Libera Nos

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    Libera Nos


    Directed by



    97 min

    • Italian


    A film on the come back of exorcism in the contemporary world. Our world. Each year a growing number of people call their sense of unease “possession.” In Italy, Europe, worldwide. The Church answers to this spiritual emergency nominating an increasing number of exorcist priests and organizing training courses. Father Cataldo is one of the most sought-after exorcists in Sicily and elsewhere; he is famous for his tireless fighting spirit. Every Tuesday Gloria, Enrico, Anna, and Giulia, along with many others, attend Father Cataldo’s mass for deliverance, trying to find a cure for a sense of discomfort that has no answer nor a name. Whether believers or not, how far are we prepared to go to get recognition for our own disease? What are we prepared to do to be delivered from it, here and now? This is the story of a meeting between the act of exorcism and everyday life, where the contrasts between the ancient and modern, the religious and profane, are at times disturbing and at others exhilarating. A film not about religion, but about how religion can be experienced.


    • Best Film (Orizzonti) - Venice IFF



    Greta De Lazzaris
    Carlo Sisalli
    Aline Hervé
    Edoardo Morabito

    Director's Statement

    The film is the result of a lengthy research. A strange, postmodern puzzle had begun to form in my mind, one in which the exorcist is a new healer, often considered the last resort after a Via Crucis of magicians, psychiatrists, and alternative medicine, metaphor for a society in which it is important to find a rapid and conclusive cure. Even at the cost of giving yourself over to someone who calls you “Satan.” I decided to tell this story from the viewpoint of someone who experiences it every day. Because exorcists are nominated by bishops and their life is completely transformed. The so-called “possessed” are just ordinary people drawn to the Church in a critical moment of their life. Their experience vastly differs from imagined horror and takes on a complexity in which there is a place even for irony.



    Intimate conversations bring context and feeling to an already touching situation.

    Stefan Dobroiu, Cineuropa

    Revelatory, absurd, thought-provoking and moving.

    Sarah Ward, Screen Daily

    The documentary wisely avoids questioning beliefs, but it does force audiences to question how those responsible for shepherding the faithful use their influence, for good or bad.

    Jay Weissberg, Variety

    Federica  Di Giacomo

    Federica Di Giacomo


    Federica Di Giacomo, from La Spezia, graduated in anthropology from the University of Florence, a city where she worked for some years in theater and dance. She trained in Dresden with the Russian group Derevo, and also founded a theatrical cooperative. She followed the European Master’s documentary program in Barcelona, where she collaborated as assistant screenwriter to Joaquim Jordá and José Louis Guerin. In 2006 she made her first full-length documentary film, IL LATO GROTTESCO DELLA VITA, which was awarded a prize by the Turin Film Festival, among others. In 2009 she directed HOUSING, which was selected by the Locarno, Turin, Hotdogs Toronto, and Rotterdam Film Festivals. She teaches documentary film direction at various schools. Together with Andrea Osvaldo Sanguigni, she won the Solinas Prize for the Best Documentary Film of 2014 with LIBERAMI’s screenplay.