Who Framed Rome?: Periferie urbane ed esistenziali nella Roma nel cinema italiano contemporaneo.

Films are powerful mixture of socio-cultural, economic and geographical conditions that represent the nuances of the relationship of the core and the periphery, and the governors and the governed. Titles like La nostra vita (Daniele Luchetti, 2010), Senza nessuna pietà (Michele Alhaique, 2014) Suburra (Stefano Sollima, 2015) Lo chiamavano Jeeg Robot (Gabriele Mainetti, 2016) and Il Più Grande Sogno di Michele Vannucci (2016) capture a different and contemporary Rome, going behind the frames and questioning the non-obvious, the non-nostalgic and reinventing the approach to filming urban space. This paper try to focus on how cinema can act as a tool to help understand the macro and micro contours of changes in urban space and its habitants (and their identity trajectories) in terms of the modes used and conditions of life, and answer a question that is not static but dynamic: the evolution of personal, communal and identity preferences. Such a framework could be used to formulate better transportation policy objectives and actual implementation of policies to achieve those objectives.