The Cinema of Paolo Sorrentino in the photographs of Gianni Fiorito Gianni Fiorito was born in Naples in 1959.

Since 1980 he has been working as a photojournalist with particular attention to the complex Neapolitan reality, documenting, among other things, the camorristic phenomenon and widespread illegality, the social and urban reality of the suburbs, the decommissioning of the contemporary city and the transformation of the urban landscape. In the '80s he collaborates with the theatrical group "Falso Movimento" directed by Mario Martone; he founds and participates to the association of artists "Idra Duarte". Since 1990 he is enrolled in the Order of Journalists, beginning a continuous collaboration with La Repubblica and later with Il Corriere della Sera, he produces reportages from Italy and abroad for major national newspapers. From 1997 he collaborates to investigations and studies of the University of Naples "Federico II"; he teaches, at the Academy of Fine Arts of Naples, "Shooting techniques of the show photography".

From 1999 recovering the ancient passion he devotes himself more and more to the activity of cinematographic photographer of scene. We point out in this field the collaborations with Paolo Sorrentino ("L'uomo in più", "Il Divo", "This must be the place", "La grande bellezza", "Youth", "The Young Pope", "Loro", "The New Pope", "E' stata la mano di Dio"); Luca Miniero ("Benvenuti al Sud", "Benvenuti al Nord", "Un boss in salotto", "Non c'è più religione", "Cops" ); John Turturro (Passione); Tonino De Bernardi ("Appassionate"); Vittorio De Seta "Lettere dal Sahara"; Ivan Cotroneo ("La kriptonite nella borsa", "Un bacio"); Alessandro Siani ("Il principe abusivo", Mr. Happiness); Francesca Comencini-Claudio Cupellini (Gomorra-La serie); Daniele Luchetti (Lacci); Leonardo Di Costanzo ("L'Intrusa", "Dall'interno"); Terrence Malick ("The Last Planet").

This selection of photographs, curated by Maria Savarese, covers a large part of Paolo Sorrentino's filmography, restoring, through Fiorito's personal vision, the intensity of the atmospheres of his cinematographic works, of his extraordinary characters, of his visions, together with the narration of the backstage.