, expected release 2026. The city of Slemani - between the Zagros Mountains and Mesopotamia, in the north of Iraq - works as a backdrop for a set of staged daily life scenes. Moving through the urban scenario, “The Face That I Loved Let Me Down” gathers a constellation of characters - met or sought in the social fabric - followed and filmed without ever leaving the simple immediacy of their actual everyday life. Suspended between reality and fiction, a heterogeneous sample of musicians, taxi drivers, students, workers, religious and artists act in the background of their tasks and conversations, letting emerge a controversial feeling of belonging as the protagonist. by @giuliosq
3
4 years ago
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‘A War Play’ is a publication out for @humboldtbooks investigating the representation of war through the cyclical nature of its staging and re-staging. The project is grounded in the re-enactment of 1920s stereoscopic images taken by the painter Giuseppe Augusto Levis, part of a photographic series of artificially staged war scenarios performed as tableaux vivants by local peasants hired for the occasion, shortly after the First World War. Working on the re-temporalisation of this material in a contemporary context, Squillacciotti asked four individuals to re-enact, for his film, those same fictional poses frozen in the staged photographs of the 1920s. In the corridors of a war museum, among dioramas of desolate battlefields, the endless cycle of war’s representation unfolds — not quite truth, not quite fiction — suspended between historical document, theatrical invention, and a rewritten fiction. Alongside photographs by @claudia._.ferri the book traces the project from a theoretical and narrative perspective, bringing together contributions by the curators @arteco_torino and @cripta747 as well as researchers @vittoria__martini and @kamil.dlkr who question how visual constructions shape perception and interpretation, pre-empting — and at times subverting — the veracity of narration. A WAR PLAY 2025, Paperback, sewn binding, rounded corners, 32 x 24 cm, 64 Pages, English/Italian, ISBN 9791280336286 A book by @giuliosq | Published by @humboldtbooks | Designed by @studiograndotel | Produced by @pinacoteca_levis_chiomonte @arteco_torino @cripta747 | With the support from PAC 22/23 @creativita_contemporanea | Book photos by @francescospallacci by @giuliosq
1
9 months ago
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Alongside my film “What Has Left Since We Left” -shot in early 2020, right before the pandemic became what it would later be- I edited a book by the same title out on @onomatopeenet and designed by @studiotemp . This publication —Cassandra-like when read today, six years later— articulates the fictional end of Europe through the language of love and separation. By likening the political bonds that tie European countries to the fluctuations of romance and desire, it unpacks the complexity of the European relationship, touching on identity, collapse, migration, conflict, and hope. The book features contributions by Ayșe Zarakol @zarakola Marwan Moujaes, Federico Lodoli, Marina Lalovic @marina_lalovicka and Erica Petrillo @eri.pet . Together, these texts complement and expand on the script for the film What Has Left Since we Left that I directed and co-wrote with Daan Millus and Huib Haye van der Werf @huibhaye which fictionalizes the European dystopia by re-enacting and problematizing the rituals of kinship and relational struggles. Backstage images and film stills by @jorishilterman and @shootby_dennisdepijper along with a European timeline from World War Two up until Brexit compiled by Enrico De Gasperis, provide a specific overview to the entire project. Proofread by Paola Moretti @pao.moret Published under the 2020 Italian Council Grant from @creativita_contemporanea promoted and produced by @careof_milano (@bianchi_mou @liamanzella @martacereda ) with @janvaneyckacademie WHAT HAS LEFT SINCE WE LEFT Edited by @giuliosq | Published by @onomatopeenet | Designed by @studiotemp 2020, Softcover, 14 x 23 cm, 112 Pages, English, ISBN 9789493148307 by @giuliosq
4
9 months ago
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Back in 2021 I curated “Not Quite Nearly Fine” a show at @fondazione_baruchello in Rome attempting to enact —through a series of narrative devices— a scenography of language and staging the possible translation of events, historical and urban situations, and personal moments as overarching themes. The show featured works by Anne Huijnen @annehuijnen Artun Alaska Arasli @artun.alaska.arasli , Ben Weir @benweir.arch , Daniel de Paula @charaktermaske Marie Claire Krell @poweredbyandroids Marwan Moujaes and Nour Mobarak @adult_nour Aside I edited and compiled this collection of texts and poems on longing, belonging, denying, speaking, pronouncing, listening, translating and repeating commissioned to Àngels Miralda @angelsmiralda Artun Alaska Arasli @artun.alaska.arasli Ben Weir @benweir.arch and Marwan Moujaes. With the proof-reading by @pao.moret NOT QUITE NEARLY FINE Edited by @giuliosq | Published by @arboreditions | Designed by @edoardovisalli @bahutstudio 2022, Box whit 4 stapled binding books inside, 11 × 17 cm, Edition of 150, English/Italian, ISBN 9788894416138 order at: contact@arboreditions.com by @giuliosq
2
9 months ago
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I Directed ‘Chawan Cabinet’ for @prada home by @theastergates Content Producer: @glvrgn Art Directors: @leonardo_pellegrino @chiararuozzo Production: @goofystudio DOP: @giulio.mela Editors: @enricoabbattista @davidexrosano Sound Design: @hiddenmountain Producers: @marcovvez Anna Carrubba Production Assistant: @guglielmofibrosi 1st AD: @vi_fol 1st AC: @checkthsout 2nd AC: @gretacelestino Video Assist: @eryca_zampy Gaffer: Filippo Ficozzi Macchinista: @salvatoregaudio Sound Operator: @buschibus Set Designer: @adrianapintoazevedo Prop Master: @francimira HMU: @elena_gaggero Manicurist: Peggy Plaza Second day unit Steadicam: @marcoartusi 1st AC: @wait_asecond21 Gaffer: @davide.lionello Sound Operator: @agit.utlu by @giuliosq
5
5 months ago
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I directed Reinhold from the past on a tv set in a Carrara workshop for @fila_plus Creative Director: @lev.tanju Director: @giuliosq Produced by: @collateralfilms_official 
 Executive Producer: @orsola_sofia Producer: @gaiafratini With: @cooperativascultoricarrara DoP: @francesca_pavoni 
 Editor: @coraconlaccento Set Designer: @alinatotaro_studio 
 Set Design Assists: @frameeme__ @tres_bones 
Colorist: @daniel.pallucca 
 Music: @hidden.mountain 
 Stylist: @martinaricco___ 
 HMU: @fravinciguerraa by @giuliosq
14
3 years ago
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‘The day we got disconnected’ I conceived and directed for @emporioarmani is the 2D version of the VR one available to experience in stores worldwide Produced by: @takeoff.production Directed by: @giuliosq Creative Director: @yestimsmall Cinematography: @mrcodepa Stylist: @giuseppe.sileo Digital Art FX and Editing: @blackelephant_ac Head of Production: @zelda_ Executive Producer: @sara_valentina Producer: @lucinaww With: @n8watt @eliapastori @medusa_beatrix @giuliabresciani98 @cristiancucco Set Design: @jessica.zorzin Sound: Daniele Sosio Sound Design: @hidden.mountain VR Team: @impersive_vr Gaffers: Filippo Passarini, Riccardo Cherchi
Grip: Tommaso Mogno Runner: @drgorni
Make up: @dodi_make_up Hair: @fabio_donofrio by @giuliosq
9
3 years ago
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