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“A dreamy evocative tale where, to child scamps in a dying economy, a simple object can not only entertain a day but might also balance the scales of justice as a curse and a talisman.” – F3 Film Magazine
Mammarranca  Italy  Narrative
Giovanni and Michele are eleven and nine years old and they live in Sant’Elia, a popular neighborhood on the outskirt of Cagliari. The lives of the two children suddenly seem to change when a scratch card ends up in their hands.
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Francesco Piras
Director Bio :
Francesco Piras was born in Cagliari (Italy), in 1978.
He’s a director, director of photography and photographer. Formed with DOP Luca Bigazzi, he’s the author of many international projects for well-known brands such as BMW, Rolls Royce, Bugatti, Lamborghini, Kidston. In 2014, he won the Food Film Fest with his documentary “Ca’ Lumaco”. In 2015, he filmed a documentary called “30 Piedi Sotto il Mare” that went on-air on RAI2 national channel. In 2016 worked with Anthony La Molinara for “Iskìda of the Land of Nurak” - Official teaser. In 2019 was nominee for David di Donatello Awards 2019 with his short-film “Il Nostro Concerto”. He is preparing his first feature film adapted from the novel “Chiedo Scusa” written by Francesco Abate and Valerio Mastandrea.

Francesco Piras è nato a Cagliari (Italia), nel 1978.
È un regista, direttore della fotografia e fotografo. Formato con il DOP Luca Bigazzi, è autore di numerosi progetti internazionali per noti marchi come BMW, Rolls Royce, Bugatti, Lamborghini, Kidston. Nel 2014 vince il Food Film Fest con il documentario “Ca’ Lumaco”. Nel 2015 ha girato un documentario dal titolo “30 Piedi Sotto il Mare” andato in onda su RAI2.
Nel 2016 ha lavorato con Anthony La Molinara per “Iskìda of the Land of Nurak” – teaser ufficiale. Nel 2019 è stato candidato al David di Donatello Awards 2019 con il suo cortometraggio “Il Nostro Concerto”. Sta preparando il suo primo lungometraggio tratto dal romanzo “Chiedo Scusa” scritto da Francesco Abate e Valerio Mastandrea.s and spaces found their way into the film, in which a security guard on the night shift stands watch over the barrier between public and private property. His loneliness and lack of community are put into relief when the boundary between external and internal self becomes increasingly difficult for him to safeguard. As a spectral Elvis figure begins visiting the main character, he finds himself overcome with a desire to inhabit a persona that so promises sociality, visibility, and recognition. Anyone At All digs into the inner life of a character teeming with the desire to transform his reality through the power of imagination.