Come fratelli is the title of Antonio Padovan’s new film, which will have its premiere on 13 June at the Taormina Film Festival and will be released in Italian cinemas on 26 June, distributed by 01 Distribution. Produced by Pepito Produzioni in collaboration with Rai Cinema and with the support of the Veneto Film Commission, the film gently and wittily explores a story of friendship, fatherhood, and second chances, delving into the fragility and strength of human connections. Following the success of Finché c’è prosecco c’è speranza and Il grande passo, Padovan tackles the complex theme of shared parenthood with sensitivity, crafting a film that portrays friendship as a possible form of family.
At the heart of the story are Giorgio and Alessandro, played by Francesco Centorame and Pierpaolo Spollon – two young men who suddenly find themselves alone after the death of their partners, bound together by a deep friendship. Brought together by fate and the responsibility of raising their young children, the two protagonists build a fragile yet deeply human balance, which is soon challenged by the arrival of a new female presence. The cast also includes Ludovica Martino, Paola Buratto, Mariana Lancellotti, Alessio Praticò, Noah Signorello, Giacomo Padovan, with special appearances by Roberto Citran and Giuseppe Battiston.
The film is written by Martino Coli and features cinematography by Nicola Saraval CCS, editing by Simona Paggi, production design by Pier Franco Luscrì, costume design by Roberto Chiocchi, and an original score by Maria Chiara Casà. Executive production is by Agostino Saccà.
Filming took place in the Veneto region, between Treviso and Possagno, involving numerous local professionals and showcasing real locations such as the Gypsotheca and the Canova Temple. With a warm and sincere gaze, Come fratelli follows in the tradition of Italian comedy that reflects on contemporary life without losing its lightness, offering a story that resonates across generations.
NICOLA SARAVAL SHARED WITH US:
The film was shot between November and December 2024 using two ALEXA Mini cameras and Cooke 2x anamorphic lenses, along with an Angénieux 24–290 zoom adapted for anamorphic use. During prep, the director and I decided to go for a warm atmosphere with a dense, tangible quality to the lighting, particularly in the interior scenes. Although we filmed in autumn and winter, we needed to differentiate certain seasons, and to achieve this I used varying colour tones depending on the time of year. To light the scenes, I frequently used Cosmolight aircraft lights outside the windows, which in my opinion render the colour and warmth of sunlight beautifully. I also used them at night, softened to simulate moonlight. Indoors, I made extensive use of Astera Titan and Helios tubes, often diffused with softboxes.
