Tutti giù per terra (2025)

Puccioni's social horror

In Tutti giù per terra (We all fall down), Marco Simon Puccioni condenses a profound reflection on trauma, silence, and survival into a brief yet emotionally charged narrative. Across its nineteen minutes, the short film revisits one of Puccioni's most persistent themes - the fragile resilience of those marked by exclusion and violence - through a story that unfolds in two contrasting worlds: the sunlit, deceptive innocence of a bullied child, and the cold, nocturnal solitude of the adult who still carries that wound. The film's stark visual precision and its refusal of sentimentality make it at once intimate and unsettling.

This work resonates deeply with Puccioni's broader filmography, from Riparo and Come il vento, where private stories intersect with political and social consciousness. His cinema has always navigated the tension between realism and introspection, alternating between narrative and documentary forms while maintaining a steady gaze on the human cost of inequality, identity, and belonging.

In Tutti giù per terra, Puccioni reaffirms that commitment through formal restraint rather than overt activism. By stripping the frame of excess and allowing silence to speak, he crafts a work that both confronts and transcends pain. The short becomes a meditation on how cinema can hold space for trauma - not to heal it, but to recognize it - extending Puccioni's ongoing dialogue between ethics and aesthetics, between the individual and the collective. With this short but intense film Marco Simon Puccioni delivers one of the most powerful short films of this year's Rome Film Festival (Alice nella città section).