Giovanni Minerba

Ottavio Mario Mai

Giovanni Minerba, Alessandro Golinelli

Ottavio Mai understood that if homosexuality isn't represented in this society dedicated to shows and the media which is slowly but surely taking over, then its representation is fundamental, it is the only sign, the only proof of existence. Therefore, he fills the void. With his films which, although poor and consciously making use of new electronic means, range from documentaries to traditional fiction, from poetic short films to experimental films, and which talk directly, without mediation, about gays, transvestites, couples, families, betrayals, battuage, and homosexual normality, touching every genre, like nobody had ever dared to do in Italy before.

Il 'fico' del regime (da prendere come esempio in mancanza di esempi peggiori)

Ottavio Mai, Giovanni Minerba

Giò Stajano

Giò Stajano's secret to face life was and is that of never having taken himself too seriously. Already the fact of being born homosexual in a village in the deep south, in the middle of the Fascist period, and moreover in the Storace house, choosing as a mother an unsuspecting daughter of the "very virile" right arm of the Duce, and then peeing in his arms of the latter, at the tender age of one year, speaks volumes. Then in the 1950s, a young man of high hopes, he arrives in Rome and with his nonconformist lifestyle and his book Roma capitolina on "excellent" homosexuality in Rome, immediately kidnapped, becomes a "character" and is called by Fellini to interpret himself same in the film La dolce vita. Then suddenly in '81, after having been an assault journalist, having continued to write books and interpret films, tired of this role, he flies to Casablanca, and becomes Maria Gioacchina, thus confirming his innate tendency to provocation and mockery, towards life and himself.

Modi di essere. Eroine ed eroi

Tonino De Bernardi

Marilena Boffo, Paola Calcinotto