Cetto c’è senzadubbiamente

Directed by Director's notes
  • Giulio Manfredonia
Directed by
  • Giulio Manfredonia
Year
  • 2019
Length
  • 100 min.
Year
  • 2019
Length
  • 100 min.
Cast
  • Antonio Albanese
  • Nicola Rignanese
  • Caterina Shulha
  • Gianfelice Imparato
  • Davide Giordano
  • Lorenzo Indovina
Synopsis

Ten years after his election as mayor of Marina di Sopra, Cetto la Qualunque had disappeared without a trace. We discover that he lives in Germany and, having put aside all political ambition, Cetto la Qualunque is now just an irresistible and picturesque successful entrepreneur to the Germans, who considers Germany a land of conquest and the mafia a mark of quality. His chain of restaurants and pizzerias, in fact, is hugely popular; he has a beautiful German partner and two neo-Nazi in-laws who view him with the sympathy reserved for migrants. The call of his homeland, however, remains strong, and the news of the worsening condition of his beloved aunt who raised him, prompts him to return to the scene of the crime and delight. In Italy, his aunt will reveal something about his past, and his birth, that will forever change the course of his life and, unfortunately, ours too. Cetto returns to command, and this time the consequences could be immeasurable.

Director's notes
  • And here we are again! Nine years have passed since Cetto La Qualunque's cinematic debut in "Qualunquemente" (2010) and seven since his last appearance in "Tutto tutto, niente niente" (2012), and many things have changed.

    In these years, the two films have been a bit like a puzzle magazine, counting an infinite number of imitation attempts, some even successful, but none that have ever even vaguely approached the style of the originals, especially thanks to Albanese's comedic touch, which is both attentive to today's world and capable of transfiguring it into something else, much more abstract and universal.

    It was not easy, therefore, to find the way for this sensational return, but Antonio and Piero usually surprise us with their enviable ability to grasp the moods of the country, to read and interpret them much better than many sociologists, and so when I read the script for "Cetto c'è" I immediately had the impression that it contained something truly new and surprising about today's Italy, and in an instant, my desire to resume telling the stories of our Cetto returned.

    There were truly many ideas to work on, and as usual, the portrayal of the country was clear, the surprises infinite, the style always precise, and the fun guaranteed.

    We just had to shoot it. And it was truly a pleasure.

    I always say that making Antonio's films is a kind of vacation, from rules, from realism, from everything that characterizes the more classic narrative we usually stage, a journey into fantasy and abstraction that only great comedians know how to create.
Directed by
  • Giulio Manfredonia
Screenplay
  • Antonio Albanese and Piero Guerrera
Editing
  • Alessio Doglione
Scenography
  • Marco Belluzzi
Director of photography
  • Roberto Forza
Director's notes
X

And here we are again! Nine years have passed since Cetto La Qualunque's cinematic debut in "Qualunquemente" (2010) and seven since his last appearance in "Tutto tutto, niente niente" (2012), and many things have changed.

In these years, the two films have been a bit like a puzzle magazine, counting an infinite number of imitation attempts, some even successful, but none that have ever even vaguely approached the style of the originals, especially thanks to Albanese's comedic touch, which is both attentive to today's world and capable of transfiguring it into something else, much more abstract and universal.

It was not easy, therefore, to find the way for this sensational return, but Antonio and Piero usually surprise us with their enviable ability to grasp the moods of the country, to read and interpret them much better than many sociologists, and so when I read the script for "Cetto c'è" I immediately had the impression that it contained something truly new and surprising about today's Italy, and in an instant, my desire to resume telling the stories of our Cetto returned.

There were truly many ideas to work on, and as usual, the portrayal of the country was clear, the surprises infinite, the style always precise, and the fun guaranteed.

We just had to shoot it. And it was truly a pleasure.

I always say that making Antonio's films is a kind of vacation, from rules, from realism, from everything that characterizes the more classic narrative we usually stage, a journey into fantasy and abstraction that only great comedians know how to create.