The Best Marketing Dollars You Can Spend

The content of this blog is continuously updated and is addressed to filmmakers worldwide.

Updated on January 11, 2021.

The 10th edition of the Global Nonviolent Film Festival takes place from September 23 to October 3, 2021.

I founded this Festival with Daria Trifu ten years ago with the only purpose of being able to bring nonviolent films to the public and to the attention of film distributions. 

In recent years, I have been the artistic consultant of the Festival. I have been able to see many nonviolent films produced all over the world that, otherwise, had very little chance of reaching the public. Today, our Festival is recognized as the most important nonviolent festival in the world. Looking back, I must say that it has achieved its goals and, in a sense, has surpassed them.

Years ago, I too was like these film makers; I sent my films to Festivals and I hoped not only to win an award, but also that the films would be noticed and eventually distributed. I know clearly what the filmmakers want: they want their films to be seen as much as possible, and they want to achieve results from their work. 

I absolutely recommend to all filmmakers who produce nonviolent films to participate to our Festival. In this way, if they will be selected, they will have the opportunity for 11 days to show their films to their friends, their colleagues and to all the people who they think are interested in their product. They will also have one or more pages in our magazine DARIA! with photos and the story of their film, the video presentation that I do for every selected film during Festival and, possibly, an award. 

It must also be said that they have a lot of chances to be selected in our Festival: I think that our average selection rate is 50%. 

If they don’t know the Festival well, I recommend them to watch the Video presenting the Awards given at the 2020 edition. The video also contains the trailers of the awarded films. I think that, by watching this video, the filmmakers will have a good idea of our Festival:

Awards Presentation Video (2020)

In addition to the video, they can also read the comments made by some of the filmmakers who participated at the Festival, here (bottom page):

Filmmaker’s Comments

If the filmmakers decide to submit their films and videos to the Festival, I add another link here to facilitate their entry:

Submit a Film @ FilmFreeway

Finally, I want to recommend to the filmmakers who are not familiar with our Festival, to watch the trailers of the films that we presented during the 2020 edition, as well as the daily presentations that are available year-long on the Festival’s TV Channel here:

Who knows, considering that next year our company will go in distribution and will compete with Netflix, probably some of the filmmakers who participate to the Festival will have their films distributed by Global Cinema Online; if so, the filmmakers will realize that the few dollars they spent to participate to the Festival were the best marketing dollars they ever spent.

RETROSPECTIVE (working title): A 96 minutes feature documentary.

The tentative date for the shootings is booked for October 2020; we can say that, after that date, as soon as the Coronavirus will allow for unrestricted international travel, the production of the film will commence in Greece. The film will be shot in High Definition (4K) and in Hollywood standard, and it will highlight some of the most revered films of internationally acclaimed film author Bruno Pischiutta.

Bruno Pischiutta performing in “Many Wars Ago” (Uomini contro) with Alain Cuny

Pischiutta’s career spans over five decades. His acting performance in Francesco Rosi’s film, Many Wars Ago (Uomini contro), garnered him the Critics Award for ‘Best Supporting Actor’ at the Venice Film Festival in 1972 when he was 19 years of age. He went on to write, direct, produce and edit, critically acclaimed feature films such as Compagne Nude, The Comoedia, Last Encounter in Venice, Life’s Charade, “Maybe…?”, and, amongst others, Punctured Hope.

Bruno Pischiutta directing a scene of PUNCTURED HOPE in the rain forest.

In the 80s he was awarded at the New York International Film and Television Festival for his film The Comoedia, and formally invited by the Academy Awards® to present it for an Oscar consideration.

In the 90s he was, with Steven Spielberg and Bruno Bareto, one of the three directors formally invited to China by the Shanghai Film Studio to develop and produce films there. In the 2000s he was nominated by The Political Film Society in Hollywood in the categories of ‘Best Film Expose’ and ‘Best Film on Human Rights’ for his movie Punctured Hope, alongside Clint Eastwood (for Invictus), Quentin Tarantino (for Inglorious Basterds), and James Cameron (for Avatar).

On the set filming MAYBE with actress Christina Macris in Toronto.

“Everybody can judge a movie from what they see and hear, but there are sometimes certain circumstances, motivations and facts regarding a film that we have to know to fully understand its content. This documentary will show parts of several films I made, and it will explain the ‘why’, the ‘how’ and some relevant aspects related to those movies,” says the Maestro.

The first screenplay Pischiutta ever wrote signalled the director’s life-long affection for the sea; in Retrospective, the blue Aegean Sea becomes the backdrop of the story.

The footage of Pischiutta’s past films that will be used in Retrospective will bring the viewers to different locations and to different situations: to a very particular Venice, to New York of the 80s, to the Ghanaian rainforest, and to the Canadian Niagara Falls.

Several guests will appear in the film but the principal structural dialog will take place between Bruno Pischiutta and the Lithuanian actress Greta Goldling, both portraying themselves.


