
Nuvole
Comedy · Music
Top Cast


Stefano Santospago
Stefano Santospago
Aristofane
Stefano Santospago
Aristofane


Nando Paone
Nando Paone
Strepsiade
Nando Paone
Strepsiade


Massimo Nicolini
Massimo Nicolini
Fidippide
Massimo Nicolini
Fidippide


Antonello Fassari
Antonello Fassari
Socrate
Antonello Fassari
Socrate


Galatea Ranzi
Galatea Ranzi
Corifee
Galatea Ranzi
Corifee
Daniela Giovanetti
Daniela Giovanetti
Corifee
Daniela Giovanetti
Corifee
Stefano Galante
Stefano Galante
Discorso migliore / Discepoli di Socrate
Stefano Galante
Discorso migliore / Discepoli di Socrate
Jacopo Cinque
Jacopo Cinque
Discorso peggiore / Discepoli di Socrate
Jacopo Cinque
Discorso peggiore / Discepoli di Socrate
Alessio Esposito
Alessio Esposito
Primo creditore di Strepsiade / Discepoli di Socrate
Alessio Esposito
Primo creditore di Strepsiade / Discepoli di Socrate
Matteo Baronchelli
Matteo Baronchelli
Secondo creditore di Strepsiade / Discepoli di Socrate
Matteo Baronchelli
Secondo creditore di Strepsiade / Discepoli di Socrate
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Simmons, best-known for her photographs of miniature rooms populated by dolls and of oversized objects—such as a house, birthday cake, and pistol—balanced on female legs, both human and fake, brings these characters to life in a three-act mini-musical. The film is inspired by three distinct periods of Simmons’s photographic work: vintage hand puppets, ventriloquist dummies and walking objects enact tales of ambition, disappointment, love, loss, and regret. Working with composer Michael Rohaytn ("Personal Velocity") and cameraman Ed Lachman ("The Virgin Suicides" and "Far From Heaven"), Simmons’s puppets come to life in miniature domestic scenes that echo real life.

Gabrielle is writing an illustrated guide book on sex called 'How To Do It.' At a book signing she meets Saul, an established male writer who is straight. She both loves and hates his work which has seeped into her secular Jewish life from childhood. The more Gabrielle tells him about her book the more he wants to know about her life; the relationship with her younger girlfriend Olivia and her determination to "stop using my penis in sex". As her book takes form, is Saul jealous or desirous? Their friendship is tested as is Gabrielle's relationship with Olivia. The film muses on how we write, how we draw. And the nature of "story" and what it makes us do.

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