In December 1932, the Notarbartolo family documented their arrival in Sestriere, capturing the hotels and the funicular of the alpine resort. The film opens with a black-and-white title card that reads: “December 1932: The Hotels and the Funicular of Sestrières.” Immediately after, a group of elegantly dressed people—wearing heavy coats and furs—step out of a car and gather near old buildings surrounded by snow.
The footage continues from inside a moving automobile, revealing Sestriere’s first iconic architectural landmarks: the tower of the Hotel Duchi d’Aosta and other large structures, likely including the Hotel Principi di Piemonte. A wider shot presents the funicular’s departure station, busy with skiers and visitors moving across the snowy slopes.
The film ends with close-up portraits of passengers inside the funicular cabin, gazing out at the landscape, immersed in the refined, fashionable atmosphere of Sestriere in the 1930s.
In December 1932, the Notarbartolo family documented their arrival in Sestriere, capturing the hotels and the funicular of the alpine resort. The film opens with a black-and-white title card that reads: “December 1932: The Hotels and the Funicular of Sestrières.” Immediately after, a group of elegantly dressed people—wearing heavy coats and furs—step out of a car and gather near old buildings surrounded by snow.
The footage continues from inside a moving automobile, revealing Sestriere’s first iconic architectural landmarks: the tower of the Hotel Duchi d’Aosta and other large structures, likely including the Hotel Principi di Piemonte. A wider shot presents the funicular’s departure station, busy with skiers and visitors moving across the snowy slopes.
The film ends with close-up portraits of passengers inside the funicular cabin, gazing out at the landscape, immersed in the refined, fashionable atmosphere of Sestriere in the 1930s.