Actress Greta Goldling is an emerging movie Star who is from Lithuania but lives in London, England.

Greta Goldling

Greta Goldling will make her international debut in the documentary Retrospective (working title), appearing as herself. Goldling has already been cast to play an important role in the upcoming Hollywood standard feature film The Bad Joke, directed by Bruno Pischiutta and produced by Daria Trifu for Global Film Studio.

Greta is the ‘Image’ of the 2020 edition of the renown Global Nonviolent Film Festival, and is featured on the event’s official poster. She is also featured on the cover of the 2020 issue of the famed arts, entertainment & business magazine DARIA!.

Daria Trifu is the Producer. She will also appear as a guest in the film.

Daria Trifu (center)

Daria Trifu, who works with Bruno Pischiutta from 20 years, is the Producer and Executive Producer of the the Academy Awards® qualified feature film Punctured Hope that was nominated as ‘Best Film Expose’ and ‘Best Film on Human Rights’ of 2009 by The Political Film Society in Hollywood, alongside Invictus, Avatar and Inglorious Basterds. Trifu had a key role in financing the $5.8 million picture. She also produced the feature documentary Brasov: Probably the Best City in the World and, in addition to her ‘producer’ credits, she is also the ‘Creator’ of an upcoming 13-episode TV Series to be produced by Global Film Studio, and is the writer of the original story of an upcoming major feature film tentatively named 906 Untitled. Daria Trifu is best known for producing films that are nonviolent and that are based on social issues of our time.

Elio Dell’Unto is the Technical Producer.

Elio Dell’Unto

Elio Dell’Unto is an award winning Production Manager based out of Toronto, Canada. He has been working with Director Bruno Pischiutta since the late 80s. He is known for his work on Maybe, Easy Weekend, and the groundbreaking and critically acclaimed Punctured Hope, all films directed by Maestro Pischiutta.

Edward Button is the Director of Photography.

Edward Button

Edward Button is an award winning Director of Photography based out of New York and Los Angeles. He is best known for his work on films such as American Made (starring Tom Cruise), Burn After Reading(starring George Clooney and Brad Pitt), Ten Thousand Saints(starring Ethan Hawke), and on the documentary The Big Fix(starring Peter Fonda).

Davide De Stefano is the Production Designer.

Davide De Stefano

Davide De Stefano is a multi-award winning Production Designer who is based out of Rome and working both nationally and internationally on major film productions. He is best known for his work on Voice From the Stone (starring Emilia Clarke), The Cursed Ones(awarded the African Oscar at the African Movie Academy Awards), and Giallo (starring Adrien Brody). Among the many esteemed directors with whom Davide De Stefano has worked, we count Carlo Lizzani, Pupi Avati, and Dario Argento.

The music will be composed by Maestro Jay Jourden.

Jay “Blue Jay” Jourden

Jay “Blue Jay” Jourden is a world-renowned and award winning Music Producer and Vocal Artist who is based out of Atlanta, Georgia. In 2019, he received the ‘Vocalist of the Year Award’ at the Josie Music Awards. Blue Jay is also an activist landing his music and his time to world causes that fight for peace and betterment of the human condition in the world. Jay Jourden heads the Music Department at Global Film Studio and is in charge of composing and producing the music for the company’s upcoming films and documentaries.

Global Film Studio Chooses Greece to Film a Feature Documentary About Unique Aspects of Some of Bruno Pischiutta’s Movies


HOLLYWOOD, Calif.July 8, 2020PRLog — The Company announced today that, as soon as the Coronavirus will allow for unrestricted international travel, the production of its feature documentary tentatively entitled Retrospective will commence in Greece. The film will highlight some of the most revered films of internationally acclaimed author Bruno Pischiutta.

Director Bruno Pischiutta and Producer Daria Trifu

Pischiutta’s career spans over five decades. His acting performance in Francesco Rosi’s film, Many Wars Ago (Uomini contro), garnered him the Critics Award for ‘Best Supporting Actor’ at the Venice Film Festival in 1972 when he was 19 years of age. He went on to write, direct, produce and edit, critically acclaimed feature films such as Compagne Nude, The Comoedia, Last Encounter in Venice, Life’s Charade, “Maybe…?”, and, amongst others, Punctured Hope.

In the 80s he was awarded at the New York International Film and Television Festival for his film The Comoedia, and formally invited by the Academy Awards® to present it for an Oscar consideration. In the 90s he was, with Steven Spielberg and Bruno Baretto, one of the three directors formally invited to China by the Shanghai Film Studio to develop and produce films there. In the 2000s he was nominated by The Political Film Society in Hollywood in the categories of ‘Best Film Expose’ and ‘Best Film on Human Rights’ for his movie Punctured Hope, alongside Clint Eastwood (for Invictus), Quentin Tarantino (for Inglorious Basterds), and James Cameron (for Avatar).

