Featured Works

In La valle dei sorrisi, directed by Paolo Strippoli, the visual effects play a central role in highlighting the narrative’s core: the enduring trauma of pain and the façade of happiness. As VFX Supervisor, I led the creation of sophisticated FX sequences that support the film’s shift from quiet idyll to psychological horror. The project was recognized with the AVFX Award 2025 for outstanding visual effects work.

A joyful world of feathers, friendship and fun, Jipo and Baby Puffins brings lightness to the screen on Amazon Prime Video and Apple TV.
As Author, Creative Producer and Director, I guided the series from concept to delivery, balancing humor, rhythm and heart in every frame.

In “Il segreto di Liberato”, a docufilm exploring the enigmatic figure of the masked singer, I served as Animation Producer and directed the 32-minute animated segment crafted entirely in a full-limited style reminiscent of Japanese anime. Working closely with illustrator LRNZ (Lorenzo Ceccotti), I managed the production of storyboards, character design, background art, key-frame animation and compositing, to integrate animation and documentary seamlessly. Critics praised the film’s bold visual language, noting how the animations elevate the narrative beyond a conventional documentary and into a mythic-graphic realm.

A relentless descent into the fog-choked streets of Rome, Piove follows a family unraveling under the weight of tragedy, only to find the real horror rising from the sewers. As VFX Supervisor, I oversaw the creation of immersive visual effects: thick vapours writhing through drains, the transformation of human bodies, and the rise of a mud-monster born from the city’s underbelly. The film’s acclaimed visual language helped it gain critical reception and stand out in the Italian horror scene.

Red Valley is a vibrant music documentary capturing one of Sardinia’s biggest summer festivals.
I directed and produced the animated segment, a gorgeous visual interlude blending music, rhythm and color to reflect the energy of the live performances and the island’s luminous spirit.

Arctic Friends is a spin-off animated series inspired by the hit feature Arctic Dogs, 190 episodes of pure slapstick fun.
Created, produced and directed by me, the show expands the film’s world into a fast-paced comedy universe where every snowflake hides a new misadventure.

Puffins is an animated series starring Johnny Depp as the voice of Johnny Puff, a quirky, eco-adventurous hero leading a flock of colorful puffins.
As Creative Producer and Director, I helped shape the show’s visual identity and storytelling rhythm, blending comedy, environmental themes and fast-paced animation across hundreds of episodes.

A high-stakes world of finance, power and moral conflict brought to life through fast-paced visuals and cinematic precision.
As Visual Effects Supervisor for Stargate Studios, I led the creation of hundreds of shots, from set reconstructions and data-driven interfaces to camera-car chases and crime sequences.
Our goal was to capture the pulse of the trading floor, a universe where ambition never sleeps and every frame vibrates with tension and control.

5 è il numero perfetto, directed by Igort and based on his acclaimed graphic novel, is a dark and stylish noir set in a rain-soaked Naples of the 1970s.
As Visual Effects Supervisor, I oversaw the digital creation of its world, from high-intensity shootouts and urban chases to atmospheres drenched in light, smoke and melancholy.
Every frame was built in digital, where action, art and emotion converge in pure visual storytelling.
The film was nominated for a David di Donatello Award for Best Visual Effects.

East End is a wild, irreverent animated feature set in Rome’s chaotic suburbs, co-written, co-directed and produced with Luca Scanferla.
A satire bursting with energy, it follows a group of kids who accidentally hack a military satellite to watch a football match — triggering a surreal chain of events that spirals into cosmic and political mayhem.
As director and producer of the animation, I shaped a world where graffiti, mythology and pop culture collide — a “Romanissimo” fever dream praised by critics for its bold tone and unique visual style.

Una questione privata immerses us in the fog-shrouded hills of WWII Italy, tracing a young partisan’s journey through love, betrayal and the resistance. As VFX Supervisor, I reconstructed key wartime sequences, whole stretches of mist-covered terrain, silent ambushes, tense pursuit through the underbrush, using detailed rotoscoping and careful atmosphere creation to match the unique tone of the novel-turned-film. The direction of Paolo and Vittorio Taviani lends the story both epic sweep and intimate vulnerability.

Michelangelo – Infinito, directed by Emanuele Imbucci, is a cinematic meditation on the genius of Buonarroti — where marble breathes and frescoes rediscover their light.
As Visual Effects Supervisor, I shaped the digital rebirth of the Sistine Chapel — created in close collaboration with the Vatican — along with the David and other masterpieces.
Each reconstruction became an act of storytelling, a meeting of art and technology, memory and emotion.

Ustica is a vivid cinematic re-imagining of the tragedy of June 27 1980. As Visual Effects Supervisor, I led the design and execution of the incident’s full aerial reconstruction — from the DC-9’s flight path to the dog-fights above and the military pursuit below — collaborating directly with veteran pilots of the Aeronautica Militare to ensure historical accuracy. The goal was to fuse wartime intensity, technical authenticity and dramatic storytelling into one seamless experience.

With Box Office 3D, Ezio Greggio brought parody into the third dimension.
Italy’s first true stereoscopic film turned the biggest blockbusters of its time into delirious 3D caricatures: Viagratar, Harry Fotter, The Gladiator and more.
As VFX Supervisor, I led Canecane in shaping a world where absurdity met innovation — a joyous experiment in depth, laughter and cinematic illusion.

My path through cinema has often passed through laughter, alongside Neri Parenti, Filmauro, and the unforgettable “cinepanettoni” that filled Italy’s theatres every Christmas.
I designed their visual effects: the sparkling chaos, the improbable chases, the playful spectacle that became part of our collective imagination.
And with Carlo and Enrico Vanzina, I discovered the art of turning comedy into a mirror of a country’s dreams and contradictions.

With The Weeping Meadow, I had the honor of working alongside Theodoros Angelopoulos a filmmaker who turned time itself into poetry.
Our visual effects, crafted on 4K-scanned film, became an integral part of his vision: shaping historical settings, emotional gestures, and the flow of memory within his endless tracking shots.
A profound lesson in how technology can serve emotion, and precision can sustain poetry.