On May 15, 2025, the following is released in Italian theaters. Infinity, the directorial debut feature by Umberto Contarello, a well-known Italian screenwriter. The film, co-written with Paolo Sorrentino, is an autobiographical tale that explores an existential crisis. Premiered at BIF&ST in Bari, L’infinito tells the story of Umberto, played by Contarello himself, who, after a personal and professional breakdown, tries to rebuild a meaning to his existence. Amid attempts to reconnect with his daughter, help a young screenwriter and face loneliness in his new home, the protagonist embarks on a journey of introspection and rebirth. The cast includes Eric Claire, Carolina Sala, Margherita Rebeggiani, Lea Gramsdorff, Stefania Barca, Alessandro Pacioni, Tahnee Rodriguez, Lena Guerre, and Bruno Cariello, with appearances by Manuela Mandracchia, Tony Laudadio, Antonio Piovanelli, and Dario Cantarelli. It is distributed by PiperFilm.
Photography is curated by Daria D’Antonio CCS, who told us:
Infinity Is a black-and-white film. Or rather, a film that stops a moment before color. When Umberto told me his feelings, after reading the script and knowing his kind of irony and film references, I always imagined it that way: in black and white. We then agreed together that it was the right choice. Not a contrasting black and white, but a black and white that contains an infinite number of shades of gray-just as if it stopped for a moment before becoming in color. This choice reflects the feeling of the film, which is rather melancholy, while maintaining great hope. It is a tale of a kind of failure, of a moment when the protagonist — who in a sense is Umberto himself, although it is never quite clear where fiction begins and truth ends — goes through a gray phase of his existence. So it seemed the right choice, even considering the setting: an emptied Rome, recognizable but devoid of the usual presence of tourists and crowds, almost ghostly.
I shot with two Red Gemini, using Summicron-C optics, in 5K full frame with 2.39:1 aspect ratio. Equipment rental is from DVision, while development and post-production was done by Flat Parioli Lab.
As for the camera department, Alessio Galasso served as first camera assistant for machine A, while Claudia Mariani acted as assistant camera operator for machine B, operated by camera operator Tonia Forte. Marta Battilossi worked as second camera assistant, while video assist was supervised by Libera Balzamo.
Color grading was handled by Andrea Orsini. The gaffer was Fabio Policastro, the key grip Cristiano Biagioli, and Marco Palmieri served as DIT (Digital Imaging Technician).