“Everybody can judge a movie from what they see and hear, but there are sometimes certain circumstances, motivations and facts regarding a film that we have to know to fully understand its content. This documentary will show parts of several films I made, and it will explain the ‘why’, the ‘how’ and some relevant aspects related to those movies,” says the Maestro.

The first screenplay Pischiutta ever wrote signaled the director’s life-long affection for the sea; in Retrospective, the blue Aegean Sea becomes the backdrop of the story.

Also in Retrospective, Lithuanian actress Greta Goldling will make her international debut. She is already known for appearing on the official poster of this year’s Global Nonviolent Film Festival, and she has been cast to play a lead role in Bruno Pischiutta’s next major feature film that will be shot following the documentary. Greta Goldling is on the fast lane to reach international stardom.

The documentary will be directed by Pischiutta and produced by Daria Trifu. Special appearances will include Trifu and Dr. Marco Dall’Omo. The music will be composed by Maestro Jay Jourden and produced by Margo’ Buccini. Talks are ongoing for the great Italian art director Davide De Stefano (Voice From the Stone, The Cursed Ones, Giallo) to join as production designer.

From the business point of view, Global Film Studio is open to an association with a coproducer who will be interested in making a long-term financial investment and creative collaboration with the Company based on its operating principles.

About Global Film Studio:

Global Film Studio, federally incorporated in Canada in 2011, is a media company focused on ventures that are socially conscious and nonviolent.

Global Film Studio’s activities revolve around film production and distribution, talent management, film festival organization, publishing and more. The Company operates with seven Divisions; each of them is primarily in charge of one activity.

Global Film Studio owns the Global Film Actors Agency and the Global Nonviolent Film Festival, and it publishes “DARIA!” magazine.

In 2021, the Company is launching, its own subscriber-based streaming platform for films and documentaries. Global Cinema will be a competitor to Netflix, and it aims to bring to the world viewers top quality films in every genre, with a special focus on non-violent content.

Global Film Studio Inc.

Global Nonviolent Film Festival Reveals Its Official Poster for 2020

June 16, 2020 — Hollywood, California — Global Nonviolent Film Festival reveals the official poster for its 9th annual edition that takes place from September 24 to October 4.

Official Poster of the 2020 edition of Global Nonviolent Film Festival.

The poster is created on a concept by film director Bruno Pischiutta, and it features actress Greta Goldling. The original artwork, realized in digital collage method, was made by Daria Trifu.

“The poster advertises the Festival. It is also a freeze-frame that identifies the present year; it will stay there forever and it will be seen for years to come. 

Until now, 2020 has been marked by two historical elements: COVID-19 and the social unrest in America. The people who will view the poster twenty years from now will not need to read the date of the event, but they will be able to visually identify 2020 as the year when this Festival’s edition took place. 2020 is also the year that marks the debut in the international film industry of actress Greta Goldling who, in this picture, reminisces a young Angelina Jolie,” said Bruno Pischiutta, who also serves as the  Festival’s artistic consultant. 

Daria Trifu, the Festival’s director, further explains that “Global Nonviolent Film Festival showcases only non-violent films since 2012. We were the first to create such an international event and, in 2016, to take it on-line so that the whole world could watch the selected movies. As I listened to Bruno describing his vision for the poster, I wanted to incorporate all the elements in a digital collage where they fuse seemingness through colours, shapes and contrasts.” 

In light of the impact that current events have on our world, the film business has to adapt. Some of the most famous film festivals are migrating to virtual platforms, and several premieres by Hollywood Studios are taking place on-line. 

Global Film Studio owns the Global Nonviolent Film Festival and Daria Trifu, who is the Company’s president, had this to add: “We live in a digital world. For our business, it’s never been more universally clear that expanding virtually is the right choice and the best use of resources. Our Company chose this path early, in 2016, when we decided to take our already successful traditional local film festival on-line exclusively. We closed our physical screenings and moved the whole event on-line; it was a bold move that could have gone two ways. 

It went the right way, and we are very proud of the event’s success.”

In 2021, Global Film Studio is launching, its own OTT streaming platform. will showcase feature films, shorts and documentaries to paid subscribers. Some films will be available on a pay-per-view basis so that the platform will be able to host premieres and limited time releases too. Global Cinema will be a competitor to Netflix, and it aims to bring to the world viewers top quality films in every genre with a special focus on non-violent content. The film catalogue will include some of the best movies presented at the Global Nonviolent Film Festival.

