Directed by: Valentina Bertuzzi
Country: Italy / Switzerland



When a mysterious hole appears beneath the bed of Liz, the eldest daughter of a Roman family, a series of lucky events begins. But as day by day, the family’s life shines with success, night by night, the hole beneath the bed becomes bigger and deeper. Liz feels something uncanny in her room: weird whispers, moving shadows, cold draughts, and a corrosive noise rising from the hole. The recurring dream of a one-eye rabbit haunts her sleep.

The ‘excessive’ anxiety of Liz, makes her risk missing her big break at the new academy. Overwhelmed by confusion, persuaded by her mother, Liz agrees to visit a psychotherapist. Right in the doctor’s studio, Liz finds a book, the Tale of Uye, the hole-shaped demon: Once, a rabbit saw a carrot in a hole and went inside after it. When it came out, the rabbit had one eye missing. Nevertheless, in the following days, seeing food inside the hole, the rabbit continued to enter it, each time coming out with one less limb. The hole was Uye, a hole-shaped demon offering gifts in exchange for limbs, until all limbs are gone and Uye can take the soul.

The hole under Liz’s bed is Uye, a supernatural entity, offering privileges, feeding people’s greed, who sacrifice to him society’s weakest ‘limbs’. Liz runs to her parents but Flora and Lorenzo already know everything: thanks to Uye they had social and economic upgrades, good to guarantee their daughters a safe and peaceful life. Liz is almost eighteen, it is her turn to deal with Uye, she must ‘grow up’. Liz has no choice, she enters into the black, slimy hole, and gets down into its narrow throat…

Director’s vision

Since the oral tradition in the 16th century, the deathless character of Doctor Faustus embodies the visceral impulse to overcome limits, exchanging the soul in return of power, knowledge, or love. In THE RABBIT’S EYE, this journey of conquest and corruption, is faced by a woman. LIZ, a young violist, gets accompanied by her mother FLORA in the descent to the underworld, to save her family from bankruptcy, and satisfy her own artistic ambitions, giving her soul in return. I see Liz as a modern, female Faust, who finds herself growing up into a world where moral values are upside down, discovering the compromise and the bitterness of a society made by human demons. The entire drama is developed through various female point of views: mothers, sisters, friends. All of them are moved by deep and different desires, but also, as women, connected between each other by the urgency of a social redemption. The status of the characters, however, is embedded in a much more complex and extended reality than their female condition: the social machine of capitalism is a dysfunctional system indeed, which involves the whole of society not just women, and so much as Faust, Liz will find herselves trapped in a roundabout of damnation. The visual tone is evocative of the mystery, superstition, and that touch of black magic which also are in the Faust’s novels by Christopher Marlowe, J. W. Goethe, Thomas Mann. Hypnotic flowers, dangerous shadows, golden ringlets becaming black, and a one-eye rabbit, are some of the uncanny elements grafted into a modern today life, making it unstable, and unpredictable. The epicenter of the fear is the HOLE. Strange, inexplicable, and yet there, concrete, every night bigger and deeper. The hole is a demon, a new shape of Mefistofele, which infect the house, the family, the souls. The primordial shape of the hole is prone to stirring fears in the unconscious of anyone who looks at it, and to create it, I will manly use organic elements, as wood and soil, for a material density, a realistic effect. In post-production, the graphics and the color grading will extend the depth, as the hole at the end will have not a bottom. As the hole gowns, the reality degenerates around it, taking ghostly nuances: the house will slowly break down, ageing, and the characters will gradually lose their initial colors. The Supernatural Horror is the main genre of the film, but there will be moments of cross-over with the Ghost Story, Possession, Haunted House, and Psychological subgenres.


Estimated budget. € 2.440.824,32

Director’s biography

Valentina Bertuzzi is an Italian director and screenwriter, nominated for GLOBI d’ORO 2020 and NASTRI D’ARGENTO 2020. She works with the Mystery, Supernatural, Psychological Horror genres, grafting them with social themes. In 2020 she made her debut in Hollywood with the short film Nature’s Crime for the Los Angeles Women in Film Festival, and she won a special-screen at Filming Italy Los Angeles, the Best of Italian Cinematography in Los Angeles. In the USA she won the San Diego Italian Film Festival, and her web series GhostCam is acquired and distributed by the American broadcaster SEEKA TV. In 2017 she has beein a finalist at the Venice Film Festival at the Biennale College Cinema International, with the film Stellanera.


Production Company: BAIRES PRODUZIONI S.R.L.
Address: Via Costabella, 26 – 00195 ROMA
Producer: Maurizio & Manuel Tedesco
Phone: +39 06 97848625/28

Video presentation