catalogue - Trailers FilmFest

Trailers FilmFest in the World
The roving section of the Trailers FilmFest, the festival of film trailers, Trailers FilmFest in
the World returns to the Cannes Film Festival to promote and share with film lovers the
strong ties between Italian cinema and food.
Food has always played a leading role in our cinema, and many Italian directors have made
food one of the stars of their films, in classic scenes that speak volumes about our food and
wine traditions.
Trailers FilmFest in the World hopes its events will whet the appetite and ignite the
imaginations of all those who are passionate about cinema as well as fine Italian food and
wine. We’d like viewers to relive the high points and unforgettable scenes from a film
tradition that celebrates dining, and then get a taste, at our events, of the finest products
Italian cuisine has to offer.
A journey through Italian cinema, as seen and “savoured” in its gastronomic dimension, with
viewers treated to enticing samples of cinema – the trailers – and tastings of Italian food.
As the slogan for our event says, promoting Italian film and food though Trailers FilmFest
in the World means offering “A taste of genuine emotions” every time: real emotions that
never die. Emotions that attract our attention and delight our palates. Emotions that we’d
like to remember forever, just like the way we feel every time we sample a specialty out of
the great Italian food and wine tradition.
Stefania Bianchi
Artistic Director
A show of support for our cinema
from Lazio at Cannes
We are honoured and delighted to be at Cannes.
Even bringing just a small “taste” of the extraordinarily rich history of Italian cinema is an
enormous responsibility for any institution, of which we at the Lazio Region are well aware.
Far from being discouraged, however, we want to do even more so that Italian cinema and
its production network, so crucial to Lazio’s economy and prestige, will continue to be one
of the creative strengths of our nation’s cultural output.
We have chosen to support “Trailers FilmFest in the World” because we feel it fully reflects
our own intense commitment to the Italian film industry. At the same time, this is an
initiative that repays the dedication and determination we devote to all initiatives involving
the “seventh art”, with the aim of heightening both Italy and Lazio’s profile at the leading
international festivals.
The appeal of “Trailers FilmFest in the World”, and the freshness and simplicity of its concept,
lie in its ability to bring together two worlds, Italy’s food and wine traditions and its cinematic
heritage, promoting and valorising a winning combination of two ingredients to export the
best of our traditions to the world at large. The intention is thus twofold. It’s a showcase for
Lazio that draws on many different mediums, from the aromas and flavours of its cooking
to the savvy repartee that characterises Italian comedy, with all its surprising depth, and the
vision of the great filmmakers that made it all incomparable.
Our participation, therefore, is living proof of the fact that institutions can turn into powerful
allies of a film culture seeking to rediscover its roots and its innate potential and redirect
them towards the future.
Renata Polverini
President of the Lazio Region
Cinema in Lazio: our priority
Since coming into office, cinema has always been one of the priorities of the regional
administration led by Renata Polverini. It is no accident that this attention and commitment
have resulted in the drafting of a Regional Cinema and Audiovisual Law, a move long
requested by the industry. The Region is here at Cannes in the same spirit of attention and
commitment it gives to a sector that represents a true strength of Lazio’s creativity and its
economy, since the region is home to 60% of Italian film and audiovisual companies. In fact,
our presence at France’s most esteemed film festival, one of the most important events of
its kind internationally, is both a tribute and a challenge. We are here in the knowledge that
the competition will certainly act as an excellent stimulus for our film industry to continually
improve and for our institutions to offer ever greater support to such an important sector.
At the same time, the Lazio Region wants to give renewed impetus and vitality to the Capital
Regions for Cinema (CRC) network linking Lazio with the European regions covering the
capitals of France (Ile de France, Paris), Spain (Madrid) and Germany (Berlin) with the aim of
finally activating a fruitful season of co-productions. This is a crucial strategic collaboration,
one we all hope will enable us to increasingly become protagonists on the major international
market circuit.