Global Nonviolent Film Festival accepts submissions via FilmFreeway. The deadline to submit is August 22. The Festival takes place on-line at 


Global Nonviolent Film Festival 

TRIBECA Film Institute: Bruno Pischiutta

Bruno Pischiutta in ‘Ultimo incontro a Venezia’ (Last Encounter in Venice) 1980

Reframe Spotlight: The Films of Bruno Pischiutta

Following a brief acting career in the ‘70s, which included an uncredited role in Billy Wilder’s Avanti!, and a supporting role in Francesco Rosi’s Many Wars Ago that garnered him the Critics Award for Best Supporting Actor at the Venice Film Festival in 1972, Bruno Pischiutta found his true calling as a filmmaker in his native Italy and has since become an internationally acclaimed writer, director and producer who’s known for his political and social conscious films.

Over at the Reframe Collection we have two of Maestro Pischiutta’s most praised films, The Comoedia and Last Encounter In Venice.

In Last Encounter in Venice (1980), Pischiutta plays a heavy drinking writer who travels to Venice to spend his final days; while The Comoedia (1982) put him on the map as a director as Pischiutta gives a modern retelling of Dante’s Divine Comedy. 

Also available on Reframe is a 24-minute documentary on the career of Pischiutta, Bruno Pischiutta Film Director.

To read more about Bruno Pischiutta, please click: TRIBECA

The Vision and Creation of the Global Nonviolent Film Festival

A Chapter from the Autobiographical Blog “The Last”

by Bruno Pischiutta

It happened long time ago, in 2010, on an early summer evening, at about 7:00 PM. 

Daria Trifu and I were having dinner in Brasov, Romania, at a restaurant located atop the Tampa Hill, the forested mountain at the center of Brasov, that offered us a great view of the beautiful medieval city. I was in town from a short time and I asked Daria if a good documentary about the city had ever been made. I also asked her if Brasov ever had an international film festival. The answer to both my questions was no. That is the moment when I decided to produce the documentary and to create the film festival.

That was then, and this is now.

A short time ago, I was watching the video of the Awards Presentation for the 2019 edition of the Festival and something happened: I realized how impressive and important it has become.

When we opened the Festival in 2012 it was like the realization of a crazy idea because there were +10,000 festivals in the world, and we were going to open another one in a little city in Romania.

On the 25 of February, 2011 I organized a dinner with some friends and colleagues in Brasov. I had the idea and wanted to present it to them. At the end of the dinner and after a few drinks, I told everyone about my intention to open the Brasov International Film Festival & Market that, in 2018, was renamed the Global Nonviolent Film Festival.

That night is when we decided to create a little Festival in a small Romanian city to exhibit NON-VIOLENT films. I took a napkin from the table, we put in writing our decision, and we all signed the bottom line. That napkin is now framed and on my wall.

After four successful yearly editions held in Brasov, in 2016 we took the Festival on-line where it now takes place exclusively. Another change came in 2018 when we renamed it the Global Nonviolent Film Festival. This is a Canadian festival that started in Romania and that is now taking place on-line for all the world viewers.

From being the last, after years of work and dedication, I am proud to say that the Festival is today one of the best globally and, surely the most important and renown nonviolent film festival in the world.

Since it takes place on-line, we are able to bring the best nonviolent films from all over the globe to the worldwide viewers to enjoy comfort the comfort of their surroundings.

From eight years, I get to watch hundreds of films that are submitted and, in this way, I get to be up to date with the reality of the world film industry and its new trends, and to discover the emerging filmmakers. I am very privileged: I get to be in close contact with hundreds of filmmakers and my work for the Festival is year-long. All of this gives me knowledge and the great feeling of being part of the history of film and, maybe, of being the maker of a small part of it.

Here are some facts and data about the Global Nonviolent Film Festival, and some reviews from filmmakers and participants:

For timely and more complete info about the Festival, visit:

Here are some pictures from the several editions of the Festival:

Christmas Holidays 2019

I guess that everybody has plans for the Holidays. Some people like to dedicate time to some special or unfinished parts of their work, while still keeping-up with all the commitments that family and holidays require.

The best spectator, my dog Amico.

In these days, I try to be out in the morning and late evening only: in the morning I play tennis, and in the evening I go for a drink and to listen to some live music. 

I work during the most part of the day because I am putting together the last touches to three different productions. 

The first one will start in early January and it is almost fully prepared: it just still requires some technical elements and the booking of few locations. This is a feature documentary about the films I made since 1972 until now. 

Everybody could judge a film from what they see and hear, but there are sometimes certain circumstances, motivations and facts regarding a film that can help us to fully understand its content. This is what this documentary will be about: it will show certain parts of several films I made, and it will try to explain the ‘why’, the ‘how’ and some relevant facts related to those films.

On a sunny day with my dog Bianca.

The second and the third productions are related between each other: they are a feature film, and a feature documentary about the making of it. 

The shootings of these productions will take place after the first one.

I am preparing this major feature film and its related documentary from long time; in particular, the feature is an important one, because it will be qualified for nomination consideration at the Academy Awards. 

