Berlinale Talents was founded in 2003 thanks to Berlinale Talent Campus and the director of the Berlin International Film Festival Dieter Kosslick.The initiative, realised with the support of many institutions (such as the Federal Government Commissioner for Culture and the Media for example),takes place every February; its mission is to bring selected talents (writers, directors, producers, cinematographers, actors, editors, production designers, composers, sound designers, sales agents and distributors, and film critics) in touch with professionals from the film industry.

The result is an extremely lively scenario that every years brings together 250 leading lights – selected by an international committee -, whom often have obtained exciting accomplishments: many are the successes achieved by these alumni, who can – not only be noticed – but also take part to numerous events, meeting renowned filmmakers and other emerging talents.

Berlinale Talents offers to these young creatives the chance to be coached in all areas of film-making. Furthermore, selected film projects are supported during and after the event, as well as presented in the Talents Online Community and to producers and financiers.

Short Film Station participants © Peter Himsel, Berlinale 2017 |

As every year, the 16th edition has its thematic focus too: Secrets, a theme willing to dig deeper into unknown world. What’s hiding behind cinematic stories and images? Is there more to explore?

Every time a filmmaker acts with courage, their step takes the true measure of a challenge. For the anniversary edition, Berlinale Talents will focus on these crucial points while celebrating a new generation busy making film with unshakeable optimism and against all odds,” – Florian Weghorn (Berlinale Talents, Programme Manager)

This year talents have been announced too: their backgrounds and their origins are extremely varied, yet all taking an incredibly important step for their careers, as proven by the past illustrious alumni including, as many others, the team that realised  The Wound (Panorama Opening Film 2017): producers Cait Pansegrouw and Elias Ribeiro, as well as director John Trengove. 

To date more than 5,400 former Talents have taken part to the program. This year many of them are concerned with political issues and gender equality, hence willing to raise questions about their own responsibility in the film industry.

“The selection for 2018 includes, amongst others, Angela Guerrero, the Mexican distributor of Raoul Peck’s I Am Not Your Negro (Panorama 2017), Chinese director Yang Qiu, whose short film A Gentle Night was awarded a Palme d’Or at the Festival de Cannes, and Ana Pfaff, the Spanish editor of Carla Simón’s Estiu 1993, which received the GWFF Best First Feature Award at the Berlinale in 2017. Turkish actress Elit Işcan, who played one of the five sisters in Deniz Gamze Ergüven’s multiple award-winning Mustang, will also come to Berlinale Talents.”

Naked Cinema: A Film Set Is a Safe Haven © Peter Himsel, Berlinale 2017

Full program will be released on February the 6th, while Berlinale opening ceremony will be on the 15th.
For more informations click here.

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After the incredible success of the 2017 edition at the CENQUATRE-PARIS, Circulation(s) festival returns for almost three months as a central exhibition of the Centquatre-Paris. Dedicated to young european photography, Circulation(s) festival offers for the sixth time a perspective of Europe through photography from different point of views. Its aim is to help the talents of young photographers become visible and to allow their contemporary and artistic creations to be discovered.

Aaron Drake, Medical Response Director, prepares stabilisation medications to be used during the initial stages of a cryopreservation. Alcor Life Extension Foundation, Scottsdale, Arizona. August 2009.
Once a cryonics patient is pronounced legally dead, the response team place them in a bath of ice to start cooling the body. An automated heart-lung machine is used to keep the cells of the patient’s organs and tissues alive and restore blood flow needed to administer anticoagulants and medications. It is very important these processes are carried out correctly, otherwise perfusion (blood washout) and vitrification (insertion of cryoprotectant) may not be possible.

The program is articulated around a selection of photographers chosen by a jury out of an international call for applications of guests photographers from art galleries and art schools and photographers being part of the godmother’s Susan Bright carte blanche. The exhibition, having succeeded to gather 50 european photographers, has decided to open this success once again to Little Circulation(s), a children’s exhibition, with a program and activities for a young audience, which goes from 5 years old to twelve.

