cinematography
Vittorio Omodei Zorini
editing
Irene Vecchio

sound
Emanuele Cicconi
production design
Ilaria Sadun
costumes
Francesca Brunori

cast
Miriam Leone (Maddalena)
Stefano Accorsi (Luca)
Tecla Insolia (Nunzia)
Donatella Finocchiaro (Adele)
Barbara Chichiarelli (Carolina)
Lidia Vitale (Ginecologa)
Betti Pedrazzi (Mirella)

production
Memo Films
Indiana Production
with Rai Cinema
producers
Francesco Melzi D’Eril
Gabriele Moratti
Benedetto Habib
Marco Cohen
Fabrizio Donvito
Daniel Campos Pavoncelli
with the support of
MiC – Direzione Generale Cinema e Audiovisivo

world sales
Rai Cinema International Distribution
www.raicinemainternationaldistribution.com
fulvio.firrito@raicinema.it

Italian Distribution
01 Distribution
www.01distribution.it

Italian press office
Federica De Sanctis
fededesanctis69@gmail.com

Amata is about two lives that graze one another without meeting, connected by invisible threads and choices that can change a person’s fate. With its intimate, sensual and deeply human gaze, Amata singles out the bodies and souls of its two lead actresses in order to explore what it means to choose. And love. Nunzia is an out-of-town student with a crushing secret: an unwanted pregnancy. Isolated, she weighs a grueling decision: keep the baby or give it up. In another place, Luca and Maddalena endure the emptiness of a new life that doesn’t arrive. After a long, fruitless trial, a chance presents itself: delicate, luminous, full of anticipation. Amata is the story of two women who intersect, fragile fighters yet strong at the same time, who imagine love, freedom and motherhood in its many forms. And a third woman, Margherita – the child. Torn between different worlds, and silent carrier of a bond that unites them, though no one knows.

2025 Amata
2020 Maledetta primavera
2019 Bellissime (doc)
2019 Chiara Ferragni: Unposted (doc)
2016 Strane straniere (doc)
2013 Fuoristrada (doc)

“The film is based on something that happened in Milan: a newborn was left at a baby drop-off box, with a touching letter from his mother. The story went viral and sparked a lively debate about motherhood, women’s freedom, and the right to silence. The settings of the film – working-class Rome for Nunzia, and the antiseptic clinic for Maddalena – reflect their inner turmoil. Their solitude is different, but it’s the thing they share. They’re two faces of the same coin: women who are able, but don’t want to, and those who have the will, but not the way. The film is also prompted by a personal need to deal with important issues that are often not spoken about, like the pain of a miscarriage, post-partum depression, and the disconnect between wanting to become a mother and a woman’s own identity. Amata breaks this silence and opens the door to emotional understanding, so women like Maddalena will feel less alone and women like Nunzia will finally be free to choose.  The ending, half-real, half-dream, is a poetic image of transition and rebirth, with a child who changes two women’s lives, united by an invisible bond. And a sea that protects, welcomes, and frees them.” (Elisa Amoruso)

After receiving a degree in literature, Elisa Amoruso graduated in screenwriting at the Centro Sperimentale di Cinematografia. In 2009, she worked on the script of Good Morning Aman by Claudio Noce (International Critics’ Week). She next scripted Una passione sinistra (2013) by Marco Ponti, La foresta di ghiaccio (Rome Film Fest, 2014) by Noce, and Cloro (Sundance, 2015) by Lamberto Sanfelice. She debuted as a director with the documentary Fuoristrada (Special Mention at the 2013 Rome Film Fest). She has since directed: Strane Straniere (2016, Afrodite Award), Chiara Ferragni: Unposted (Venice Film Festival, 2019), Bellissime (IDFA, 2019), and Maledetta primavera (Rome Film Fest, 2020), this last her narrative feature debut. She has also written the Netflix series Fedeltà and directed Time Is Up 1 and 2. In 2023, she directed three episodes of The Good Mothers (2023 Golden Bear for Best Series). This year, before Amata, Amoruso directed three episodes of the series Dept Q, an Emmy nominee. She also teaches screenwriting at the Sapienza University and directing at RUFA, and holds seminars at the CSC.