Discover Movies

An Italian movie.

An animated film based on the typefaces and scripts of the 1920s and 30s set to an Italian song of the 1950s.

Presented at the Marconi Studio in March 1985 during the "Limitrofie" exhibition, the starting idea is a box where unexpressed memories are kept folded. It is a garden where a landscape of memory, impalpable, constantly changing as the face of the world we want to rebuild is constantly changing, a world that has no limits other than those of the availability and perception of the individual.

Geronta Sebezio is revered by his fellow villagers for his miraculous ability to bring the dead back to life. However, anyone who wishes to benefit from this gift must sign a contract.

The ambiguities of Verdi’s theatre are particularly clear in his baritone roles, among which is that of Boccanegra, corsair turned doge of Genoa and the troubled observer of the conflicts that tore apart 14th century landowners and peasants. An eminently political opera in which power struggles are interwoven with family conflicts, Simon Boccanegra echoes the life of its composer – the man who championed the cause of Italian unification and overcame the loss of his wife and children.

An Italian movie.

Billy Nelson returns to his hometown of Malopasso after ten years as a rancher on a large ranch in San Vito. Once in town, Billy discovers a terrible truth: His parents, Santo Nelson and Rosa Lopez, were killed by the terrible bandit Parker. Shocked, Billy vows revenge against the perpetrators of his family's massacre.

This long unavailable performance in Sweden by Chet Baker in his late period presents the trumpeter in a very relaxed mood, playing at a television studio and pakced only by piano and bass (no drums!). Chet performs most of the tunes comfortably seated on a sofa, as if he were in his own living room. The program displays a combination of some of his most famous tunes and a couple of lovely standards, such as Bud Powell's "Tempus Fugit" (which Baker had only previously recorded twice before) and his friend Bob Zleff's "Sad Walk". For the last part of the performace, renowned bassist Red Mitchell comes onto the set for a short but insightful interview with Chet Baker. Later, both play a sweet duet version of "My Romance" with Mitchell returing to the first instrument he learned to play: the piano. Recorded at the Sonet Library, Stockholm, Sweden, June 30, 1985.

A landscape shot during a journey is deconstructed, measured, and recomposed using the rear-view mirror of a van, the external viewfinder of a camera, and a hand.

It all started with the notorious Buñuelian sliced eyeball, that surprises us every time. The eye of an ox, but still it's the eye of a woman! The anxiety of the incision is transformed into a saccadic, uncontrolled anxiety precisely of the eye and of its pupil. When subjected to the stroboscopic rhythms of single frame animation—as in some archaic pre-animation—one's gaze at it is thrown off, going in search of a little dramatic action here and there in the face, through the quick cinematic nonsense of saucers and sclera. The eye of an ox, which degenerates in Buñuel's incision, is my own quaking ox eye.

A re-edit of outtakes from the 1973 film "Ritratto Dell'Artista (Da Narcisso).

Serata Paperino is a special-movie produced in 1988 by Walt Disney Television Italy, directed and written by Aurelio Castelfranchi, Antonella Condò and Cecilia Valmarana. It was broadcasted for the first time on Rai 1 on 1988, Easter day, and was regularly re-proposed until 1996.

Film made with a tiny pinhole camera and 16mm film.

One of the early short films of Italian independent filmmaker Fabio Salerno.

Documentary about the making of Fabio Salerno's short film "Oltretomba (Beyond)".

The last of the good white men, uncovered by the colour killer, tries to escape from his assailant who inexorably colours all the black and white on his way.

he white wings of a dove seem to come out of the darkness of the infinite night of the soul. As if looking for an escape route, the dove plows through the space of a house, flies grazing over a house of cards, flies over a baroque table set ... The television screen, teeming with pixels, swallows the eye projecting it into an unknown deep space of nature technological. Visions of medieval and contemporary battles, baroque allegories, Bosch and Dulle Griet and hedonistic paradises alternate with dazzling images: a sicilian performance by the Living Theater, faces that splash from the screen, overlap, suddenly emerge from the unconscious. Each moment of vision contains Time, which pulsates on the screen, compressed and flashing, at the speed of 24 frames per second.

Made for the Liguria program: 90 years of cinema. The precious superimposition of two diaries: the personal one, written and filmed by the director and his companions of moments lived in Manarola, and that of Telemaco Signorini, an artist focused on the Cinque Terre who feels the need to nourish his figurative obsession with theoretical insights for that same place where Amico's daily life takes place with Olympic prosaicity.

The house, which recalls ghosts from the past and acts as a place of remembrance, is the main character of a fascinating ghost-story.

The film is dedicated to Vittorio and Silvio Loffredo who, in the second half of the 1930s in Paris, using film excerpts found at flea markets, created a memorable collage film

Realized on the occasion of one of my photographic exhibitions of the same title dedicated to the Etruscans of Volterra. I intended to bring alive the funerary faces on sarcophagi, that, curiously, in shape resembled tv sets. I shot faces in color of living acquaintances in order to superimpose them on marble faces of dead people unknown to me, trying to give them an identity like those of the living. Using a battery of devices composed of a Super-8 projector, a 16mm projector and another one for slides, I rephotographed everything with a video camera directly on a unique screen effervescing with three cones of images in color, in black and white and at various speeds. The dissolves, both manual and non-manual, are manual in the proper sense of done by hand, mine and those of others; they were added simultaneously, to create variable human shutters.

Documentary about the Sicilian town of Palermo, then and now.

Through a series of interviews and sparse contributions filmed for the occasion, it tells the story of the contribution made by women to the Resistance movement in Liguria, from the first hours of 8 September 1943.

A journey through old Milan with reference to the prints of Achille Bertarelli.

One of the early short films of Italian independent filmmaker Fabio Salerno.

After the creation of Israel in 1948, Palestinians who chose to remain on their land were banded into farming communities. Most of this land has since been lost to Israeli kibbutz and moshav settlements. The Palestinians, who number one in six Israeli citizens, now must commute to work in Israeli cities, or farm land that is no longer theirs. They also must contend with discriminatory practices in housing, employment, and education, even though they are Israeli citizens. Centering on Umm el-Fahm, the largest Arab village in Israel, ON OUR LAND tells the story of an ill treated segment of Israel's population which has largely been ignored.

Short by Maurizio Camerani.

This extremely short film is dedicated to chronophotography, which—as is well known—is the prelude to cinema. As with one of my earlier films dedicated to Muybridge (The Naked Killer, 1982), this one was excavated from books and catalogues, that is, from typographic ink. I tried, in a certain sense, to reanimate the inanimable as does the photographer Duane Michals, having only, sometimes, three or four frames. I found older stroboscopic technology as well as more contemporary flicker effects to be very helpful here and there. I attempted to realize the cinematic identification of Skladanowksy with Avedon; contaminations, precisely, between creators of films and creators of photography, contemporary or not. It is surprising to see Michals, a contemporary photographer, bearing such a strong cinematographic resemblance to Londe, the proto-filmmaker. I hope, at least, to have told the story of their direct commingling, as if by a single secret author.

I dreamt of finding myself naked sitting in a café. On the table was a cactus. I was watching it. The cactus also looked at me - and the more it looked at me, the more it was blushing.

Short movie by Crudelity Stoffe.

Drama by Lord George Byron, music by Robert Schumann. Filmed at Teatro Comunale di Bologna, 1979.

A mother with a small bank account and a pessimistic view on the future of humanity. The desire for a nice funeral and a son "too" optimistic and interested in redeeming her. A priest to ask for help.

One of the early short films of Italian director Fabio Salerno.