Samp is a professional hitman who is hired by a powerful president to kill traditionalists. On a personal level, he has psychological problems he treats with music. After killing his mother, he wanders through Puglia seeking his ideal woman. He encounters all sorts of people as he goes: nature-lovers, people out to find their roots, and an eccentric musician. Suddenly, Samp falls in love, not once, but serially. With women of little substance. He kills someone else and becomes almost human—and that humanity will put paid to his dreams of power.

Samp

MILAN VIA PADOVA. A document that was born out of an excess of zeal in an investigation into the people who live on the street.  The film tells of racism and intolerance through singing that shows the sweetness of a forgotten rhythm. The unusual reality reaches performative peaks when personal and social problems are intertwined. It is a film on the verge of becoming. It was born as a synthetic work but like the themes it deals with, it prolongs its life over time.  After four years it became a feature film.

Milano, Via Padova

Is art useful to man?  The actors are suited to society. Passers-by are people who want to dream but have now lost confidence, laziness on the one hand, conditioning and deschooling on the other, require you to lower your sights and everyone is content to pursue modest cheap expectations.  Reality and art are not in communication, impoverished by individualism, the actors and artists dance to the rhythm imposed by power, they slaughter each other, they abuse each other without realizing the possibilities of communication that open up by moving outside the choir.  Rome is occupied by every step, the foot walking lightly occupies the public land.  But this occupation is not news because it is lightning fast. The criteria of employment mark the time.