{"id":19891,"date":"2026-05-20T09:36:03","date_gmt":"2026-05-20T08:36:03","guid":{"rendered":"https:\/\/www.esenstudios.com\/film\/?page_id=19891"},"modified":"2026-05-27T09:35:40","modified_gmt":"2026-05-27T08:35:40","slug":"il-cortometraggio-la-pistola-di-cechov-di-eleonora-maiolino","status":"publish","type":"page","link":"https:\/\/www.esenstudios.com\/film\/il-cortometraggio-la-pistola-di-cechov-di-eleonora-maiolino\/","title":{"rendered":"Il cortometraggio &#8220;La pistola di \u010cechov&#8221; di Eleonora Maiolino"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; fullwidth=&#8221;on&#8221; disabled_on=&#8221;on|on|off&#8221; _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;0px||0px||false|false&#8221; da_disable_devices=&#8221;off|off|off&#8221; global_colors_info=&#8221;{}&#8221; da_is_popup=&#8221;off&#8221; da_exit_intent=&#8221;off&#8221; da_has_close=&#8221;on&#8221; da_alt_close=&#8221;off&#8221; da_dark_close=&#8221;off&#8221; 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Una semplice stranezza si trasforma presto in un gioco pericoloso. 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global_colors_info=&#8221;{}&#8221;]<\/p>\n<p style=\"text-align: center;\">Italia, 2026 \/ 14&#8242;<\/p>\n<p>[\/et_pb_text][et_pb_code _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<style><!-- [et_pb_line_break_holder] -->.tabellaTroupe tr td {<!-- [et_pb_line_break_holder] -->    padding: 6px 10px;<!-- [et_pb_line_break_holder] -->    border-top: none !important;<!-- [et_pb_line_break_holder] -->}<!-- [et_pb_line_break_holder] --><\/style>\n<p>[\/et_pb_code][et_pb_text _builder_version=&#8221;4.27.6&#8243; text_font=&#8221;Montserrat||||||||&#8221; text_text_color=&#8221;#FFFFFF&#8221; text_letter_spacing=&#8221;1px&#8221; header_text_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;50px||30px||false|false&#8221; text_text_shadow_style=&#8221;preset1&#8243; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p style=\"text-align: center;\"><em>regia di<\/em><br \/>\n<spam style=\"font-size: 120%; font-weight: 500; letter-spacing: 1px;\">Eleonora Maiolino<\/spam><\/p>\n<p style=\"text-align: center;\">[\/et_pb_text][et_pb_text _builder_version=&#8221;4.27.6&#8243; text_font=&#8221;Montserrat||||||||&#8221; text_text_color=&#8221;#FFFFFF&#8221; text_letter_spacing=&#8221;1px&#8221; header_text_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;30px||30px||false|false&#8221; text_text_shadow_style=&#8221;preset1&#8243; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p style=\"text-align: center;\"><em>con<\/em><br \/>\n<spam style=\"font-size: 110%; font-weight: 500;\">Daniele Messina<br \/>\nTommy Imperatori<\/spam><\/p>\n<p style=\"text-align: center;\">[\/et_pb_text][et_pb_text module_class=&#8221;tabellaTroupe&#8221; _builder_version=&#8221;4.27.6&#8243; text_font=&#8221;Montserrat|300|||||||&#8221; text_text_color=&#8221;#FFFFFF&#8221; text_font_size=&#8221;15px&#8221; text_letter_spacing=&#8221;1px&#8221; custom_margin=&#8221;0px||80px||false|false&#8221; custom_padding=&#8221;||&#8221; text_text_shadow_style=&#8221;preset1&#8243; text_text_shadow_color=&#8221;#000000&#8243; global_colors_info=&#8221;{}&#8221;]<\/p>\n<table style=\"border-color: #111312; width: 100%; margin-left: auto; margin-right: auto;\">\n<tbody>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Scritto da<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Danilo Merafina<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Direttore della Fotografia<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Marco Mineiychev<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Montaggio<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Eleonora Maiolino<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Musica<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Samuele De Biase<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Suono<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Nicola Siddi<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Montaggio del suono<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Davide Cesa<br \/>\nBianca Formichi<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Color correction<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Enrico Musso<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Produttore<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Eleonora