a short film directed by Ado Hasanović
Ado Hasnaović filmed and produced a new short film this summer. Film was written by Elisa Bondavalli. After three months of the preparation Ado together with his crew shoot a film in Rome only in one long take.
“Nomophobia is my first short film shot in a long take. It was hard to make it but at the same time very stimulating experience. To make a good long take sequence you have to do preparation and think about every little detail. Choose right and good actors, do lots of rehealshals, choose the right location, think of the colors of photography, the costumes, the sound, the camera movements … Bring life to a scene that will live forever and it must be turned into a single breath! Nomophobia is all this, it is a lot of work, but it is also a disease: a disease that allows us to reflect on the emptiness of values of our society. ” Ado Hasanović
Actresses of the film are Tiziana Bagatella and Lisa Granuzza di Vita; Director of the photography is Juri Fantigrossi, Camera operator is Leonardo Kurtz, Set Design is Angelica Morelli, Costume Design Serena Manfredini, Sound and Boom operator Biaggio Gurrieri, Original music was created by Boris Riccardo D’Agostino and it was all organized by line producer Chiara Crucciatti.
After a terrible parents-teachers meeting, Maria tries to put her daughter Jessica back on track. But there is a third wheel interfering in their chat: Jessica’s phone, by which the girl is totally absorbed. The mother soon decides to grab the phone, not considering the consequences that her decision might provoke…
Director’s note and vision of the film
The film is shot in a one long-take. To give a more realistic and spontaneous touch to the story I used a hand camera to follow closely my two characters in their space. In particular, there is a moment that distinguishes itself from all the others for its ambition and complexity: for these reasons I decided to turn to small, light and easily handleable equipment.
Close-ups and medium close-ups are the mainly used frames, in order to capture mother and daughter conflicting emotions. Cinematography embraces cold tones to underline the empty and dry relationship between the women and the daughter’s impersonal and virtual life.
It is my intention to show these human characters for what they actually are, in both their dramatic and absurd faces: my glance will not be the one of a judge, rather a very empathic one.