Olga Vorobyova. «girl who used to be», 2017

Considered a space of creation and innovation, of experiences too, vibrating to the rythm of the modern world, the CENTQUATRE-PARIS, settled in the old parisian funerary house, is a welcoming place of life for artists and the public. Greeting today’s exciting artistic and cultural spontaneous expressions, the establishment welcomes all these proposals in a huge building made of six public spaces, research studios and representation spaces. For the sixth edition of the festival, the CENTQUATRE-PARIS remains a priviledged partner, hosting the exhibition for the third time within its walls, taking up all of the southern part of the building. The Aubervilliers hall, the Curial nave and the ateliers offer varied scenographic proposals with instalations, projections, exhibition, and much more.

Susan Bright is the festival’s godmother and she has worked in the art field for twenty years and has worked for innovative exhibitions, publications and programming specialising in how photography is made, disseminated and interpreted. She has curated exhibitions internationally at institutions including: Tate Britain, The National Portrait Gallery in London and The Museum of Contemporary Photography, Chicago amongst others.



Tabari Artspace will present in February El Beit, an art collective showing of contemporary and modernist Palestinian artists, who explore the important themes of identity through painting, photography and sculpture. The exhibition features the work of three artists – Hazem Harb, Mohammed Joha and Sliman Mansour – and it reflects on the collective experience of lost identity and displacement in Palestine. The show’s title, translated from Arabic as “feel at home“, makes reference to these themes.

Hazem Harb, Tebariya #01, 2017, collage and transparent Plexiglas on fine art paper, 105 x 80cm, courtesy the artist

El Beit highlights the ongoing impact of the Palestine-Israel conflict, facilitating a dialogue between the two different generation of artists, while providing an insight into various artistic practices and perspectives in Palestine today. Issues of modern Palestinian collective memory and its role in shaping national identity and historic legacy unite the artists, despite their distinct styles and points of reference.

The artist Hazem Harb presents a series of collage works inspired by the lake in the city of Tiberias. This lake has been considered for a long time a sacred area very important for the Palestinians. Tiberias was used as an important centre in Palestine for many years until the 1936 –1939 Arab revolt, a central theme also in Harb’s works. The collages are formed from a mixture of archive images of the lake as well as photographs the artist has taken himself.

Hazem Harb, Tebariya #02, 2017, collage on fine art paper, 105 x 80cm, courtesy the artist

The modernist artist Sliman Mansour’s paintings “Girl in the Village” and “Father and Mother on their Wedding Dayare” is displayed atop Harb’s photograph of the interior of a home in Tiberias. The first painting depicts a young woman standing in a thobe, a customary Palestinian dress, framed by an abstract landscape in the background, evocative of tradition and sentimentality. The second painting depicts the artist’s parents in a frame of olive trees. The olive tree is considered by many a symbol of nationality and connection to the land. This installation puts both of the artists’ works in direct dialogue within a familiar setting, rebuilding and re-imagining a homeland, now inaccessible. The immersive environment created by Harb’s and Mansour’s works communicate a particular sense of displacement and nostalgia.

Sliman Mansour, Father and Mother on their Wedding Day, 1984, oil on canvas, 92 x 85cm, courtesy the artist

Mansour is a major pioneer of modernist art in Palestine and has dedicated his career to visualising the Palestinian struggle throughout history. He is the only one of the three artists still living there. With the first Intifada in 1987, he founded the New Visions art movement. The movement’s decision has been to boycott Israeli-imported art supplies and to use natural, locally sourced materials, such as mud, henna and clay. This gave birth to Mansour’s featured series of Ten Years in Mud paintings, giving a physical dimension to the exploration of land. The abstract works use the earth itself to depict the land and its people, the cracks from the drying process illustrating the passage of time.