What’s more, our presence at the Cannes Film Festival is also a show of good faith and a
promise: cinema in Lazio is buzzing with vitality and vigour. Our intention is to support it,
offering it our full backing so it can further raise its profile, gaining ever more appreciation
and admiration worldwide. Also in the name of “Italian-style comedy”, for which we are
famed, and in the name of all those extraordinary directors and performers, from Mario
Monicelli to Alberto Sordi, Carlo Verdone to Ugo Tognazzi, whose pivotal roles in Italian
comedy contributed to the international success enjoyed by Italy and our region.
Fabiana Santini
Lazio Regional Councillor for Arts & Culture and Sports
Top quality Italian products
Italian cinema is an extraordinary ally in promoting Italy’s food and wine culture, which
is made up of products and recipes that represent an inimitable legacy and a testament to
Italian taste.
At the cinema and in the kitchen, the whole world speaks Italian; Italy stands for excellence,
as testified by the gamut of its DOP and IGP certified agro-food products. Likewise, master
filmmakers such as Visconti, Fellini, Scola, Monicelli and Avati – to name just a few – have
given the history of cinema its unique flavour.
This is why the Trailers FilmFest in the World will be betting on Italy’s appeal at every event
it attends, providing a tantalising programme of screenings and food and wine tastings. It
will be betting on Italy’s sense of taste and its ability to seduce its many admirers with the
lyrical quality of its cinema and the genuine excellence of its food and wine products.
With the support of the Ministry of Agricultural, Food and Forestry Policies, Trailers FilmFest
in the World is conceived to be an occasion to valorise and promote our finest products by
means of iconic scenes out of Italian cinema.
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After all, Italian food and wines are so highly regarded around the world because they are
closely entwined with their history and are still connected to their physical origins, steeped
in centuries of tradition. Italian food and wines are the direct result of a multilayered history
of specific cultures laid down over time.
A taste
of genuine emotions
In Italian traditions and culture, perhaps more than in any other country in the world, food
does not merely represent a basic biological necessity, nourishing the body and guaranteeing
its survival. Food embodies a plethora of other values that nourish the spirit as well: pleasure,
conviviality, sharing, memory, and identity. These are the same core values that characterise
the best of Italian cinema, both past and present.
The relationship between Italy’s food and its cinema has profoundly shaped the country’s
history and influenced its culture.
Indeed, countless Italian films have a scene in which food - the star with a thousand faces plays a decisive role in the narrative. And from one tale to the next, food on film tells another
story, about society’s changing tastes: never losing sight, however, of their beginnings, and
creating an unbreakable bond between all the things we taste with our eyes and those we
‘see’ with our palate.
With its short compilation of trailers entitled “A taste of genuine emotions”, Trailers FilmFest
in the World wishes to celebrate the Italians’ relationship with food from the Second World
War to the present day. You will see scenes of hunger and others of plenty; re-evocations of
gastronomic traditions along with the new frontiers of taste; a profusion of dishes, dreams
and culinary fantasies; images of convivial dining or else mealtimes conducted in silence.
Wholesome food or junk food; symbolic or metaphysical food; country cooking, bourgeois
dining or aristocratic banquets: all at tables laden with the dreams, the needs and the longings
of Italians everywhere.
Naturally, our trailers are just a foretaste of what’s on the menu, and certain titles representing
irreplaceable ingredients of Italian cinema may be missing. By way of apology, we must admit
that we were forced to make difficult choices, often dictated by the scarcity of trailers no
longer in circulation.
In any case, whether it’s ingredients, locations, action or just veiled hints, it is fair to say that
food is a given in the history of Italian cinema, along with everything that revolves around it.
Trailers FilmFest in the World takes this longstanding association between screen and cuisine
as its starting point and provides a wealth of interpretations in its sampling of trailers. Our
own special guide illustrates the changes in Italians’ culinary needs and tastes over time, as
seen through the eyes of our filmmakers.
It’s all there: the hunger and want of the war years, the “land of plenty” mentality of the postwar boom; the rejection of haute cuisine in the politicised ’70s and ’80s, and the more recent
rediscovery of timeless gastronomic traditions and new ways of respecting both nature and
tradition, also at mealtimes.
At this point, as you devour our visual feast with your eyes, the only thing left to add is this:
buon appetito!
