In 1987, she got her degree in Music History at the University of Rome. Between 1982 and 1989, she took part in the setting of a few operas, helping also as a director assistant. In 1988, after writing and staging a short play for the theatre, she started to co-operate with Werther Germondari. In 1990, in Rome, she attended a direction stage with director Nanni Loy and was admitted to the Rossini Academy in Pesaro.
Laureata in Storia della Musica alla Sapienza di Roma e al DAMS di Bologna in Istituzioni di Regia. Negli anni ottanta, dopo l’esperienza di assistente alla regia di opera lirica in teatro, inizia la sua collaborazione di vita e lavoro con Werther Germondari. ‘Una strada diritta lunga’, loro primo cortometraggio comune che va in concorso al Festival di Cannes nel 1994, è seguito da molti altri. Dal 1990, alterna l’attività di segretaria di edizione con quella di co-autrice con Werther Germondari.
Filmography (in co-direction with Werther Germondari): UNA STRADA DIRITTA LUNGA (1994, Official selection Cannes IFF), TRIEDRO (2000, off. selection Montreal WFF); S=4πr2 (2001), special mention, Larissa Film Festival, Greece, 2003); FOUR CORNERS (2003), CANNIBAL’S COMMERCIAL (2005), PER VERSUM (2005, official selection Rotterdam IFF), BEEP! (2005), CINQUE CAFFÈ (2006, official selection Rotterdam IFF), THAUMA (2007), VAN AMORE (2008), FUORI TARGET (2008), BLUE (sky) MOVIE (2008), CONVOLO (2010, special mention Shortini IFF Augusta, Italy), L’AMORE È NELL’ARIA (2010, official selection Rotterdam IFF), SEX EQUO (2011, long feature film), I FRUTTI DEL PECCATO (2012), BUON COMPLEANNO (2012), PSYCHOSOFATIC (2014), COUPLING (2015), IL SEGRETO DELLA NASCITA DEI NODI (2015), HOT (2015), SMACK (2016), POW (2018), FUCKOUGH (2019) IL TRASLOCO (2019), CLOWN CARE (2020).
“Essence is what gives life its most precious meanings. The essence of amber is princeless in perfumes, the scent and colour of saffron are most sought-after ingredients in international cousine. In the essence of a thing the very core of its nature and character are captured. Werther Germondari and Maria Laura Spagnoli have worked many years to improve the medium of the short film and distil the essence of cinema into internationally successful works. Their offerings are seldom longer than a minute and are stripped to bare essentials regarding visuals and narration. The camera guides the gaze of the audience and helps it along the brief narration. There is never anything to be seen which isn’t necessary, no background disturbs the scenes. This aesthetical purism enthrals audiences and gives the films a special weight”. (Retrospektive, Oldenburg IFF 2006)