Mohammed Joha, instead, presents 14 collage works on paper, which explore the destruction of Palestinian homes during the conflict. Some of the houses are fictional, others are drawn from the artist’s memories. Joha considers in his works the themes of childhood, loss of innocence, freedom, identity and revolution within this context.

By showing Mansour’s work along with younger artists like Joha and Harb, this exhibition tries to accentuate the hard, long-standing challenges of the people across decades of unrest. Mansour has been working with themes relating to Palestinian identity for much of his career and El Beit also showcases the younger generation of artists who have carried on demanding recognition for the displaced peoples of Palestine.


Setsuko Ono, Yoko’s younger sister, is exhibiting for the first time and the exhibition will take place at Daiwa Foundation Japan House in London, moving to Asia House in March. Much like Matisse’s cut-outs, Setusko’s art is based on steel sculptures that she welds creating silhouettes and open spaces. Her London exhibitions will include also VR technology: visitors will be transported to Japan, to look at her outdoor permanent sculptures at the Hara Museum.

Setsuko Ono, Migrants, 2016, stainless steel, 67 x 79 x 79. © Chan Chao

We asked her a few questions on her life and art.

What is your study background? 

I have a B.A. in English Literature from the University of Sacred Heart in Tokyo and M.A. and PhD from the Graduate Institute of International and Development Studies of the University of Geneva.
I also attended the Continuing Education Program at the Corcoran College of Art and Design  while working at the World Bank in Washington D.C..
Finally in 2007 -2009, I spent several months working at Les Ateliers des Beaux Arts de la Ville de Paris.

Setsuko Ono

You were born in Tokyo but lived between Europe, the USA and Japan. Did this mixture of cultures influence your art? 

Yes the mixture of cultures certainly influenced my art. However, it is completely at a subconsious level. For example the curator of Hara Museum in Japan said in 2005 that my sculptures are like the traditional Japanese art of kirie orkagee. I realized that  he was right after I read his remark, although I had been working with steel for many years. My belief that art should incorporate real time, so that minimum planning is necessary, came from an experience as a teenager  attending John Cage’s concert ”4’ 33” . Toshi Ichiyanagi a Japanese composer explained to me the philosophy behind the concert. Long after I started being an artist, in 2017, I realized that I was imbued with John Cage’s philosophy without ever reading about it or listening to his other compositions. This way of creating art is wonderful, because you are free to follow the flow of your emotions  moment by moment. However, it is also very risky. Each work of art becomes a big gamble. The more you plan ahead and prepare your work, the less the risk that the end product will be a disaster.  Most creative work (not only visual arts but scientific discoveries)is irrational and the end product cannot be planned ahead.
For me as a visual artist, the risk is greater because I reject almost totally planning in sculpture and to a lesser degree in painting. It is also exhilarating because each time I face empty sheets of steel or canvass, I am gambling an important moment of my life.

Setsuko Ono, Acropolis Down Under and Rising Moon, 2015, steel, 115.8 x 76.2 x 76.2. © Chan Chao

Are there any artists that influenced you? 

There is no particular artist that influenced me. But I have gone to museums and galleries in Western Europe, Japan, the United States and Russia whenever I travelled, and it was often. In 2009, I did imitate consciously Jeronimo Bosch’s “Garden of Delight “ when  I saw  a postcard from Prada Museum in Madrid. In 2015, I imitated the styles and/or content of George Roualt and A.R.  Penke in painting the series ” Travels of Mouflon”.  In 2017, I was moved by Auguste Rodin’s clay sculptures that were exhibited in the renovated Rodin’s Museum in Paris. I used these sculptures as models for my paintings, “Amaterasu, Sun Goddess” and “Joy”. No artist has ever depicted women’s sexual parts in such dynamic poses. It was usually with women passively lying down and opening their thighs. To me it was a glorious statement: what is more important than women’s sex. From it the whole world was born and causes so much daily delights in our existence.
But these are exceptions, because what I enjoy in art, is the freedom, freedom from anyone, great masters, or gallery owners .

