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Underwater, the documentary film on Federica Pellegrini: the preview clip

She is the Italian swimmer who has won the most awards, an exceptional sporting career, enhanced by the fact that she is the first Italian Olympian in swimming (gold in Beijing 2008 in the 200 freestyle). A fable, that of Federica Pellegrini, the Divine, which began with silver at the Athens Games in 2004 and illuminated by 53 international medals, of which 6 gold at the World Championships (eight times out of 8 on the world podium in the 200m) and 7 at the European Championships. The record number of a career that ended last summer with Tokyo 2020 is impressive. For two years, Federica Pellegrini has pursued this latest great sporting achievement. The perfect ending to an unrepeatable career, that is to reach – the first woman in the history of swimming – the fifth consecutive Olympic final in the same specialty.

Federica Pellegrini, Underwater produced by Fremantle and distributed by Notorious Pictures, it tells all this, up to the historic final of the 200m freestyle. A goal that turned out to be even more difficult than expected. Between grueling workouts, physical and psychological crises, the breakout of the pandemic, redemptions and revenge. But Underwater, at the cinema as an event release on 10, 11 and 12 January, also tells a story that starts from afar, the story of a tenacious and introverted girl.

An intimate story, in which Federica also allows a glimpse of her private life: the relationship and love with the coach Matteo Giunta, the indissoluble and deep bond with her parents, domestic joys and painful memories, such as the death of the coach who ‘brought into the legend (Alberto Castagnetti) and the bulimia experienced during adolescence. The repertoire material – the races, the victories, but also the unpublished videos of her beginnings, shot at home with a VHS room – and the footage of Federica’s public and private life during the last two years make up a documentary film, with the original music conceived and composed by Samuel, who is not only celebratory, but tries to dig inside.

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