Fondazione Prada

Video #2 of Finite Rants, a series of eight visual essays commissioned by Fondazione Prada and curated by Luigi Alberto Cippini and Niccolò Gravina. Bertrand Bonello reworks the last minutes of his 2016 film Nocturama, which documents the logistical operations and the organization of terrorist attacks in Paris by a group of teenagers. Starting with "Où en êtes-vous?", a video commissioned by the Centre Pompidou in 2014 and conceived as a letter to his then 11-year-old daughter, the director makes a new work altering the final sequence of Nocturama and completely modifying the textual component and the soundtrack in this video essay as a second letter written for his now 17-year-old daughter.

Bouchra (35), a Moroccan filmmaker in New York, is paralyzed by the fear of the blank page. A phone call with her mother in Casablanca will have memories resurfacing. Their tender yet complex exchange sparks a creative breakthrough, opening a journey through family bonds, daughterhood, and the thrill of love.

A delirious movie installed inside a ghostly barn made with prefabricated materials. The oscillatory movement of the rocking chairs on which visitors sit partly helps to alleviate the syncopated rhythm of the montage and the frenzy of images that follow. A series of brassy characters in wigs and thick make-up map the various locations of the film: a lazy river, a hobby barn, and forest watchtower.

A little girl just a few months old is upset by a world that doesn't suit her, a broken world into which her parents have forced her. After the death of her friend the star, she wants nothing more than to cook.

Long live the new flesh. Surgery is the new sex. These Cronenbergian epigrams come together in a tableau that reimagines the ecstasy and eroticism of Renaissance sculpture for the future. Or is it already the present?

As a reinvention of the documentaries made by Pasolini, Vezzoli pushes the public of a fictitious italian tv program to talk about love and relationships

Based on true accounts, the superficial lines between subject and bystander are blurred and bound together, allowing individuals to walk in a vast space and thoroughly live a fragment of the refugees' personal journeys.