What were your first creations? When did you start using steel?

Since I have always painted and made drawings from childhood, I first focused on sculpture when I took formal courses in art. Some of my first sculptures are on my website. I have tried all media: clay, wood, stones, bronze and plastic. In 1995, I started to concentrate on steel.

Setsuko Ono, Gates of War, Gates of Peace, Acrylic, charcoal, pastel on canvas, 274 x 457

What tools and materials do you use for your creations?

I use a Mig welder for cutting and welding. For stainless, I use a Tig welder for welding. In bending  small pieces, I use  small bending machine or my own muscles. This is possible because I use very thin steel. For public sculptures, I work in steel mills where there are many types of bending machines. 

Setsuko Ono, Dreams, 2012, Stainless steel, 4.1 x 5.2 x 4.6 m. © Ken Shimizu

What do you express with your art?

Through my art, I dream about love and the joy of life. Sometime I cannot help but express anger at injustices.

What would you like to add to your art? How far would you like to take your creations? 

I would like to paint and sculpt as many satisfactory works  as possible. By satisfactory, I mean that they should fully satisfy my aesthetic sensitivities. As Rodin said,”My own pleasure is my only guide”. I am also seeking opportunities to build public sculptures in different cities of the world. I am now in discussion with New York City’s Organization for Public Art to build a sculpture in a park in New York at the end of 2018.

The fashion brand Tom Cridland has just designed the world’s first ever Christmas sweatshirt with a 30 year guarantee. This product was created thought the use of technologies and the quality italian fabric, to go against consumerism and fast fashion.
Tom Cridland is a sustainable fashion brand created by Tom and his girlfriend Debs Marx thanks to a £6,000 government start-up loan, after they graduated from Uni. They always promote a “buy less, buy better” ideology; in fact,during these three and a half years, they have worked to create  truly durable clothes.


Yet in 1975, the Rockefeller Commission on CIA activities revealed the existence of MK-ULTRA, a research project exploring the use of drugs as a mind-control technique for interrogations. One of these drugs, it emerged, was the LSD slipped into an unwitting Olson’s drink at a meeting of CIA agents and scientists in the Maryland woods a week before his death. After attempting to resign his post, he was taken to New York, ostensibly for psychiatric treatment, and checked into a room on the 13th floor.

His son Eric, a clinical psychologist, has been trying to piece together the events of that night ever since. His eloquent testimony forms the centrepiece of Wormwood, the new Neflix series by one of America’s foremost documentary filmmakers, Errol Morris (The Thin Blue Line, The Fog of War). In his trademark style, Morris weaves interviews with Eric and other major players in the mystery into a crisply shot dramatic recreation of events starring actors such as Pete Sarsgaard and Molly Parker.

When we caught up with director and protagonist in September at the Venice Film Festival, the conversation turned to subjects as bitter as the absinthe-flavouring plant of the title: “fake news”, Trump and the search for truth.

This seems to be a story that has been big in the States over the years…
Eric Olson: It was certainly big in ’75 and it had another eruption when we exhumed my father’s body in ’94.

Errol Morris: I wonder whether I first really read about this in the New York Times, in the Michael Ignatieff article. It’s possible. In fact, it’s likely.

EO: It’s likely, but when we first met, you said you’d never heard of this whole thing. Isn’t that what you said?

EM: I think I did.

(They both laugh)

EO: Once you get into this, you feel like you’ve always known it.

Eric, what’s your feeling in seeing the job done in this way? Are you satisfied?
EO: No. I mean, yes and no.

EM: You can say no.

EO: The film follows, to a large extent, stages in the evolution of my consciousness. In 2014, I went to see Seymour Hersh [an investigative journalist who wrote the key article on the Olson case in 1975] to get some help in ending this. He goes to this “deep source”, who turns out to be essentially the only guy in Washington who actually knows a thing. Hersh told me exactly what this guy had read in the file and that was just definitive: the detail, the coincidence of it all was just devastating.

