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The Perforated Cameraman

In L’operatore perforato (1979) that plump sprocket hole comes into its own. It multiplies like a virus, riding serenely on the surface, nearly obliterating the images trembling underneath it. Near the close of the film, we watch another cameraman, perhaps shooting a Fatty Arbuckle imitator, cope with the invasion of perforations, not only from the top and center but from the edge. By now, when we can hardly tell the difference between frame and perforations, cinema’s two round-cornered rectangles, the image can be anything—a picture, or a zone of blank white.

The Perforated Cameraman

6.0 1979
Every Sunday Morning

For many decades after the Second World War, the Italian economy was so much weaker than that of its European neighbors that many of the "guest workers" in those neighboring states were Italian. This film tells the story of some Italian guest workers in Switzerland and highlights the discrimination they suffered. Pino has raised the money, after two years in Switzerland, to bring his wife and children to live with him outside the Italian ghetto. When he brings her brother to live with them, an international crisis develops.

Every Sunday Morning

8.0 1972
La Missione del Mandrillo

Pietro Rossini is a strapping young man that unfortunately spends most of his time at work chasing after two pretty young secretaries who are only too happy to return his advances. Tired of this endless chase and work waste, his boss sends him on an errand to Paris hoping this will help productivity around the office. Pietro quickly hits up his friend for a woman he can fool around with while he's in Paris, but Rita, the woman he meets, ends up being an large, boorish, unsightly woman. Once he arrives at his hotel, Pietro meets the young and lovely Nancy and attempts to romance her as best he can, but no matter where he goes, Rita is not far behind.

La Missione del Mandrillo

NR 1975
Appunti per un romanzo sull'immondezza

In the spring of 1970, between the African Orestiade and The Decameron, Pasolini shot a film for which he wrote a commentary in verses but never finished editing. The film was born as a typical Pasolini intervention: filming the strike of the garbage collectors in Rome, who at the time worked in dramatic health conditions, and filming the humility of their daily work, amidst the waste and scraps of society, in the squares and in the streets. Pasolini also filmed the faces of garbage collectors engaged in claims discussions and the result was an extraordinary anthropological picture of an unknown humanity.

Appunti per un romanzo sull'immondezza

9.0 1970
The Peaceful Age

Simon (O.E. Hasse) fought in the Spanish Civil War (1936-39), but now he is an old man, readying himself for death. His daily life is filled with memories, reveries, feelings, and small but meaningful encounters; these are the stuff the film is made up of. Some of the musings are of a hallucinatory nature, as when he meets with a tramp during imaginary walks. Others are more ordinary, as when he interacts with his son's family or enjoys looking at the pretty women in the building across the street.

The Peaceful Age

10.0 1975
Cineforon

A filmic homage to the German mime Helfrid Foron, a student of Etienne Decroux who worked with acrobats and tight-rope walkers. He frequently collaborated with contemporary musicians, among them Mauricio Kagel. My intention was to displace his gestures using a form of filmic doubling employing the technique of creating bispecular-asynchronous loops which mime—with extreme visual results—the actions and the objects on stage to make them stand out and to distance them from the action.

Cineforon

NR 1973
Public Interventions for the City of Milan

The film is ironic about the lack of actions for transforming city spaces; the few actions undertaken are almost always limited to the positioning of “poles and chains”: the temporary signs of a hypothetical transformation on the city. The film shows sequences of innumerable “pole and chain” barriers, commented on by architects, councillors, members of activity groups… who all underline the impermanence of these objects in view of some “elusive” transformations of the city.

Public Interventions for the City of Milan

NR 1979
Anna and the Fly

A particular shot, made with a lens that breaks up the image field into fragments and reproduces the optics of a fly, explores a room where there is a girl with a guitar. The shot, back to normal, shows a container with the fly and a jar of honey. The girl than performs various actions: she plays the guitar, collects honey from the jar with a finger, reads a book while the buzzing becomes insistent. In this way, an ambiguous and unusual relationship with the insect arises.

Anna and the Fly

NR 1979