2 Cuori e 2 Capanne opens in cinemas today, 22 January, directed by Massimiliano Bruno.
The film stars Edoardo Leo, Claudia Pandolfi, Gianmarco Tognazzi, Giorgio Colangeli, Benedetta Tiberi, Francesca Alati, Marco Quaglia, Federica Cifola, Alessia Barela, Francesca Figus, Daniele Silvestri, Valerio Lundini, Betti Pedrazzi, Aleph Viola, Giulia Mei and Jekesa.
The screenplay is by Massimiliano Bruno, Andrea Bassi, Damiano Bruè and Lisa Ricciardi. Marco Bassano, CCS, serves as director of photography, with editing by Luciana Pandolfelli, production design by Sonia Peng, costumes by Alberto Moretti and music by Roberto Procaccini.
Produced by Fulvio Lucisano and Federica Lucisano, the film is a co-production between Italian International Film – Gruppo Lucisano and Vision Distribution.
Vision Distribution handles Italian theatrical distribution and international sales. International partners include Busch Media Group (Austria and Germany), Beta Film (Bulgaria), BestFilm (Estonia, Latvia and Lithuania), New Cinema (Israel), A Contracorriente Films (Spain) and AV-Jet (Taiwan).
The story revolves around two couples who, for different reasons, find themselves sharing spaces, choices and compromises. One couple’s long-standing relationship is tested by financial difficulties and diverging expectations, while the other navigates a more recent bond, born by chance, which must grapple with the weight of responsibilities and conventions. Forced cohabitation, postponed decisions and small, unresolved conflicts shape both their journeys.
Marco Bassano told us:
«“Working with Massimiliano Bruno was a real tonic for the soul. An exceptional team came together to tell the stories of this author, actor and director who is somewhat unconventional. Within that team, my role was to enable Max to shoot as freely as possible—almost in 360 degrees—whilst simultaneously giving the staging both realism and aesthetic coherence.
This type of film relies heavily on collective work, with no single element becoming dominant, so that the focus and the ‘light’ are always directed towards the story. My entire team was part of this process, from the camera operator to the gaffer, grips, video assist and even the driver. Everyone was fully committed to offering their support in their o wn way.We worked in truly unusual and challenging situations, from real street demonstrations to a secondary school where the bells rang every hour.
For the cinematography, I chose to work with the ALEXA Mini and Master Prime lenses. I had already used this kit with Panalight on my previous film and felt it would be perfect for this one as well. Together with colourist Red and my DIT Mauro Toscano, I created a new LUT which allowed me to achieve an almost final look on set, requiring only refinement in the grade. For lighting, I used De Sisti Muses as key lights—my indispensable travelling companions. To allow greater freedom of movement within the locations, I always tried to work with key lights positioned outside the windows—the Muses—reinforced indoors with Kino Flo Freestyle units and practical lights fitted with Astera bulbs. ».
