Cenere

There is a tragic Italian story that is turning thirty these days, but which originates in an indefinite time.
In an incredible sequence of anomalies, judicial follies, unexpiated sins, omissions, and unprecedented “unspoken words”. It is the story of a roar, or rather two. Of a pyre of bodies and hopes, of criminal promises and institutional betrayals. It is the story of the Capaci and Via D’Amelio massacres and of a criminal plan that matures behind the most granite wall of protection, that of organized confusion: because in Italy there is no safer refuge than the kingdom of disorder. It is the story of the greatest diversion of this country. Of infidels of the State, creators and promoters of a reality that has swallowed up every form of justice, of truth, even of verisimilitude.
It is the story of what remains. Ashes.

After The Stolen Words and The Traitors, a new investigative work by Gery Palazzotto closes the circle on the mysteries of the 1992 massacres in which Giovanni Falcone, Francesca Morvillo, Paolo Borsellino and the escort agents Vito Schifani, Rocco Dicillo, Antonio Montinaro, Agostino Catalano, Emanuela Loi, Vincenzo Li Muli, Walter Eddie Cosina and Claudio Traina died.

With music by Marco Betta, Fabio Lannino and Diego Spitaleri, narration by Gigi Borruso, choreography by Alessandro Cascioli and Yuriko Nishihara, artwork by Francesco De Grandi, “Cenere” is a global work that uses new languages ​​to address old collective wounds. A sort of magnifying glass that analyses the fundamental steps that led to that indecent criminal masterpiece that is – by the judges’ definition – the most sensational cover-up in the Italian Republic.