Archivio Audiovisivo del Movimento Operaio e Democratico

A portrait of Italy in the 60's and 70's, based on films by Marco Bellocchio.

A unique chance to explore Pier Paolo Pasolini's youth through the voice and the body of his direct cousin, writer and poet Nico Naldini.

For doctors “MARASMA” was a diagnosis: a state of deep organic deterioration, total loss of strength. In mental hospitals, people did not die of mental illness, but of marasmus. This is what the medical records say, which today reveal the most difficult stories: those of the last among the weakest, children and women. Through their testimonies we can also give voice to those who do not know, who do not want or can not remember.

Through archival materials, the film tells the story of the bond between a man, Vittorio, and a boat, the Riccardo I. Their relationship develops against the backdrop of the profound changes that affected the Adriatic Sea and its coastlines in the twentieth century, marking the end of the ancient civilization of sailing. As a child, Vittorio was a cabin boy on his father's boat; in old age, he feels the need to preserve the world of his childhood. With stubborn determination, he decides to single-handedly restore the Riccardo I, the last vessel of its kind, dedicating himself to this endeavor until his death.

Mirabilia Urbis is the imaginary journey back through the photographs, notes, letters, memories, thoughts and articles written by Antonio Cederna (1921-1996) on the disharmonious urban development of the city of Rome.

A young author investigates the event that changed his family forever: the sudden death of his grandfather Nino. Returning to his hometown in Campania with Luisa, his grandmother and imaginary companion, he is guided in his search for the causes of this untimely demise by the footage Nino himself shot before his death and the fragmented memories of the five children he left behind.

Mario, a lonely and nostalgic man, receives a wrong call in which he is mistaken for a child, so he finds himself listening to a story by Gianni Rodari. This episode will trigger a series of reflections on his past, fantasy and friendship

Why and how do we look at animals? Is it possible to use archive materials as if they were the involuntary testimony of a gaze? Archiving is, in some ways, the act of collecting gestures. Through the editing of fragments of documentaries, newsreels, and promotional videos, the film aims to make visible the complexity and stratification of a relationship that the more we consider natural and given, the more it reveals itself to be the product of economic and political—and therefore cultural—processes analogous to the human world.

Battlefield is a tribute to all second-wave feminist movements, an imaginary journey between different representations of femininity, in a process of subjective re-appropriation of the archive.

Yom Al Ard is a portrait about the fragmentation of the land, the experience, and the people of Palestine, showcasing the systematic efforts to disperse, fragment, and destroy the audiovisual memory and collective identity of Palestinians. It is composed of rare footage shot in the Galilee (Nazareth, Deir Hanna, and Sakhnin) in celebration of the 5th Land Day Anniversary on March 1981 which has recently been restored and digitised.

The main (super)hero of Beatrice Baldacci’s documentary is a person depicted as the sum of her memories. The story of the director and her family is told in the first person, with home VHS recordings that show both Beatrice’s mother and Beatrice as a child taking on the role of an agent of memory. Outdated technology transforms the events of twenty years ago into an archaeological object.

When Viola tries to restore a clay child with her father, a gift from a young Pasolini, she finds herself repairing an old wound. A small crack gives voice to a submerged dialogue.

In Italy, 1991 is the year in which Davide was born and Communism died. It is the year in which an ideology vanished leaving a trail that will lead him in search of himself and who he really is.

Taking us on a deep dive into the Audio-visual Archive of the Labour and Democratic Movement in Italy, the director transforms images related to the ‘Southern Question’ – news reports and films from the 1960s that deal with the subordinate state of Southern Italy comparative to the North.

"Io ho fissato il fuoco per sempre" is an investigation into the act of looking and being looked at, a history of the (not) archived gaze. The gaze of the filmed subject, that of the camera, and that of the spectator trigger a participatory obsession, made of eyes in action. Someone threatens or affects the quiet of our vision and taking your eyes off too early, you know, could be fatal.

A tale of poverty in Salento during the 60s and 70s.