Biyografi
Laura Chiossone is an Italian director and screenwriter whose career spans cinema, television, documentary, and multimedia arts. Born in Milan, she studied theater and acting before earning a degree in Theoretical Philosophy from the University of Milan with honors. Her early passion for performance and music (she briefly sang in a pop band) soon gave way to a focus on visual storytelling, combining her background in philosophy and theater with a strong interest in experimentation. Chiossone began directing short films in the early 2000s, with Routine and Broadcast (2003) marking her debut. She quickly expanded into commercials and music videos, collaborating with major agencies such as Saatchi & Saatchi, Armando Testa, Leagas Delaney, and Grey, and directing videos for artists including Morgan, Marracash, Marlene Kuntz, and Otto Ohm. Her first feature film, Tra cinque minuti in scena (2013), blended theater, cinema, and documentary, telling the moving story of a mother and daughter's relationship both onstage and off. She followed this with the comedy Genitori quasi perfetti (2019), which humorously explored the anxieties and contradictions of modern parenthood. In television, Chiossone directed I Hate Christmas (2022-) for Netflix, the Italian adaptation of the hit Norwegian series Home for Christmas, and Non è un paese per single (2025) for Amazon Prime Video, a comedy series about friendship, love, and family in contemporary Italy. Her documentary work includes ¿Necesitas algo nena?, produced with the support of Amnesty International, which recounts the story of Ángela María Aieta, one of the Italian "desaparecidos" during Argentina's dictatorship. More recently, she co-directed the international art documentary Titian. The Empire of Colour (2022) with Giulio Boato. Known for her versatility, Chiossone has a distinctive talent for bringing irony and lightness to complex themes, while giving depth and character to commercial projects - a rare balance that makes her voice unique across genres and formats.
