Andrea Serrano is a young aspiring writer who is forced to washcorpses in a morgue to make ends meet, while barely managing tofinish his first novel, a story about the Camorra. Discouraged by acareer that is struggling to take off, he is waiting for the big breakof his life. Which finally comes: a great producer, Oscar Martello,decides to adapt his book titled “It Doesn’t End Here” and makeit into a film. Oscar is number one in Italian fiction. Now he has anew challenge: To become the number one in cinema. And, to doso he has chosen Andrea’s book. The boy is invited to one of thefrequent parties held at Oscar’s villa. There, he makes his entranceinto the glittering world of cinema and runs into Jacaranda Ponti, awell-known actress.The film, starring Jacaranda herself, is finished. At the first screening,however, it is obvious to all, the film sucks. Her film debut is adisaster. Oscar suffers heavy pressure from his charming wife, whomakes it clear to him that he cannot afford failure. So Oscar enacts,with the help of Andrea, a diabolical plan: the disappearance, tobe attributed to a Camorra revenge, which later turns out to bean elopement, of the film’s star protagonist, Jacaranda, and thescreenwriter, Andrea precisely. With Jacaranda’s fake kidnapping,the media go crazy and the film becomes legend before it iseven screened. The plan seems to work, although policeman RaulVentura goes after Oscar suspecting a scam. The situation becomesincreasingly complicated when the actress’ body is found. It willbe up to Andrea to unravel the puzzle and find out what reallyhappened. Who killed Jacaranda? In a no-holds-barred strugglebetween Andrea and Oscar the unexpected truth about the deathof the beautiful actress will come out, changing everyone’s lives.
Dolceroma
Regia: Fabio Resinaro
Prodotto da: Eliseo Cinema con Rai Cinema
Con: Lorenzo Richelmy, Luca Barbareschi, Valentina Bellè, Francesco Montanari, Armando De Razza, Iaia Forte, Alessandro Cremona, Luca Vecchi. Con Libero De Rienzo. Con la partecipazione straordinaria di Claudia Gerini
2019