9 user 23 critic

After Midnight (2004)

Dopo mezzanotte (original title)
Unrated | | Comedy, Romance | 23 April 2004 (Italy)
2:28 | Trailer

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The magical Mole Antonelliana (the cavernous Museum of Cinema in Turin, Italy) is the setting for a very unlikely love story. One fateful evening the museum's timid night watchman, comes to... See full summary »


Davide Ferrario


Davide Ferrario
9 wins & 15 nominations. See more awards »



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Cast overview, first billed only:
Giorgio Pasotti ... Martino
Francesca Inaudi ... Amanda
Fabio Troiano ... The Angel of Falchera
Francesca Picozza ... Barbara
Silvio Orlando ... Narrator
Pietro Eandi Pietro Eandi ... Martino's Grandfather
Andrea Romero Andrea Romero ... Fast Food Owner
Giampiero Perone Giampiero Perone ... Bruno the Night Watchman
Francesco D'Alessio Francesco D'Alessio ... Member of the Falchera's Gang
Gianni Talia Gianni Talia ... Member of the Falchera's Gang
Andrea Moretti Andrea Moretti ... Member of the Falchera's Gang
Gianna Cavalla Gianna Cavalla ... The Car Receiver
Claudio Pagano Claudio Pagano ... The Car Receiver's Bodyguard
Maurizio Vaiana Maurizio Vaiana ... Cousin Maurizio
Ladis Zanini Ladis Zanini ... The Ballsqueezer


The magical Mole Antonelliana (the cavernous Museum of Cinema in Turin, Italy) is the setting for a very unlikely love story. One fateful evening the museum's timid night watchman, comes to the aid of an enchanting young fast-food cook on the run from the police. The museum's dreamy kingdom of silent movie characters becomes a sanctuary for her as she awaits rescue by her devilish boyfriend. Written by Anonymous

Plot Summary | Add Synopsis


Comedy | Romance


Unrated | See all certifications »

Parents Guide:

View content advisory »






Release Date:

23 April 2004 (Italy) See more »

Also Known As:

After Midnight See more »

Filming Locations:

Turin, Piedmont, Italy


Box Office

Opening Weekend USA:

$7,634, 5 December 2004

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

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Technical Specs




Aspect Ratio:

1.85 : 1
See full technical specs »

Did You Know?


Italian censorship visa # 97944 delivered on 19-4-2004. See more »


Features One Week (1920) See more »


Performed by Adriano Pappalardo.
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User Reviews

The Triumph of Imagination
22 February 2008 | by robert-temple-1See all my reviews

This is a spectacular achievement, of a perfectly-judged fable whose every moment and every detail is successful. It was made on a shoestring (they even had to wheel the camera in a supermarket trolley because they could not afford a dolly), but the production values look like and feel like a big-budget movie. The cinematography is deeply intriguing, partially due to the use of a highly light-sensitive digital camera, which is able to film in dark and moody places by natural light. Davide Ferrario, the writer, producer and director, is a unique cinematic artist. It is insufficient to call him brilliant, and even the word 'inspired' seems too tepid to do him justice. I would prefer to call him 'a force', like the wind or the waves. This magical film captures a kind of metaphysical power of the imagination, which transforms reality in front of our eyes. All except one member of the cast were unknowns. The project was a huge risk. But the result is a complete triumph. The casting was perfectly judged, and the performers more than delivered the goods. The only one with experience, Giorgio Pasotti, says little because he plays a silent character, but evokes the character's inner being with total success. Even more astounding is the performance by Francesca Inaudi, and she is more than 'a natural', she is a 'supernatural', whose facial muscles were designed for film-making. Another star of the film is a bizarre and gigantic building in the city of Turin called 'the Mole'. It is one of the most mysterious film sets ever used, and what is more bizarre, it is all real. Nothing about this film is 'normal', thank God, since what is more boring than normality? And yet nothing is abnormal either, it is just that it is all happening in the imagination, which transcends the difference. Two stories intersect, like two intersecting light-cones in space-time, and from the crossing of their beams, brilliant and scintillating interference patterns emerge, and then the individual stories are re-directed and electrons and positrons spray out in different directions. The film is about a collision of two parallel universes. No, three. The third is us.

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