The documentary film ȊUVENTA relates the events of a crucial year in the lives of a group of young Europeans all involved in different ways in the Jugend Rettet humanitarian project, starting from the first voyage of the ȊUVENTA ship in the Mediterranean Sea to the heavy accusations that led to the seizure of the vessel more than a year later. The backbone of the narration is the ship’s first trip out to sea: setting sail from Malta, she comes back to La Valletta after 15 days offshore, having saved the lives of over 2,000 people. After the first mission the film takes us to Berlin and in Italy in the months following the first voyage, through the winter time when the future of the Jugend Rettet is discussed. The film, precisely because of the particularly young age of its protagonists, becomes the tale of a sort of training period: finding themselves at the forefront of this horror and death, and conscious of the vastness and complexities of the correlated socio-political problems, these youngsters start having doubts about the sense of the whole project which, it appears, determines in some way the loss of their innocence.
The documentary film ȊUVENTA relates the events of a crucial year in the lives of a group of young Europeans all involved in different ways in the Jugend Rettet humanitarian project, starting from the first voyage of the ȊUVENTA ship in the Mediterranean Sea to the heavy accusations that led to the seizure of the vessel more than a year later. The backbone of the narration is the ship’s first trip out to sea: setting sail from Malta, she comes back to La Valletta after 15 days offshore, having saved the lives of over 2,000 people. After the first mission the film takes us to Berlin and in Italy in the months following the first voyage, through the winter time when the future of the Jugend Rettet is discussed. The film, precisely because of the particularly young age of its protagonists, becomes the tale of a sort of training period: finding themselves at the forefront of this horror and death, and conscious of the vastness and complexities of the correlated socio-political problems, these youngsters start having doubts about the sense of the whole project which, it appears, determines in some way the loss of their innocence.
Datum | Projekttitel | Kategorie |
Datum | Projekttitel | Kategorie |
Datum | Projekttitel | Kategorie |
Datum | Projekttitel | Kategorie |
A film by Michele Cinque
Editing
Piero Lassandro
Cinematography
Michele Cinque
Martina Cocco
Music
Hackedepicciotto
Sound Design and Mix
Giuseppe D’Amato
Giancarlo Rutigliano
Executive Producers
Christof Brüning
Michele Cinque
Ognjen Dizdarevic
René Frotscher
Production Designer
Valerio Ciampicacigli
Producers
Thomas Jeschner
Volker Zobelt
Luca Pancaldi
Writing Consultant
Marco Saura
Production Consultant Italy
Fabio Parente
Photography
César Dezfuli
Sound Recordings
Fabio Fortunati
Alessandro Leonardi
Giandomenico Petillo
Malte Audick
Jakob Mäsel
Sound Postproduction
Timeline Studio
Sound Editing
Antonio Giannantonio
Foley Artist
Marco Ciorba
Gopro Footage
Flo Stadler
Additional Footage
Giulia Bertolazzi
Tommaso Gandini
Matteo Keffer
Lukas Steinbach
Roberto Salinas
Assistant Editors
Martina Ghezzi
Giacomo Villa
Leo Franke
Translations and Editing Coordination
Charlotte Marie Kretschmer
Title Design
Adriano Mestichella
Visual Postproduction
Cine Plus
Color Grading
Martin Szafranek
The documentary film ȊUVENTA relates the events of a crucial year in the lives of a group of young Europeans all involved in different ways in the Jugend Rettet humanitarian project, starting from the first voyage of the ȊUVENTA ship in the Mediterranean Sea to the heavy accusations that led to the seizure of the vessel more than a year later. The backbone of the narration is the ship’s first trip out to sea: setting sail from Malta, she comes back to La Valletta after 15 days offshore, having saved the lives of over 2,000 people. After the first mission the film takes us to Berlin and in Italy in the months following the first voyage, through the winter time when the future of the Jugend Rettet is discussed. The film, precisely because of the particularly young age of its protagonists, becomes the tale of a sort of training period: finding themselves at the forefront of this horror and death, and conscious of the vastness and complexities of the correlated socio-political problems, these youngsters start having doubts about the sense of the whole project which, it appears, determines in some way the loss of their innocence.