The pre-production of the feature film is very complicated. Everything is ready to go, but I am still working on two aspects: the financing, and the completion of the cast. This is a moment of decisions because some of the choices that I will make will definitely bring a positive change in the life of some of the people who will be chosen to work on the film.

To complete the financing, I still need few account executives and one Associate Producer. These people will be working with me not only in this project, but also in my upcoming productions of the next three years.

About the casting: the feature film has over 35 characters and several special appearances. I believe that I have chosen the proper actors to fill the existing roles. I am, however, still missing one actress 15/17 years old, who’s native language should be English, and who should have the determination and the necessary qualities to become a film Star.

I know that I will not find the Associate Producer and the missing actress under the Christmas tree, and consequently, I have to locate them in these days, while still enjoying the Holidays.

Happy Holidays to all the visitors of this site,



Some autobiographical notes…


In my previous blog, entitled A New Thing, I stated that in each of my films there are some autobiographical elements present, some “pieces of my life”. This is the extent of the direct influence that my personal experience has on my artistic work, but I never, until now, wrote autobiographical notes, this is a new thing for me and this is why I probably decided to write a blog entitled THE LAST that will contain a lot of autobiographical elements.

People often write about situations or fields where they are better than everybody else, where they are first. This is normal and fair, of course, but sometimes it could be very helpful in understanding the reality of eventual merit if we bring our memory back to many situations where we were worst than everybody else, to situations where we were the last ones.

David Maria Turoldo

The Last One (Gli Ultimi) is the title of a very beautiful Italian film made in 1962. This film’s screenplay was written by Padre David Maria Turoldo who also directed the film and who was my friend and one of my early mentors. The film depicts the situation, between 1930 and 1950, of the very poor rural community of Friuli, the part of Italy where Turoldo and I were born. 

There is a lot in this amazing film and we should remember that when it was screened in Udine in 1962 many viewers felt very offended; it happened because they didn’t want to be identified with the “last ones” described in the film. Of course they misunderstood the film; the reality of Friuli in 1962 was incredibly better than in the 1930s, and the film was clearly giving merit to the people of Friuli for the progress they achieved. 

When I watched the film I didn’t feel offended; to the contrary, I was proud of the progress that Friulians made in those years.

I believe that, if and when evaluating the facts of our life, we should not be afraid to recognize that in many situations we were the last ones, we should instead be very grateful and proud if from the last place we progressed to better situations.

In this blog, I will make a list of the several situations where I was the last and how I reacted to every one of them. Here is the First Chapter:


The Last of Three Children

I was born last of three children. I can say, about the relationship with my family, that I’m proud of few things: of my daughter, of having been close, on a daily basis (by phone only because I was in another country), to my sister Ugolina in her last few months of life, and of what I did for my father and my mother when my father came back from Brazil after never seen or heard from him in 33 years.

These were my parents and this was their love story.

My mother Lina and father Ugo reunited after 33 years and his return from Brazil.

When I was six months old, my father separated from my mother and left Italy for Brazil.

It was 1947 and the war had just ended, fascism had fallen and, for my father, all this was not easy.

It happened in 1946. My mother already had my sister Ugolina and my brother Roberto; with a son and a daughter, in those very troubled times, she was not looking to have other kids.

One day, my mother was walking in the city and had her palm “read” by a Gipsy lady. The Gipsy lady told her that she would have had one more kid. My mother was very surprised and, maybe, not really happy but the lady told her not to complain because she will have a son and that son would have been her fortune.

Pio Pischiutta

My father, the doctor Ugo Pischiutta, was the brother of Pio Pischiutta. Pio had been the first fascist martyr in Italy who died in 1921 at seventeen years of age. It is still not clear if he was killed by the antifascists or if he died in combat killed by friendly fire. One street in Udine, the city of the Pischiutta family and where I was born, was dedicated to Pio Pischiutta. 

My father was younger than Pio and logically he venerated his brother and was active in the fascist party. With the fall of fascism my father lost the very good job he had and his social position.

This is when my father left for Brazil. I was six months old; the family he left behind was composed of my mother, my mother’s parents, my grandmother’s sister, my brother, my sister and me. My mother was alone with three old people and three children to support, on a small teacher’s salary.

I saw my father again when I was four: he returned from Brazil with a beautiful young woman, an elegant car and lots of money.

He asked to meet his three children (my brother Roberto was eight and my sister Ugolina was ten).

We met at my aunt’s house, my father’s sister.

What I remember about the meeting was that my father was a beautiful man and he was dressed very elegantly.

These were his words during the meeting: “I called you to ask if you prefer to live a brilliant life with your father or a miserable life with your mother.”

It was 1951 and we were really poor: I wore clothes and shoes previously used by my brother, and food was rationed and we had to do everything on a tight budget. Nevertheless, we loved our mother and our response was that we preferred to live with her the life that was possible for us.

For many years that followed, we never heard or received any letters from my father. Many stories were told to me by different people, some probably true others probably false. My life continued, and my career in cinema and theatre developed.

