NOMADICA

Considerations on collage as a cognitive act in artists’ cinema. A pedagogical film adrift: 35mm photographs and other materials collected over the last fifteen years by artist Stefano Miraglia meet a text written by Baptiste Jopeck and the voice of Margaux Guillemard.

In 1835 a French writer attempts the ascent of Mount Etna with a group of men, two mules, and a bottle of rum. Crossing the three areas of the volcano – the lower region, the fire region, and the desert region – they discover the enigmatic traces of unknown myths. New powerful eyes question the volcano, observe its every movement, and yearn to penetrate its secrets, and are faced with the most remote layers of matter and the depths of the technological gaze.

A brief documentary focused on the history of experimental Super 8mm filmmaking. Prominent figures of the "s8" boom of the 1970s discuss their work and their first encounters with the medium.

The artist returns to his studio, at night. Fantasies, anxieties, and memories overlap and come to life, until dawn, when the world resumes its daily routine.

A text, some images, and an unstable arrangement of durations to which one can devote a fluctuating form of attention.

Jazz for a Massacre is a tribute to experimental artist and filmmaker Nato Frascà. A musical-pictorial jam-session where Noise of Trouble’s jazz improvisation combines with the abstract forms created by Leonardo Carrano directly and the editing of Giuseppe Spina. Made with 20000 painted, engraved and etched frames.

How to create a truly authentic cinema? Taking as a starting point the classic text The Cinema We Need by Canadian filmmaker and philosopher Bruce Elder, Riccardo Re creates a reprised version of it, fluidly reworking Elder’s complex critical thinking.

A figure hardly emerges from an undefined black space. Màcula has vague contours, lives in the darkness as best he can, his nervous system is unhooked, acrobatic toward the dissolution.

One hundred years since the Mexican Revolution and two hundred years since the independence. Thousands of victims from drug trafficking in a country amongst the most dangerous in the world. Indigenous peoples struggling for dignity, Marxists against imperialism, pharmacies selling cigarettes, 50% of the population dying of starvation, the Zapatista Movement shuts itself off from the outside world, the left is fragmented, the jeopardized right governs. The mixture of vitality and atrocities mark a volatile and yet brewing social situation. Crossing Mexico becomes a political reflection in a sense, both historical and anthropological. Without stopping, the words and images of this film are woven into concepts and feelings, creating a continuous flow, a domino effect in the chain of the contemporary human condition.

“Impressio in-urbe” goes through the textures of the urban space: the materiality of architectures, corners and prospectives, the drawings of pavings, the squares, the bricks; it’s a detailed decomposition of the city’s “cloak” from which the broken matter emerges, seemingly immovable but in a continuous connection, in the centuries, inhabited by its moltitude.”Impressio” is the print, the mark which all things and every gesture leave of itself, the “identikit” (and vivisection) of the city’s space and time, which gives back to us its view.