Maiolino<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Produzione<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Basic Title<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 344.5px; text-align: right;\"><em>Distribuzione<\/em><\/td>\n<td style=\"width: 342.5px; font-size: 115%;\">Esen Studios<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p style=\"text-align: center;\">[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; disabled_on=&#8221;off|off|off&#8221; _builder_version=&#8221;4.25.1&#8243; background_color=&#8221;rgba(255,255,255,0)&#8221; custom_margin=&#8221;-60px||0px||false|false&#8221; custom_padding=&#8221;0px||100px&#8221; top_divider_height=&#8221;79px&#8221; 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follow_button=&#8221;off&#8221; url_new_window=&#8221;on&#8221;]instagram[\/et_pb_social_media_follow_network][\/et_pb_social_media_follow][\/et_pb_column][et_pb_column type=&#8221;3_5&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_team_member name=&#8221;Eleonora Maiolino&#8221; position=&#8221;Biografia&#8221; _builder_version=&#8221;4.27.6&#8243; _module_preset=&#8221;default&#8221; header_font=&#8221;Special Elite||||||||&#8221; header_text_align=&#8221;left&#8221; header_font_size=&#8221;24px&#8221; body_font=&#8221;Montserrat||||||||&#8221; body_text_align=&#8221;justify&#8221; body_font_size=&#8221;16px&#8221; position_font=&#8221;Montserrat|200|on||||||&#8221; position_text_color=&#8221;#707070&#8243; position_font_size=&#8221;13px&#8221; position_line_height=&#8221;2em&#8221; width=&#8221;80%&#8221; width_tablet=&#8221;90%&#8221; width_phone=&#8221;90%&#8221; width_last_edited=&#8221;on|phone&#8221; max_width=&#8221;98%&#8221; module_alignment=&#8221;left&#8221; custom_margin=&#8221;7vh||0px||false|false&#8221; custom_margin_tablet=&#8221;30px||||false|false&#8221; custom_margin_phone=&#8221;30px||0px||false|false&#8221; custom_margin_last_edited=&#8221;on|tablet&#8221; custom_padding=&#8221;1px|||||&#8221; header_text_align_tablet=&#8221;center&#8221; header_text_align_phone=&#8221;center&#8221; header_text_align_last_edited=&#8221;on|phone&#8221; body_text_align_tablet=&#8221;center&#8221; body_text_align_phone=&#8221;center&#8221; body_text_align_last_edited=&#8221;on|desktop&#8221; module_alignment_tablet=&#8221;center&#8221; module_alignment_phone=&#8221;center&#8221; module_alignment_last_edited=&#8221;on|phone&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>Eleonora Maiolino \u00e8 laureata con lode in cinema alla RUFA Rome University of Fine Arts. Durante il percorso accademico si avvicina al mondo del sound design e della presa diretta, maturando un interesse profondo per il suono come strumento di indagine del reale e come veicolo percettivo capace di ridefinire l\u2019immagine. Nel 2024 entra a far parte del collettivo artistico indipendente e multidisciplinare Basic Title, con cui realizza il cortometraggio d\u2019esordio come regista, La pistola di Cechov. Il film riflette la sua ricerca sul rapporto tra realt\u00e0 e finzione, sull\u2019inganno come linguaggio e sulla costruzione di un\u2019estetica che unisce precisione tecnica e consapevolezza concettuale.<\/p>\n<p><strong><em>Filmografia:<\/em><\/strong><\/p>\n<ul>\n<li>\u201cLa pistola di \u010cechov\u201d , 2026, cortometraggio<\/li>\n<\/ul>\n<p>[\/et_pb_team_member][\/et_pb_column][\/et_pb_row][et_pb_row module_class=&#8221; et_pb_row_fullwidth&#8221; _builder_version=&#8221;4.16&#8243; background_color=&#8221;rgba(255,255,255,0)&#8221; width=&#8221;89%&#8221; width_tablet=&#8221;80%&#8221; width_phone=&#8221;&#8221; width_last_edited=&#8221;on|desktop&#8221; max_width=&#8221;89%&#8221; max_width_tablet=&#8221;80%&#8221; max_width_phone=&#8221;&#8221; max_width_last_edited=&#8221;on|desktop&#8221; custom_margin=&#8221;||0px&#8221; custom_padding=&#8221;||&#8221; make_fullwidth=&#8221;on&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][dsm_text_divider header=&#8221;Note di regia&#8221; text_alignment=&#8221;left&#8221; color=&#8221;#565656&#8243; _builder_version=&#8221;4.27.5&#8243; _module_preset=&#8221;default&#8221; header_font=&#8221;Montserrat||||||||&#8221; header_text_color=&#8221;#565656&#8243; module_alignment=&#8221;right&#8221; custom_padding=&#8221;|30px|||false|false&#8221; global_colors_info=&#8221;{}&#8221;][\/dsm_text_divider][et_pb_blurb