In 1980 I was in Friuli, in Northern Italy, and I was shooting the movie The Comoedia, the most important film of my career up to that moment.

Anyone who knows about making movies, knows that making an international film – shot in North Italy and in New York – as a director and producer is not easy. Every minute of the day I was surrounded by actors and technical people. I didn’t have a minute for myself during the shoot.

At noon, one day, I was in my office with several other people: the secretary told me that there was a phone call for me, something very personal. I took the call but I was bothered because I was in the midst of many other things. A woman’s voice from the other end of the line told me: “I am a social worker and I have an old man here, a gentleman, a man who had a lot in his life but now he has nothing. When he arrived, he was wearing a very elegant blue coat… of many years ago.

This man is your father, he is here with us, in Friuli, and he wants to get together with his wife. It has no other interests; if his wife doesn’t want to reunite with him, he’s determined to kill himself. What should I do?”

This is the phone call I received during filming.

I replied that my mother was quiet now and that my father never wrote a letter in the last 33 years. I also told her that I heard many stories about my father and that I don’t know him. Before organizing a meeting with my mother I had to be sure who my father really was. I told her to give me a few days and I promised that I would call her with my decision.

I do not deny that the call had shocked me. First, I asked all the people who were in the office to go out for a while. Then, I called my brother and my sister. I informed them of the call. My brother said that he had no interest in meeting my father, my sister told me to keep her informed and that, if funds were needed to help our father she, like me, was willing to pay.

Considering all the things I had heard about my father, some not so beautiful and reassuring, before deciding to have him meet my mother I thought I needed to know more about him. So, I did what I had never done: I contacted the only detective agency in town and asked for a report on everything my father had done in the last 33 years. the Agency asked me three days to produce a report. Three days later, they told me that they know very little: they found out that when he was a military man in Italy he spent a night in prison because he returned late back at the barracks. They also informed me of the business he had in Brazil: he had owned a big restaurant where all the Italians were eating for free and a very large extension of land that would have required huge capital to develop anything on it. Aside from that, the detectives told me that it was against Italian law to investigate someone’s criminal past in another country.

My wife Olga with my daughter and my mother Lina.

So, to make it short, I called the social worker back and told her I was ready to meet my father in a coffee shop in the city. The appointment was fixed; I went to the appointment with my wife Olga.

It was two in the afternoon, the coffee place was very large and there were about 100 patrons inside. I arrived 15 minutes ahead of time. I sat at a table in front of the entrance door.

When I last met my father I was four years old; now, I was 33 and I didn’t know if I was going to recognize him. I looked with interest at every old man who came in. After a few minutes, my father arrived wearing his blue coat. Nice coat but definitely old. He was carrying a walking stick and it was evident that he had glaucoma. I approached him and asked if he was Ugo? He replied ‘Yes, I am your father, where is Lina?’.

My mother, Dr. Prof. Lina Maria Gardi.

Lina was the name of my mother. Before bringing him to her, I wanted to talk to him and be sure that he wouldn’t represent problems for my mother. So we sat down for a coffee and I introduced him to my wife. We talked for a while without telling each other any important things. I saw that he was a true gentleman and I was impressed by his sense of humour. I decided to let him meet my mother and brought my car to the coffee shop’s door. My mother was at home, about 20 km away. At some point on our journey, my father asked me to stop the car; we were in front of a barber’s shop. My father told me that when a gentleman goes to meet a lady, he first shaves. So my wife and I waited outside the barber’s shop and then we took him to meet my mother. They met for the first time in 29 years. We left them alone to talk to each other. I was pleased to see that my mother was happy and that, for my father, everything was very normal and clear.

Meanwhile, my production manager and some actors came by my house because, as I said before, all this happened while I was in the middle of production with my film The Comoedia. I told everyone the story and they were all happy. We opened a bottle of sparkling wine and raised a toast to the “newlyweds”.

Here are my parents, together again at home in Italy:

And this is how my father and mother came back together and kept each other company for the last few years until his death.

My father suffered from emphysema and, close to the end of his life, I took him to the hospital. He used to drink a bottle of wine every day with my mother while playing cards. Like me, he smoked a lot and, as a young man, he also was a swimmer. I remember the day after a severe emphysema crisis I went to see him at the hospital. When I arrived he told me to close the door and, from under the mattress, he took out a pack of cigarettes and lit one, in the hospital! That was my father; my production manager, Giorgio Murru, who had become his friend during the film, called him the Mega President.

For three years, we were together and I often visited my father and mother. In the meantime, my mother had prepared all the necessary documents for my father’s pension and had completely solved her financial situation. So they lived quietly and kept each other company.

The DVD cover of my film The Comoedia available on Amazon.

My life and my career went on: my film The Comoedia had been a great success and came in third at the New York Film Festival among 3,800 other films. The time had come for me to emigrate to America.

