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When "Billy the Liar" kidnaps a young girl's dog, she calls on her friends and the local child sheriff. He sets off in pursuit but is waylaid by Indians but manages to capture Billy who is sentenced to a severe whipping.

“Fight, politics, fantasy, madness, expression. I made this film, detached moments, connected in my psyche: poetry intervention in the Gaiola style, my love for the sea, for women, for the Nemesiache, for beauty. I dream in insomnia of a reality that deforms beauty... I dig, I penetrate with my eyes through prohibitions and disfigurements in my expropriated territory. I play with the sadness of a fragility determined by infinite mobile interests: spaces for me, spaces for others." L.M.

A film by Cioni Carpi

Short film by Michele Sambin.

Made in 1971, "Comitati Politici" encircles some exclusive witness of the union spokepersons, the employees and the factory workmen at the time.

Titled Power, Tretti's sophomore film was a sort of Mel Brooks' History of the World, in which Tretti explored the history of mankind from one precise point of view: how the powerful ruled over the weak. A man confused as the God of Fire in prehistory; Jesus and Muhammad deciding who must eat what and when because of a power no one has seen; Tiberius Gracchus killed by the senate because he was fighting for the people. Tretti had a bullet for everyone. He loved to unmask those who claimed to be on the side of the less fortunate, showing the three powers - military, commercial and agricultural - sitting on three thrones and chatting on how they can suck life out of men and keep power tight in their hands.

A reference to the anarchist Giuseppe Pinelli, who died mysteriously on December 15, 1969, while held at the Milan Police Headquarters for an investigation following a bomb explosion.

A simple model photo shoot ends up in horror and violence.

1971 / 8mm / color / sound

A film that has chosen as its protagonist its own negative and will remain committed to that choice until the very end. More precisely, nearly positive, or rather, not all negative, it detains two characters in constant solitude afflicting them with visions and apparitions of the epoch of man and the epoch of the cinema.

Among the protagonists of this film, made for the sixteenth Milan Triennial exhibition “Lo spazio audiovisivo”, were Gau Aulenti, Vittorio Gregotti, Andrea Branzi, Bruno Munari, Nanda Vigo, Virgilio Vercelloni, Enzo Mari, Gianfranco Bettetini, Aldo Grassi, Costantino Bardi, Alessandro Mendini, Pierluigi Nicolin, Gillo Dorfles, Davide Mosconi… interviewed by Ugo La Pietra, who then transferred their statements onto a large “diagram of objectives”.

It is set in Naples and faces the so-called cult of the "holy face", examined in the light of the complex Neapolitan religious and religious framework and above all in reference to the cult of the deceased.

Images, abstract forms of light, created manually, leading to the macro world of plants, trees and earth. The real African drums and John Coltrane's Ascension make up the accompaniment along with the words of an old farmer, a fruit grower, about the grandeur of nature, about its small or showy demonstrations. The old tired man also complains bitterly that man has little regard for nature. The Blues are a sort of poetical-political glossary of the present time (Italy in the 70s); they start from the "vegetal", to get to the human (or what's left of it), to its political dissolution. This is a key movie for understanding the transition of the cinema of Lajolo-Lombardi, from the militant films of the early '70s , to the following isolation.

Roads designed for cars, concrete overpowering the rustic building that was a sign of a house somehow possessed, not a trap. Hard-packed gardens, good only for motorcycles. Brescia: reality or nightmare? The public housing is faded, sad. Blocks left there, a neighborhood without connection. Kids slide on mounds of dirt and garbage. Man, where are you going? (Luciano Spiazzi)

A stop-motion musical film with plasticine figures; a satire on relentless over-civilization.

The film is a denunciation of Western capitalist society, which exploits the poorest regions in the world's Orient. The film opens with a closeup on a newspaper article that reads, « What Italian industry offers Asia. Modern manufacturing, sophisticated technology and willingness to do business with the East ». The following sequence is set on a beach, where musicians play Arabic music, and a dancer moves sensually. At a certain point the director, Luginbühl, interrupts the scene, even slapping the dancer's face. This is clearly an allegory of how Western capitalism exploits and enslaves the East.

An Italian movie.

This film captures 14 minutes of the real life of a young mathematician.