Programme
May 15
12:00 - Italian Pavilion International Village
“A taste of genuine emotions” - A selection of Italian trailers
“The taste of simplicity” - A sampling of Italian food
May 16
12:00 - Italian Pavilion International Village
“A tribute to Mario Monicelli” - A selection of trailers for Mario Monicelli's films
“The flavours of Mario Monicelli’s films” - A sampling of Italian food
May 17
12:00 - Italian Pavilion International Village
“The new Italian comedy” - A selection of Italian trailers
“The new flavours of italian comedy” - A sampling of Italian food
Screenings and tastings
Films reflect the genius of their directors and the glamour of their stars, but also the
places they take us to and the flavours they convey. Trailers FilmFest in the World
treats its guests to three food and wine tastings of fine Italian products accompanied by
screenings of trailers for the films that made Italian film history, so these classics can be
savoured in every possible way.
From the film La banda dei Babbi Natale by Paolo Genovese, MEDUSA FILM
the taste of simplicity
A food and wine tasting to evoke and celebrate the flavours of a simpler and more genuine
Italy, when the history of food was still closely tied to the land and farming traditions. A time
when meals were spontaneous and natural, with the scent of fresh-baked bread and handcured cold meats, and the warm hues of genuine olive oil and wine. A journey to discover
the flavours of a cinema that has always paid tribute to our most glorious food and wine
traditions.
a selection of italian trailers
The tastes of tradition
Amarcord by Federico Fellini, Dear - 1973
Dreaming about food
Ladri di biciclette by Vittorio De Sica, E.N.I.C. - 1948
Nuovomondo by Emanuele Crialese, 01 DISTRIBUTION - 2006
Taste of reality
Un americano a Roma by Steno, MINERVA FILM - 1954
Amici miei by Mario Monicelli, CINERIZ - 1975
Gli amici del Bar Margherita by Pupi Avati, 01 DISTRIBUTION - 2008
Roma by Federico Fellini, I.N.C. - 1972
Strong tastes
La grande abbuffata by Marco Ferreri FIDA-MITEL - 1973
Il pranzo della domenica by Carlo Vanzina, 01 Distribution - 2002
Casotto by Sergio Citti, MEDUSA - 1977
Bianca by Nanni Moretti, C.I.D.I.F.- 1984
La cena by Ettore Scola, MEDUSA - 1998
Porcile by Pier Paolo Pasolini, I.N.D.I.E.F. - 1969
Rediscovered tastes
C'eravamo tanto amati by Ettore Scola, DELTA-VIDEOGRAM - 1974
Pranzo di Ferragosto by Gianni Di Gregorio, Fandango - 2008
La finestra di fronte by Ferzan Ozpetek, MIKADO FILM - 2002
Pane e tulipani by Silvio Soldini, Istituto Luce - 2000
Centochiodi by Ermanno Olmi, Mikado FILM - 2007
Incantesimo napoletano by Paolo Genovese e Luca Miniero, Lucky Red - 2002
Lezioni di cioccolato by Claudio Cupellini, UNIVERSAL PICTURES - 2007
The celebration of food
Il Gattopardo by Luchino Visconti, TITANUS - 1963
The flavours of Mario Monicelli’s films
A sampling of taste treats associated with rural Tuscany and most tastefully evoked by
Mario Monicelli in his ensemble film Speriamo che sia femmina. An invitation to enjoy
the simplicity of country life and the pleasures of family dining and home cooking in the
convivial atmosphere of a old country house. A tribute to Monicelli’s films and culture: to the
filmmaker’s Tuscany and its fine food and wine products.
a selection of trailers FOR MARIO MONICELLI'S FILMS
Speriamo che sia femmina
Parenti Serpenti
Bertoldo, Bertoldino e Cacasenno
Guardie e Ladri
CDE - 1985
Filmauro - 1984
La grande guerra
C.D.I. - 1992
By Steno and Mario Monicelli
Filmauro - 1951
De LaurentIis Cinematografica - 1959
Amici miei - Atto II
Filmauro - 1975
Un borghese piccolo piccolo
Amici miei
Le rose del deserto
Mikado Film - 2006
Filmauro - 1982
CINERITZ - 1976
Monicelli, I soliti ignoti and the "secret"
behind that pasta & chickpea dish..