use_icon=&#8221;on&#8221; font_icon=&#8221;&#xf56b;||fa||900&#8243; icon_color=&#8221;#000000&#8243; icon_placement=&#8221;left&#8221; image_icon_width=&#8221;48px&#8221; content_max_width=&#8221;90%&#8221; image_icon_width_tablet=&#8221;48px&#8221; image_icon_width_phone=&#8221;32px&#8221; image_icon_width_last_edited=&#8221;on|phone&#8221; _builder_version=&#8221;4.27.6&#8243; _module_preset=&#8221;default&#8221; header_font=&#8221;Montserrat|700|||||||&#8221; header_text_color=&#8221;#000000&#8243; body_font=&#8221;Montserrat||||||||&#8221; body_text_align=&#8221;justify&#8221; body_text_color=&#8221;#444444&#8243; body_font_size=&#8221;16px&#8221; body_letter_spacing=&#8221;1px&#8221; text_orientation=&#8221;justified&#8221; custom_margin=&#8221;||||false|false&#8221; body_text_align_tablet=&#8221;justify&#8221; body_text_align_phone=&#8221;left&#8221; body_text_align_last_edited=&#8221;on|tablet&#8221; body_font_size_tablet=&#8221;16px&#8221; body_font_size_phone=&#8221;14px&#8221; body_font_size_last_edited=&#8221;on|phone&#8221; global_colors_info=&#8221;{}&#8221;]La pistola di \u010cechov racchiude la mia personale percezione del mondo e di conseguenza del cinema stesso. L&#8217;obiettivo principale \u00e8 riflettere sulla concreta esistenza di un oggettivit\u00e0 all\u2019interno della dimensione che consideriamo reale. Il cortometraggio si costruisce su pi\u00f9 livelli narrativi, partendo da una trama apparentemente lineare che viene progressivamente destabilizzata. Dialoghi e monologhi introducono una riflessione sul rapporto tra arte, teatro e verit\u00e0, mentre la presenza del videogioco introduce gi\u00e0 il tema della simulazione. La prima parte utilizza ironia, stereotipi narrativi e il trailer per creare una finzione riconoscibile, rassicurante. Elementi che mirano a creare una fruizione leggera, quasi stereotipata attraverso elementi facilmente riconducibili ad un modello pi\u00f9 o meno standard di narrazione. Il sound design contribuisce a costruire questa percezione, inserendo suoni sintetici e richiami videoludici disseminati lungo tutto il racconto. Quelle che risultavano stranezze nelle costruzioni della finzione e che solo nel finale assumono un senso concreto, sono state costruite attraverso sonorit\u00e0 sparse e velate tipicamente \u201cplastiche\u201d del simulato, facendo riferimento ad una libreria sonora ben riconoscibile.  Il progetto di sound design del cortometraggio suona allo stesso modo del progetto sonoro della vita reale: palesandosi nettamente solo in piccola percentuale e lasciando il resto come contorno inesplorato, completando l\u2019agire degli altri sensi e contribuendo a rendere l\u2019esperienza totale. La successiva comparsa della troupe interrompe questa illusione e genera disorientamento nello spettatore.  Definirei questo momento come un ibrido percettivo: gioca con le stesse premesse della prima parte per ricreare la sospensione dell\u2019incredulit\u00e0 e riconquistare la fiducia spettatoriale, ma continuando a macchiarsi di avvisaglie precise. L\u2019immagine inizia a sporcarsi di clip di backstage, di movimenti di macchina pi\u00f9 artefatti, il montaggio e la location spettacolarizzano la scena di nuovo intrisa di sarcasmo. Con la seconda rivelazione, l\u2019opera abbandona definitivamente il tentativo di sembrare \u201creale\u201d e assume apertamente la propria artificialit\u00e0. I personaggi appartengono alle macchine da presa, e l\u2019ultimo piano narrativo viene rivelato: il videogioco. Emerge nel finale come ultimo livello metaforico: i protagonisti sono intrappolati in una realt\u00e0 da cui non possono uscire. Nella scena finale l\u2019esaltazione dei piani e degli stili \u00e8 dichiarata, questa volta per\u00f2 l&#8217;obiettivo non \u00e8 sfruttarla a suo favore ma dichiararsi in quanto tale. L\u2019esperienza di Matteo si amalgama a quella spettatoriale: accetta la finzione e decide di continuare a costruire il suo personaggio, esattamente come lo spettatore, che consapevole dell\u2019inesistenza di una realt\u00e0 a\ufb03dabile all\u2019interno della storia, attende il finale. Il film riflette cos\u00ec sul rapporto tra realt\u00e0 e finzione, paragonando il cinema e la vita a una matrioska di livelli infiniti. 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