I remember my father’s reaction very well when I told him I would leave: “I can’t tell you to stay. When I, years ago, decided to leave, I left. If now is your time, I can only give you my best wishes”.

This is when I left and went to Canada. I kept in touch with my parents; we were on the phone once a week. Three years later, my father died a victim to his last emphysema crisis. My mother, Dr. Prof. Lina Maria Gardi, died much later in 2002. After my father’s death I stayed in touch with my mother until the very end. My father had been dead for two years when my mother called me very angrily one day because she found a big bouquet of red roses on my father’s grave. She was jealous. These were my parents and this was their love story.

1. My film The Comoedia on Amazon: HERE
2. My film Untimo Incontro A Venezia on Amazon: HERE
3. Documentary Bruno Pischiutta, Film Director on Amazon: HERE
4. More info about my past and upcoming films: HERE

The Vision and Creation of the Magazine “DARIA!”

A Chapter from the Autobiographical Blog “The Last”

by Bruno Pischiutta

It happened 15 years ago, in 2004, on an early summer evening, at about 7:00 PM. 

Daria Trifu and I were walking on Bloor Street, in Toronto, and we were going to see the new beautiful windows of Holt Renfrew, one of the best fashion stores in the city.

Daria and I like to walk in New York, in Cannes, in London and wherever we are, because we believe that you see more when you walk than when you just drive the car. It is however a fact that, if you want to see, you have to look. In a city, if you look up, you’ll always make new discoveries. 

That’s exactly what happened that evening when we were walking in the center of Toronto, looking up to the skyscrapers and the tall buildings on Bloor Street and to the lights in their windows. One building was special, on the South-West corner of Yonge & Bloor, and you could see that the entire second floor was an open space surrounded by arched windows (what used to be the second floor of the Stollery’s men wear store at Yonge and Bloor). Daria immediately fantasized that the space would be perfect for a publishing house, a design studio or a fashion workshop. It was, in fact, the store housing the atelier of the Stollery’s Men Store.

Daria said: “It looks like special, maybe they are making a magazine there.”

I replied: “A magazine?”

Daria: “Yes, a magazine. (Pause) I always wanted to publish a magazine, since forever…”

I: “I didn’t know that. Thinking about it, a magazine would be good for our organization and our business if we owned it; if you like it and if you will take care of it, we can do it and we will.”

This is how, in few minutes, we decided to create and publish a magazine. 

We arrived at Holt Renfrew and took a long look at the beautiful displays in their windows. After that, we went for a bite and few drinks to toast to our decision.

Here are examples (different years) of window displays at Holt Renfrew:

We spoke a lot about the magazine that evening and in the following two days; even if we were busy with other work, something very important, we continued to think and speak about the magazine. We were approaching the moment of leaving for Africa to shoot “Punctured Hope: A Story about Trokosi and the Young Girls’ Slavery in Today’s West Africa”, the film I directed and Daria produced and that we later qualified for nomination consideration at the Academy Awards® and was proposed for nomination by The Hollywood Political Film Society in two categories, ‘Best Film on Human Rights’ and ‘Best Film Expose’ of 2009. 

After those few days of thinking about the magazine this is what we decided:

  • The look of the magazine will be a mixture between the looks of Vanity Fair and of National Geographic. The magazine’s content will be illustrated by many extremely beautiful and original pictures;

Here are some pages from Daria! magazine selected from the several issues published from 2005 to 2018:

  • Considering that the film we were going to shoot was in Ghana, the next magazine will contain a lot about Africa. During the filming I took some pics, especially behind the scenes’ shots. Daria, who is very good in taking pictures, took about 3,000 of them in Africa. The best were published in the first issue of the magazine;

Here are some pages from the ‘Special on Africa’ articles published in the 2005 and 2007 issues of Daria! magazine:

  • Daria will have the total power of decision in choosing the content for the magazine;
  • I will be in charge of creating most of the covers and I’ll have the possibility to suggest subjects for its articles;
  • The cover will be completely black for two principal reasons: marketing wise, to differentiate our magazine from all other magazines and so that, if anybody wants to know what the cover is about, they will have to turn the page;
  • The magazine will not be addressed to the general reader, but to the English speaking media executives worldwide;
  • Whenever possible, the magazine will be printed yearly in thousands of copies that will be distributed at the most relevant film festivals (Cannes, AFM, Montreal, Monaco, etc.) and it will be available on line;
  • The subjects of the articles will always be original in art, business and entertainment. Regarding subjects in film, the magazine will be oriented to the discovery and presentation of new talents;

Here are some pages from Daria! magazine (art, business and talent) selected from the several issues published from 2005 to 2018:

  • The title of the magazine will be “DARIA!” and Daria Trifu will be the Editor in Chief.

These were the starting points; some of them changed in time, but most of them are still guiding our today’s publishing choices. 