who listens in helpless silence as he describes in blood-chilling detail how he, upright citizen
and embodiment of middle-class values, tortured to death – in their country house – the
robber who had accidentally killed their son. Then the Christmas dinner with the escaped eel
in Parenti serpenti (1992) is the stuff of film legend. And now, in the very year in which Amici
miei (1975) and L’armata Brancaleone (1966) have witnessed a revival of interest, how can
we forget the pastries at the coffee bar where those friends used to congregate before their
exploits, or that chicken dish with grapes, a credible invention of a mediaeval era revisited in
its culinary aspects as well? (Laura Delli Colli)
Let’s get one thing straight from the start: if you think that bubbling pot of mouth-watering
pasta and chickpeas in the kitchen of I soliti ignoti was the director’s idea, you’re way off
base. True, that unexpected finale, with its conviviality and family feel, had been written into
the script with Monicelli’s blessing. But the finishing touch was not his at all, it was a culinary
whim of Marcello Mastroianni’s. Hence, after the bungled heist, the gang consoles itself not
with that leftover soup for the children sitting on the sideboard, but with a hearty dish of
Roman-style “pasta e ceci” – the actor’s favourite – prepared according to the traditional
recipe, with the chickpeas soaked overnight and seasoned with fresh rosemary.
Just what kind of relationship did a filmmaker like Mario Monicelli have with cooking, dining,
and food culture anyway? The answer lies in his films themselves, to be found in that blend of
tradition, simplicity and a penchant for “home cooking” running through his filmography and,
above all, in our memories. It’s rather like the way the current “eat local” trend has resulted in
a reappraisal of seasonal produce and the agriculture on our doorstep. Take that simplest of
rituals, the “pinzimonio” (raw veggies cut into strips and dipped in olive oil) seen in Speriamo
che sia femmina (1986). Or the country soups that banish hunger in La grande guerra (1959).
Then there’s the loving care with which Alberto Sordi, at his most dramatic and desperate in
Un borghese piccolo piccolo (1976), administers sedative drops and broth to his invalid wife
From the film I soliti ignoti by Mario Monicelli. Photo copyright REPORTERS ASSOCIATI
The new flavours of italian comedy
A sampling inspired by the new Italian comedy that has recently emerged, to get a taste of
the new flavours of Italian cinema, flavours that never lose their genuinity or authenticity
and reflect contemporary Italy as well. From Mine Vaganti to Happy Family, from Benvenuti
al Sud to Qualunquemente, it’s a pleasure to cultivate a taste for Italian cinema and sample
the finest products out of our food and wine tradition.
a selection of italian trailers
Benvenuti al sud
Io, loro e lara
Happy Family
La banda dei babbi natale
by Luca Miniero
Medusa FILM - 2010
by Gabriele Salvatores
01 Distribution - 2010
Mine Vaganti
by Ferzan Ozpetek
01 Distribution, Fandango - 2010
Tutti al mare
by Matteo Cerami
01 distribution - 2011
Diverso da chi?
by Umberto Carteni
Universal Pictures - 2008
Focaccia Blues
by Nico Cirasola
Pablo Bunker Lab - 2009
Che bella giornata
by Gennaro Nunziante
Medusa film - 2011
Manuale d’amore 3
by Giovanni Veronesi
Filmauro - 2010
by Carlo Verdone
WARNER BROS. - 2010
by Paolo Genovese
Medusa FILM - 2010
Oggi sposi
by Luca Lucini
Universal Pictures Italia - 2009
Amici miei - Come tutto ebbe inizio
by Neri Parenti
FILMAURO - 2011
Femmine contro maschi
by Fausto Brizzi
MEDUSA FILM - 2011
Qualunquemente
by Giulio Manfredonia
01 distribution - 2011
Basilicata Coast to coast
by Rocco Papaleo
Eagle Pictures - 2010
La prima cosa bella
by Paolo Virzì
Medusa FILM - 2010
The new Italian comedy
Its ingredients include the home cooking of Fabrizio Bentivoglio’s forgetful mother in Happy
Family; the culinary face-off between Claudio Bisio and Alessandro Siani in Benvenuti al Sud
(Bisio’s wife’s gorgonzola vs. Siani’s mother’s sanguinaccio, or chocolate pudding with pig’s
blood); and that genuine feat, the “gnumaredd” (a meatloaf made with offal) the regional
specialty which steals the scene in Basilicata coast to coast.
