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1-11 of 11
- The film is a reflection on the medieval folk tradition of "benandanti" ("good walkers"), who believed they had special powers to fight witches, ogres and demons threatening harvests and children. Who are the "benandanti" of today and who are the witches and ogres of our times? Can these assigned roles be put into question? The film analyses three stories, trying to recover the sense of truth and the truth of the sense, starting from the relations between individuals and the respect that every statement of the human race deserves.
- DEKALOGOS is a ten-chapter essay-film dealing with the dynamics of violence and the totalitarian impulses that characterized the so-called Short Twentieth Century. Traveling through the memory of the audiovisual archives, the film hybridizes documentary and experimentation, exploring the declinations of violence that both the individual and the collectivity turned against their surrounding world and thus against themselves. In doing so, DEKALOGOS retraces not only the history of the 20th century in its essential passages but, at the same time, reinterprets its events by focusing on the always removed question of the relationship between love and violence in our society.
- A slow, decisive handwriting, which becomes fast, furious, angry; thus - REBUS - receives and attacks the spectator, it accompanies him in an unknown world of images and sounds, played out between the known and the unknown, almost to amaze and frighten, to divide who knows from who does not know, who wants to know from who wants to escape. The predictable element is the unpredictability and its playing out everything, or almost, for the autonomy of the significants and for the defence of their free and potential transformation in the natural flow of time. Every given signification is destined to perish!
- In this film, what we usually perceive as horizon line is rotated by 180 °, breaking and short-circuiting the image vertically. A kind of questioning "habits" of the eye and ear. The conceptual approach of seeing yourself seeing, of hearing yourself speaking - an elementary projection into something else - is denied in favor of the imaginary function in order to re-examine what seems to be immutable: the sense of truth and the truth of the sense.
- The fracture, which originates the relation of the occident between human and nature, between I and world is what, at the same time, presupposes and favours our research of identity. The Trilogy of SILENCE - "Between one flower plucked and the other given the inexpressible nothing" had written Ungaretti - in a cinematographic language of consumed wisdom, accompanied by the noise of the sea breath in systoles and diastoles that unifies everything - speaks about the necessity to retrace the research phases of our Being - of our being subject - to be able to recompose the truth of what we are, through the mask destruction that imprisons our existence.
- The Children of the Noon deals with the universal subject of life.
- "Quod est in speculo ut in subiecto." According to medieval philosophers, being in a subject is an insubstantial way of being that does not exist in itself, this one is in something else. In this short film, the nature of the images is questioned, particularly the one of the reflected corpses in the mirror. What is their nature? How can a mirror with his two-dimensional character transliterate three-dimensional images? The essence of the image, visible on the mirror surface, is a continuous formation in absence of tangible substance. A tribute and at the same time a contestation of J. Cocteau.
- Ciao Vettor is a tribute to the artist Vettor Pisani, who committed suicide in the summer 2011. The film underlines the extraordinary importance, which covers the interior world of every artist. The phrase "Du bist Deine Welt" (engl.: "You are your world") points out precisely: What the artist has seen, what the artist has lived becomes his world and that what remains, even after him. Vettor Pisani continues to exist in his works, in his ideas and in the affections of those who had known him. And then, basically, it was Vettor - borrowing himself the words of Wittgenstein - saying: "What can be said at all can be said clearly; and about that of which one cannot speak, one must stay silent."