Abstract
This article is the first academic study on the Italian filmmaker Maura Delpero and analyses her fiction film Hogar (Maternal) (2019) and documentaries Signori Professori (‘Professors’) (2008) and Nadea e Sveta (‘Nadea and Sveta’) (2012). The three films are discussed individually and also through a comparative analysis that investigates the modes of filmic representation of the female search for a place in the world, thematic and stylistic recurring elements and dynamics between fiction and non-fiction filmmaking in Delpero’s works. Discussion of Delpero’s films is augmented with the director’s own reflections on her work as expressed in an interview the article author conducted in May 2020.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