Produced in 1971 by the collective behind the magazine “Che fare” and directed by Francesco Leonetti and Arnaldo Pomodoro, the film analyzes the socio-political context of 1969-1970 Italy, denouncing the death of the anarchist Giuseppe Pinelli and recounting the defamation lawsuit filed by police commissioner Luigi Calabresi against the weekly magazine “Lotta Continua,” which had accused him of the murder. Combining different genres and temporal perspectives—documentary and fiction—the film stands as a significant example of the “militant cinema” that became an important tool for counter-information in the 1960s and 1970s. Presented at the Mostra internazionale del Nuovo Cinema di Pesaro in 1971, “Processo politico” was deemed excessively experimental and provoked harsh reactions from audiences and critics alike.

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.

‘Castagnoli is the auteur of Valentino Moon, a little Italian gem (is it Rome, is it Venice?) : streets, people, a market, all very quickly and every three seconds (yes it’s Rome and it’s a baroque film by Bernini), a dancing ‘Pierrot’. Pachelbel’s Canon adds to the jubilation. Jouhandeau could have whispered a title to Castagnoli : ‘Life should be a celebration.’ D. Noguez.

Animated short about politics.

Fantastic story. The actors, covered with jute bags, are pupils of the primary schools of the fishermen's village of Cagliari.

Documentary about futurist painter Gerardo Dottori.

The history of an Italian seasonal worker in Switzerland in the 1970s, Giuseppe, fighting for his rights as a worker and parent.

Monologue

A film eroticized by prolonged baths in silver salts. Complete exposure of reclining bodies and their lascivious perambulations. Licentious characters in incestuous copulations of carnal metamorphoses and abnormal couplings. The transformations of their bodies in totemic visualizations of a uniquely local rite. Made up of fantastical phallic doublings and entanglements of purely fantastic flesh in dissolution. The entropy of a gymnastic grotesque. A film of smiles and happiness.

The story: the death of a dog, filmed subsequently, a violent death because it is caused in a veterinarian’s clinic; a man in a white coat injects the strychnine… The film: afterwards there’s a moment when the animal’s eye emit violet-blue flashes, then nothing, but only apparently. Now everything is sweetness, what continues is death: the voyage into death – the transfiguration – the images that return, only to disappear from memory, emerge from the recollections in a purifying vortex that take them back to their essence. It’s the gradual breaking down of the image into form and then into colours and then into light and finally it’s the beginning: the vibration that is the matrix of sound of light of life. It’s the cosmos that makes that meat good to eat for a million years.

“Time consumes images, time consumes sounds”. This phrase is punctuated over time with words and movements by a "human metronome".

A day in the life of Marisa, a young Italian woman with 2 children in the borgata of Magliana, in Rome, in the mid 70s.

A work on the attention of the spectator, whose sound is improvised live by the audience on the unpredictable movements of the images.

Experimental short by Gianfranco Brebbia.

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.

A visionary trip into a common man's subconscious.

Violinists Coen and Buffa, cellist Lanzillotta, and harpsichordist Perrotti Bernardi filmed during their performance.

A young woman comes home and discovers that she has her period. She is forced to change her sanitary napkins continuously, while her husband eats eggs in the kitchen. Towels invade the room, then the apartment, then fall into the streets of the city. The chosen places are the headquarters of financial, political, police and religious power. They are centers of oppression.

A home movie by Piero Bargellini.

Experimental short film.

The neglected things, the things we hardly pay attention to, the things we see while thinking about something else.

In the arabesques of a castle, a vampire arrives.

16mm dairy film by Pierre Parat

The film analyzes the lagoon environment and highlights three different modes of image-sound relationship.

The film was a long and difficult job, even dirty and melancholic, even cheerful for certain forgotten finds, like raking an undergrowth forgotten for years, where you find the dry leaves of the time, rotten mushrooms and a few flowers. We set out to collect everything, the reels of perfect copies (few), the mysterious rolls of film and the dirty clips: we had placed the slow motion video and the projector in the centre, the stuff was all around, well ordered or in heaps or scattered.

Contrast between different portraits of women, between the public and the intimate.

Short movie by Luca Maria Patella.

A succession of visual emotions in a sort of “filmed rotogravure,” where sequences and segments follow an ironic and dramatic logic that highlights the obsessions, the poverty, and the myths that shook the neoconsumerist society of those years. This approach frames, but at the same time transcends, pure reportage, venturing into a reflection on the meaning of seeing and imagining. The techniques employed range from direct rotoscope to works-in-progress, from citationism to photographic contamination.