You don’t seem that happy at the end of the series. You wonder what happiness all these years have brought you…
EO: It’s not about happiness. Happiness is not on the menu. It’s not just about your father, it’s about yourself. If you lose your father in this horrible, mysterious way, you also lose a big chunk of yourself. The only way you retrieve it is by understanding what happened. There’s a line from Proust I always think about: “Some things, in order to be felt, must first be understood”.

EM: Was Hamlet brought peace by finding out that Claudius killed his father?

EO: It cost him his life; it leads to such chaos. Does he reach a certain apotheosis of selfhood? He does, in a way, but you wouldn’t use the word happiness for it.

In the documentary, you mention that your mother simply “didn’t want to know” about her husband’s death. Have you ever felt this?
EO: Yeah, absolutely, every time I learn something new. In a certain sense, the story drove itself, but you also feel you’re being pulled along in some inexorable way. At each point, you’re horrified once again. I never wanted to prove that my father was murdered; I simply wanted a story that made sense. Do people get murdered by governments? Of course! It’s only in the United States that you’d even question this. Sometimes I wish I was born in Moscow, where it’s obvious they throw people out of windows. But if you’re born in 1950s America, it’s not. You feel like you’ve been made stupid. Most of the rest of the world would shrug and say, “Why are you wasting your time on this? Of course they throw people out of windows. What’s wrong with you?”

Errol, we find ourselves in a time of increasing suspicion about the role governments play in our lives. Was this something you wanted to delve into?
EM: More suspicion? We live at a time when there are horrible, horrible, nightmare-like things going on. This is not fucking paranoia: it’s reality! Our government is seriously fucked, and we are fucked in America, and it’s not paranoia on my part.

How do you feel about the Trump administration’s “fake news” agenda?
EM: I think it’s dangerous. It’s a denigration of the whole idea of truth and the importance of truth. Trump is telling us that the people in the news media are deliberately trying to tell us lies, that the whole enterprise of journalism is debased and that he is the oracle of truth. I find it frightening.

It seems to be finding traction on the Internet…
EM: That’s something that interests me. When you had the people in the Federalist Papers writing about the importance of the First Amendment, there was the Jeffersonian ideal that good ideas would push out bad ideas:  that if you allowed everybody the freedom to express themselves, the truth would out in the end. Is that still the case with the Internet? I don’t really know. My joke line is that, 200 years ago, 99.9% of human idiocy went unrecorded: now we have the Internet. If you have this tsunami of information and, at the same time, the President of the United States saying that it’s all fake, it has this terrible destabilising effect. It tells you that the truth doesn’t even really mean anything.

EO: You almost get nostalgic for the old lies – the Gulf of Tonkin, the pretext for the Vietnam War, weapons of mass destruction in Iraq – because there was the assumption that basically we were trying to deal in truth, but certain people lied about certain things. Now, where’s the baseline? It’s a reverse of the Jeffersonian ideal – the bad news drive out everything.

EM: It’s a very strange time in America and maybe in the world at large.

EO: I think that’s one thing that people respond to in this film: you’re told something in childhood and you try to figure out what the truth is. In this particular case, it’s a kind of microcosm. There’s a specific room, your father goes to that room and there’s got to be an answer: what happened in the room? It becomes more diffuse when a lot of other agendas are brought to bear on it.

EM: It becomes a metaphor for a much larger issue.

EO: But it’s also a focal point for a determination towards something specific. In the midst of all the confusion, multiple agendas and larger issues, there’s still that room.

Wormwood is a six-part series which launches on Netflix December 15th.

Interview by Anthony Baxter and Alexander Darkish

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Kreuzberg is Berlin’s most hip and cool area of the city, going from the poorest neighbourhood of West Berlin to the coolest, hosting the best punk and alternative punk scene. Since the 1970s this area has been the heart of resistance and social protest, but nowadays it also has the best nightlife and it gathers together creatives and startups. This, in fact, is the main reason why the technology giant Google wants to create a Campus right in this area.