This is the new Italian comedy, which – in line with the film trend, but above all, in line with
a society that is more and more careful about the food it serves on the table – never forgets
its culinary tarditions, not even on the screen. So what exactly are they eating in the new
comedies that have reinvigorated the box office and tempted young people, especially, to go
back to the movies? In Diverso da chi? Luca Argentero, who plays an uncloseted gay, is very
nearly seduced by the homemade ravioli served by his political rival, Claudia Gerini. In Che
bella giornata, Checco Zalone celebrates Puglia’s homemade orecchiette with broccoli raab,
naturally, but also Taranto’s legendary mussels (more lethal to the Duomo gang than a killer
after Saddam Hussein…).
In Io loro e Lara, Carlo Verdone plays a priest who whips up a plate of pasta for the lovely
Laura Chiatti. Not to mention the star turns by Puglia’s cuisine in Oggi sposi (porcedduzzi,
almond-and-honey pastries, and other delicacies, with the tomatoes laid out to dry in the
sun…), and in Ferzan Ozpetek’s Mine Vaganti, of course, at home with the pasta producers
in Lecce as the Puglian version of pasta e ceci – ciceri e tria, a specialty of Lecce itself – is
brought to the table as the two sons played by Riccardo Scamarcio and Alessandro Preziosi
grapple with coming out in front of the whole family – rigorously at the table... Even Robert
From the film Che bella giornata by Gennaro Nunziante, MEDUSA FILM
Photo by Ignazio Nano
De Niro and Michele Placido, neighbours of a sort – one a professor living in the penthouse, the other
the concierge, almost never at his post – end up as eating companions amidst the love stories and
family dramas of Manuale d’Amore 3. To top things off, there’s Wilma De Angelis in a surprising turn as
she teaches her granddaughter how to roll out sheets of fresh pasta in Femmine contro Maschi.
(Laura Delli Colli)
A tribute to Alberto Sordi
Adored by audiences of all ages and lauded as one of Italian cinema’s most brilliant stars,
with his crafty smile and slightly mocking air, Alberto Sordi has accompanied us over the
decades and excelled at interpreting the best and worst of our times. Indeed, Alberto Sordi
is practically an institution, known as “the national Albertone” to many; he was even mayor
of Rome for a day when the city celebrated the star’s eightieth birthday. It was in the heart
of the Eternal City, in Trastevere, that Alberto Sordi was born on June 15th, 1920. His father
Pietro was a concert performer at the Opera House in Rome and his mother Maria was a
primary school teacher.
Sordi was always close to his fans, whom he considered his family, and never even married,
considering his almost 200 films as all his own “children”. Publically, he played up his reputation
as a tightwad, but few very knew how much Sordi did for others. Indeed, his talent may be no
surprise, but his generosity is a revelation to this day.
Alberto Sordi was reserved and highly discreet about his particular attention to the needs
of the elderly, whom he considered a resource for bettering society. He donated to the
foundation that bears his name 8 hectares of land, worth an estimated 6 million euros,
for the construction of a university facility for social work and health care, to protect and
improve old people’s living conditions. In 1992, therefore, the “Fondazione Alberto Sordi”
was founded to realize the actor’s dream, since, as he was fond of saying, the elderly transmit
values and convey a world of experience, all of which are revealed to those who make the
dedicated effort to get to know them.
A miser with a heart of gold!