This is how we commenced our publishing adventure: we contracted journalists from Canada, USA, UK and Mexico and we decided to publish the first issue as soon as we were back from Africa, after the shooting of “Punctured Hope”. 

One of the more challenging new facts, was to be able to match the deadlines of our film productions with the magazine’s. This was especially difficult for Daria who was taking care of the whole organization necessary to arrive to the moment of publishing. I had much less to do and everything I was doing for the magazine was for me more a pleasure than a job. 

This is how I created the first cover of DARIA! 15 years ago.

I was feeling the necessity to give an image to the title: clearly the proper image was the one of Daria Trifu because she was the magazine’s founder and editor in chief, but I didn’t want to just publish a photo of her. Considering that Daria looked (and still does) much younger of her age and that she has a very well proportioned petit body, I though that I could photograph her close to the statue of Edgar Degas “Little Dancer of Fourteen Years.” I always loved Degas’ statue which I saw at the Ottawa Art gallery during a beautiful and comprehensive exhibition of Degas’ artistic works. Even if the original model of the statue had an appearance that was a little sick like the inspirations for “Les Fleurs du mal” of Charles Baudelaire and Daria is definitely more proportionate and has a healthier look, I put Daria’s image together with the Little Dancer. I had a reproduction of the statuette, about 25 centimeters tall, that was executed at the Museum of Fine Arts in Boston and, with a simple photographic effect, I made Daria and the statuette look the same height and appear in basically the same pose. I liked the first cover very much; it was a sensational success and still today I believe it is one of the best covers of the magazine. Judge by yourself, here it is: 

The Premiere Issue of the magazine was presented to the media and film personalities during a party we held at the Fairmont Hotel in Santa Monica, California while the American Film Market took place in 2005. For that occasion, thousands of printed copies were distributed at the AFM and inside the principal hotels in Santa Monica.

Here is Daria!’s Premiere Issue (2005)

That was the first cover, it was created in Canada in 2005 and, the following is the last one I realized for the magazine 13 years later, in 2018, in Greece.

Actress Christie Norton and Director Bruno Pischiutta on a brake during shootings.

This one features my dear friend actress Christie Norton and it is, at the same time, the cover of the magazine and the poster of the 2018 edition of Global Nonviolent Film Festival, the most important and renown non violent Film Festival in the world. When I took this picture on a Greek beach, it was a very cold day in January and Christie was very courageous to pose covered in a veil only…

In all these years, the magazine was always present in my mind. As I write this blog, Daria is already starting to prepare the 2019 edition. 

Here is Daria!’s 2018 Issue.

We can say that, in time, the magazine has become known and followed by the world media executives. DARIA!’s team has interviewed and collaborated with some very famous people such as Bill and Melinda Gates, Vivica A. Fox, Bill Dryton (founding father of Social Entrepreneurship), and more, as well as some young talents not yet known to the public such as actors Taylor Williams, Christie Norton, Lesha Bey, Joe Legend, etc. The magazine has been presented and distributed in cities such as New York, Los Angeles, Toronto, Montreal, Las Vegas, London, Cannes, Monte Carlo, Milan, Bucharest and many, many others.

Here are some photos from the several world events where Daria! magazine was distributed throughout the years:

Publishing DARIA! gives us a lot of satisfaction. One of the moments of “satisfaction” came in 2006 when a very famous magazine was inspired by our DARIA!. Daria Trifu, in the Editor’s Page of the 2018 issue, tells the story and lists the facts; here is part of what she wrote:

“In 2006, I envisioned an issue dedicated to Africa and to social entrepreneurship in general. It was because I produced a film in Ghana, and while there, I discovered Africa. I wanted Daria! to become the first publication that looks at some aspects of the world that were never addressed in main stream media. 

I envisioned the top personalities in the world being interviewed by our magazine and, in conclusion, Warren Buffet, Melinda and Bill Gates being featured on Daria!’s cover.

I worked with the Bill & Melinda Gates Foundation for the article on fighting malaria and their initiatives in Africa, and they provided the picture for the cover of the magazine. In the process of making the 2007 issue, I communicated with Oprah’s office, Bono’s management (and twenty plus others) and outlined the vision while requesting their participation.

Here is Daria!’s 2007 Issue.

In May, the special issue of Daria on Africa and Social Entrepreneurship was printed but it was not ready for its mass distribution, so it was kept in the printing house in Florida. One day, a month or so later, I came out of my house, and on the newsstands, there was the July 2007 issue of Vanity Fair. Different covers shot by Annie Leibovitz, one of which was similar to Daria!’s.”

In conclusion:

I’ll continue to work on the magazine until I’m be able to, because I like it, I think that it is worth and because it’s one of the ways I communicate with the world. I really hope that Daria Trifu will go ahead and will publish many more editions after I’ll be long gone.

Bruno Pischiutta