The designated space is some square meters inside the Umspannwerk, which means “transformer station“, as it is a former power station used nowadays for parties, events, restaurants. So reserving a space to Google for its campus is actually a good idea. The place will be little, just for ten Google employees but big enough for a dozen of startups to work and get together there. Google’s aim is to create a place where they can support and empower local startups and entrepeneurship. But what will happen if Google goes to Berlin?

Photo: Gunnar Klack / Flickr CC

Supporting this protest is the website Fuck Off Google, which explains the reasons why they don’t want Google to move to Berlin. They explain with articles and example the biggest concerns around Google, like the fact that they evade taxes and go against the law (their motto is “do the right thing”), or the fact that they were caught red-handed participating in NSA’s mass surveillance. These very negative aspects around this technology giant are all thoroughly explained on the website and related articles. If you have anything to share with the world, they invite you to take action and participate in their wiki.

The main issue is gentrification: locals from Kreuzberg are afraid of the arrival of this giant firm because workers will want to live closer to the campus, so housing rents will rise and locals will have to leave their homes, looking for a cheaper place to stay. This is already happening in the city, an issue that hits every European capital, such as London. Besides the fact that the whole city is undergoing a rapid gentrification, the biggest fear for locals is that Google will forcily move locals from the nearby houses. This happened in San Francisco, where, as an example, Jack Halprin, lawyer of Google, purchased a house in San Francisco and evicted the seven families in the building under the Ellis Act. This caused immediate protests, with signs saying “Evict Google”.

This could even happen in Berlin, especially in Kreuzberg, where the locals are mainly young creatives, locals who prefer the dodgy, mysterious and still a bit punk way of living of the neighbourhood, so bringing Google within this vibrant reality is like taking a fascist, homophobic guy inside the Kit Kat Club.

Some people are happy to welcome the company in the city, as an opportunity to empower the economy and the industry, but the percentage of locals unhappy is higher. The streets of Kreuzberg have been lined with posters against the giant since the announcement. And even a local anarchist bookshop, Kalabal! K, is hosting a bi-monthly Anti-Google Cafe, and writing a newspaper entitled “Shitstorm: Against Google, displacement and tech dominance…” is being printed and circulated around the neighbourhood.

So what will happen when Google, along with Facebook, Apple, Microsoft, will spread in every neighbourhood and city of the world, changing the way locals live and interact with technology and creativity? What will happen to Kreuzberg if the Campus will be made and startups will start working with Google? It’s not a future that people don’t want to make it happen, so it’s up to the people to make a change. Take Action!

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As it is a constant interaction between the conscious and the unconscious with the repression and the transformation of desires, similar is an interaction between space and people in the area of Eleonas. This interdependence leads people to cover their needs by taking advantage of the already existing space and buildings of the area. At the other hand, it leads to the formation and configuration of space and buildings. The shape and form of the buildings and spaces resemble the idiosyncratic language of the early sketches of an architect, which
only he could understand. The same applies for the “linguistic code”
of the buildings and spaces of the area: Only the people who use and
shape them according to their own needs, can understand it. The whole
area of Eleonas is a “recycling” of materials, spaces and buildings.

We should go back over the early human construction activities, in
times when architectural rules were not established. The idea for
these first buildings originated from the arising needs and the
available materials. People adding and removing elements in these spaces, considering the available resources, was only taking place in order to solve problems. Over the years people evolved socially and these spaces were treated as “raw materials” that had to be processed and transformed in order to cover the new needs. The same method of
reconstruction is also applied in the area of Eleonas: «Somehow,
someway, It seems like the early space arrangements and provisions
live in us as a primal instinct of habitation” (Tassis Papaioannou
2015, 48). Thus, if we really want to comprehend the formation of the
free spaces and buildings of the area, we should take into account
these primal instincts.