Stefania Binetti
Head of Public Relations
Fondazione Alberto Sordi
From the film Lo sceicco bianco by Federico Fellini
Food in the films of Alberto Sordi
Who could count the plates of spaghetti or other pasta dishes Alberto Sordi ate in dozens
of films in which he epitomized Italian traditions at their best, very often at the table? How
many forkfuls of spaghetti did he triumphantly twist after the supreme moment in 1954,
when he, aping the American boy in his baseball cap, declared the worldwide victory of
“macaroni” and a nice glass of wine over the American sandwich and cold milk?
A plethora of movie roles and at least three unforgettable pasta dishes distinguish Sordi’s
long career, from the spaghetti with tomato sauce in Un americano a Roma to the spaghetti
with cuttlefish ink in Alberto Lattuada’s Mafioso in 1962, a Sicilian culinary homage for the
button man just arrived from the north.
Four years later, on the set of Scusi, lei è favorevole o contrario, Sordi-Conforti may be a
moralist at home, but not when he sits down to dine with a lovely lady in a country restaurant:
the seducer is seduced over a plate of linguine with tuna sauce. Another culinary epiphany?
In Il marito directed by Nanni Loy in 1957, freedom tastes like a plate of braised oxtail. Indeed,
when he stars in Il vedovo, Sordi fantasizes about celebrating becoming a widower with a
steaming dish of sauteed shrimp. That’s just a misogynous daydream, though, not like the
generous helpings of chicory soup in Tutti a casa by Luigi Comencini in 1960, a holiday feast
despite its lowly associations with poverty.
From hunger to indigestion: how liberating the eating binge in Le vacanze intelligenti, the
film Alberto Sordi starred in and directed in 1978! He and the female lead are two greengrocers
on holiday at the Biennale, an overly sophisticated trip arranged by their (emancipated)
children; their rebellion against the surfeit of culture is a sudden urge to devour everything
in sight. The meal ends with a good stomach pumping, after they get carried away with the
pappardelle in hare sauce! (Laura Delli Colli)
From the film Mafioso by Alberto Lattuada. Photo copyright REPORTERS ASSOCIATI
A dinner with Alberto Sordi
With the numerous tributes that the Italian film industry has dedicated to its finest stars in
recent years, the Trailers FilmFest in the World could not fail to add its own honouring a
great name in Italian comedy: Alberto Sordi.
With his startling comedic skill, so pungent and provocative, Alberto Sordi embodied the
average Italian in the second half of the last century, masterfully interpreting his countrymen’s
virtues and vices in an ironic and at times devastating portrait of our country. Considering
the broad range of his characters, Sordi was the actor who best represented Italy, and came
to symbolise, the world over, what it means to be Italian.
The Trailers FilmFest in the World’s tribute to Sordi is a heartfelt tribute to the actor’s genius
and his cinema. It’s an invitation to relive the emotions his unforgettable performances
stirred in us, filtered through the aromas and flavours of his native city.
As far as the greatness of this film icon, Mario Monicelli put it nicely: “He was the greatest
actor, true, but he was also an amazing director, fashioning the persona that would accompany
Italian history for over 50 years. As a director, I can say how easy it was to work with Sordi,
just because he was incomparable; one glance, and we’d agree on the tone he would adopt
for his role and set for the whole film. He was a comedian who managed to contradict all the
rules of comedy”.
From the film Il vigile by Luigi Zampa. Photo copyright REPORTERS ASSOCIATI
the recipes
A culinary journey accompanied by original recipes from
Laura Delli Colli. An invitation to sample the simple
pleasures of a cinema that provides a “taste” of being
Italian and enjoying genuine Italian food.
Spaghetti with tomato sauce from “Un americano a Roma”
350 gr of angel hair spaghetti, 500 gr of firm, ripe tomatoes,
olive oil, salt, onion, basil, grated Parmesan cheese.
Sautee finely chopped onion with tomato fillets (just the
pulp of peeled tomatoes cut into thin strips). Add salt and
briefly heat the mixture over a high flame, then turn down
the flame and cook for maximum 15 min. Cook the pasta in
salted water in, obviously, a deep pot (which can hold 2,5
litres of water). Garnish with a few fresh basil leaves. Dust
with grated Parmesan when served. If you use canned
tomatoes, choose “pezzettoni” (chopped tomato pulp), or
tomato puree, for a thicker sauce.