There is a reason why the choice of the night shots was made. During the evening, the area is almost in a hypnotic state whereas in the morning, the area is characterized by a chaotic activity. “During sleep we have a liberation of desire” (lecture Dr. Ph. Kangelaris at the Technological Educational Institute of Athens 20/05/2015). This happens because there is a withdrawal of our Egotism Defense Mechanisms, mainly of our Ego, which “filters” the emerging human desires, and in correlation a surcease of all those morning activities, that do not allow the observation of the area. There are no titles, so the viewer is given the freedom to acknowledge the “unconscious desires” of his own city, in spite of their strive to be “something” there are fade to be “nothing”.

About the author:
Zissis was born in Germany. He spent his childhood in Orestiada, which is on the edge of Greece, near the border with Turkey and Bulgaria. The last twenty years lives in Athens. He like psychology and photography. In 2015 graduated from Technological Educational Institute of Athens, Department of Photography and Audiovisual Arts at the age of thirty-eight years. He has been taking part in several small group photo exhibitions.


Photographer: Elodie Chapuis
Stylist: Ayako Iijima For CUBE
Hair and MakeUp: Kanamu Kusakae
Model: Yvan Gurung @ Elite Paris
Photographer assistant: Theo Blazy
Assistant Stylist: Kseniia Petrova
Production: Philippe Cube Showroom


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Speaking of Italy, the first thing that comes in mind is Italian food, especially pasta and pizza. In Jeju, South Korea, the UNESCO Council has decided to award Neapolitan pizza as part of the World Heritage of the world.

With a very nice tweet, UNESCO has congratulated Italy for this good news, making all the 192 million pizzas baked in a month a very special treat.

But where does pizza come from? In Capodimonte you can still eat from the bakery that first cooked the Margherita, the famous pizza with just some tomato sauce and fresh mozzarella, and a little basil on top.
Here, in this bakery, in 1889 during the summer the pizza chef Raffaele Esposito of Brandi pizzeria made different types of pizza for queen Margherita of Savoia. She had to choose between: a white pizza with lard, basil, pepper and pecorino; or with tomato, anchovies, garlic, oregano and oil; tomato, mozzarella, basil, oil and pecorino; fried calzone with ricotta and “cicoli” (a meat and lard preparation typical of Naples) just like the Eighteenth century tradition. This last type is now called “fried pizza” and can be eaten everywhere in Naples and around the world. We recommend going to Zia Esterina in Naples.

It can be easily deducted from nowadays menus that the queen preferred the now-called Margherita: tomato, mozzarella, basil, oil and pecorino. Because yes, the real Margherita has also pecorino, and this makes it so delicious when eaten in the capital of pizza, Naples.

Next year will be the “2018 Italian Food Year“, as the minister of Tourism and Cultural Heritage, Dario Franceschini, announced this summer, and the pizza fair, ChePizza! took place in Milan in October, so it seems that this award came just in time.

For Italians, pizza is a serious thing. We really care about the preparation of the ingredients, looking for fresh and local tomatoes, mozzarella and other typical ingredients. We like it rich or simple, like the Marinara, which has only tomato sauce and garlic. But the base is something pizza chefs really look after. Some pizzerias make the batter rise for 24 hours, some 48 hours and some even 72 hours, making a very light and airy pizza crust.

One of Naples most famous pizzeria is Sorbillo, which has opened other restaurants in Milan and even in New York! His pizza is made with local and Italian products, sourdough starter yeast and 83 years of pizza making.

Another famous place in Naples is the Antica Pizzeria da Michele, where the batter is left rising for 24 hours and they make only two types: Margherita and Marinara. Both this place and Sorbillo are characterized by a very, and I mean very, long queue! One hour wait is the rule for both pizzerias but it’s worth the wait!

Now that you’re hungry, booking a flight for Naples or ordering a pizza are the net things you should do.