Bavette with tuna sauce from “Scusi, lei è favorevole o contrario?”
350 gr of bavette pasta (linguine), a can of tuna, 500 gr of fresh tomatoes (or canned peeled tomatoes),
olive oil, garlic, salt, hot chili powder.
Sautee the garlic in a few tablespoons of oil. When it begins to turn golden brown, add the tomato pulp
obtained from peeling and deseeding the tomatoes, then cutting them into strips (or else use canned
peeled tomatoes). Cook the sauce on a low flame, and when it is reduced, add the tuna which you have
drained, in small pieces. Add salt and cook for a few more minutes. Drain the bavette when ‘al dente’
and add sauce, and a dusting of hot chili powder if you like.
Braised oxtail from “Il marito”
An oxtail cut into pieces, onion, celery and carrots, olive oil, salt and pepper, 1,5 kg. of tomatoes or
bottled tomato puree, and a glass of dry white wine. Optional: a bar of dark chocolate.
Carefully rinse the oxtail pieces and put them in a pot with cold salted water. Bring to a boil and blanch
the oxtail for ten minutes. Drain. Meanwhile, finely chop celery, carrot and onion, for a generous
amount. Brown the oxtail with the mixture in a few tablespoons of olive oil. Add white wine and let
evaporate. Next add the tomatos (peeled, deseeded and pureed) or else add bottled puree. Add salt
and cook for over an hour over a low flame, adding generous amounts of celery preferably cut into
long strips lengthways with threads removed. According to an old Roman recipe, a small amount of
chocolate provides a bitter aftertaste, a trick once used to “cover up” the overly strong taste of certain
meat, especially ox meat.
Pinzimonio from “Speriamo che sia femmina”
A generous assortment of vegetables, extra-virgin olive oil, salt and pepper.
The best “pinzimonio”, as a starter or served between courses of a very large meal, must include celery,
carrots and fennel. A welcome addition is thinly sliced endive along with, naturally enough, radishes.
This is a real treat for the eyes and the palate. To make your pinzimonio especially appealing, prepare
the vegetables in a deep glass bowl, artfully arranging the carrots cut into thin strips (after washing and
scraping them); the celery with its indigestible threads removed; the fennel, of which only the tender
part is used and cut into slices; and the endive, cut into long sections about 3 cm. thick.
Rinse the radishes carefully and make a cross-shaped incision on their surface so that when held by
the stem they absorb more of the seasoning when dipped into the olive oil mixture, which must be
prepared just before served. Remember to use the best extra-virgin olive oil with a dusting of salt and
pepper, and serve directly at the table in individual dishes for each guest.
Chicory soup from "Tutti a casa"
400 gr. of chicory (preferably wild chicory), 1 clove of garlic, olive oil, salt (or vegetable bouillon cube),
tomato paste, hot pepper, 200 gr. of rice.
Carefully wash the chicory, removing all the soil and discarding the tough stems. Boil, drain, and
chop roughly. In a deep pot (which can hold 2,5 litres of water), place one whole garlic clove in a few
tablespoons of oil, add the hot pepper and a small amount of tomato paste. Now sautee the chicory
over a high flame. Then add water with a pinch of salt (alternatively, the vegetable bouillon cube whole
or in powder form). Cook for no more than ten minutes, then add the rice, but do not overcook. A word
of advice: chicory soup with rice should be fairly thick, so serve it at the table with a dash of olive oil
from the bottle.
Fried pasta from “Benvenuti al sud”
Cooked pasta dish, better if left over from the day before, 1 mozzarella, eggs (one per person and one
for the pan, as the saying goes), butter, oil and salt.
Put the leftover pasta in a mixing bowl and cut it up with a knife and fork, add the chopped mozzarella
and the beaten egg with a dash of salt, and mix thoroughly. Pour the mixture into a greased pan, add
a few shavings of butter, and fry the pasta over a low flame, until the surface is brown and crispy. Flip
the omelette with the aid of a plate.
From the film Benvenuti al Sud di Luca Miniero, MEDUSA FILM
Foto di Gianni Fiorito
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