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Every Saturday a bunch of youths use to meet at a disco in Milano. Among them soon love and passion explode between a dance contest and another.

Luciano Emmer reconstructs the dawn of Italian TV advertising, in two parts: "Gli anni ruggenti" (The Roaring Years) and "Ma chi l'ha ucciso?" (Who Killed Him?).

The film relates the beliefs the author held for a certain time concerning water and diving into it. It all begins with a dive and with a whirlpool that never existed; two visual prototypes on the basis of which the mischievous view of the author created a filmic inversion of water and its flow, of the diver and of the imaginary whirlpools. This expansion, unforeseen in spontaneous natural phenomena is, however, foreseen by the very little spontaneous nature of the diver, who, after repeated efforts, ends by realizing a plunge which is at once fatal and desired.

This documentary takes its cue from the death of Padre Pio and from the atmosphere of intense popular mourning, so as to examine the birth and development of one of this century's most exceptional myths

Rossellini explores the frescoes in the Sistine Chapel during a concert by the chorus of the Cappella Musicale Pontificia conducted by Monsignor Domenico Bartolucci.

Robotic presentation of the myth of Sisyphus.

Short by Studio 970/2.

Valentina Berardinone is an artist who favors the use of particular kinds of resin in her paintings and 'assemblages' which often represent the freezing in time of a falling drip–at other times it is a whole flow of liquid pouring over a staircase to be frozen in its slow advance. But even in their fixed state all these images refer to movement, either past or potential, for their manner of presentation. And this movement, which is necessarily frozen in the paintings and sculptures, is restored to its origins by Berardinone through the cinema. From her first work, Silent Invasion, she has reconstructed on film the impending descent of a mass of resin down a flight of stairs, this movement being repeated and emphasized through the use of a magnifying glass.

Playing with yourself, asking yourself questions and giving yourself answers. With the video delude yourself that you are not alone.

A journey in a territory where man-made and iconic artifacts are.

A walk through the streets of the city. Work on the edge of a paradox, because it touches the problem of ideology in its own more ambiguous boundaries, hovering between the message of proselytizing and critical reflection, including the assumption of public responsibility by the artist - here he becomes almost a peaceful militant and political agitator, well beyond his role - and the “secret” size of the politics as entirely subjective passion and enthusiasm for life, but also as a moral obligation.

In this case taking place means changing places, a complete and mutual transformation, as is seen in the eternal contrast between bios and thanatos. In the video changing places becomes a moment of identification, favored by the ambiguity of a date, 1949 which is the only element two people have in common, since one of them died and the other was born in that year.

On the subject of this film and its title, Pettena comments: “In March 1972, coming out of the studio of a local TV channel in Salt Lake City, after giving a live interview on a program broadcast in the morning, I saw some boxes that contained many small reels of 16 mm film that were being thrown away. I had the idea of putting my hands in and grabbing as many reels as possible, and that is what Idid. Then without checking their content, I joined the filmstrips together and showed them that evening (at the end of a public lecture on my work), presenting the whole thing as one of my films and seeing it myself for the first time.” They were out-of-date promotional films, many of them in two copies, commercial advertisements as well as electoral propaganda. So the screening proved particularly provocative for an audience that had come to attend a “cultured” lecture and found themselves, in an insistent manner, treated as an audience of “advertising skits.”

A film made up of four long shots filmed in 1973 with a Fuji camera.

Short by Studio 970/2.

16mm short by Laura Grisi.

Private diary, from which emerges sensations and emotions that arise from affective relationships.

The theme of subjugation in an experimental (and political) film by an artist who looks to Dziga Vertov and the historic avant-garde.

In 2022, the Museo Nazionale del Cinema in Turin received around 200 1950s-60s Crodino adverts from the Centro Studi Piero Ginocchi of Crodo. Volunteers had rescued the films from destruction, prompting the Museum to begin cataloguing them to trace their history and features. The ads, created by various production companies, include works by Gamma Film, founded by Luigi and Roberto Gavioli—key postwar Italian animators. Their collaboration with entrepreneur Piero Ginocchi, creator of the “light, non-alcoholic drink with a refined flavour,” led to numerous adverts that boosted Crodino’s popularity. Gamma Film mixed animation with live action and featured Brigitte Bardot for her iconic voice and persona. However, Bardot never holds the product on screen; her status as a sex symbol—especially after And God Created Woman (1956)—provoked backlash from Catholics. SACIS, RAI’s advertising agency, banned such imagery, so the drink was instead placed in the hands of everyday consumers.

OihccepS = Mirror.

A film by Cioni Carpi

Based on the homonymous story by Andrea Granchi in the form of a parodied biography, the film retraces and uses, on the edge of a marked and sometimes bitter irony, that heterogeneous accumulation of materials, documents, images and objects that represent a life starting from childhood. The key to the work lies in the inversion of the natural relationship of youth-old age, in the paroxysmal and comic-pathetic exorcising of 'passing time' and in the paradox of a reverse 'career' in which, in the name of conventional and deceptive ideals of success and health, the protagonist progressively loses pieces of himself, declines and transforms until the final rhetoric epilogue.

The film begins with a shot on the countryside near Padua. A young man goes slowly towards the camera carrying a big red flag, referring to the student revolts of 1968. The camera follows the protagonist ..

Short by Studio 970/2.

Fughe lineari was born from the idea of ​​a film about moving lines. The lines of a female body are born, get lost, blend into the lines of the landscapes of technological civilization that attack, contaminate, destroy memory – or desire? - of love.

Short graduation film inspired by Anaïs Nin's private manuscript diary and Antonin Artaud's "Letters From Rodez".

A family portrait in blue.

Short movie by Sandro Chia.

Produced in January 1974, just after the death of her husband Giovanni Pirelli, the last film by Marinella Pirelli, austere and moving, appeared as an attempt to exorcise this event and the elaboration of grief. In the double role of actress and director, the artist records herself in movement without controlling the image. - Érik Bullot 16mm, digital transfer, colour, sound

A boy falls in love with Cicciolina without ever having met her, but discovers that she is a very different woman from the one he had imagined. He transforms into Pygmalion to make her the woman he had dreamed of.

Performance of Ketty La Rocca's text Dal momento in cui... by Giordano Falzoni, at the 1973 Rome Quadriennale.

A brief tracking shot between two train stations in Wuppertal is repeated six times with imperceptible breaks; the seamless audio results in a shift in perception, rendering what is actually fragmentary but repetitive unitary but different.

An overview of some ways to get creative with super8 filmmaking.

Lost film: Filmed report (1968-1970, 8mm, 24fts, sound, 13’, col.)

Attempt to express within one's own limits.

16mm film by Marinella Pirelli.

The staircase becomes a real prison, which traps the individual.

Integrative short film for a multimedia theatre play.

An image that recalls childhood, frees the verbal stream of memory and the subconscious, reduces words to an indistinct groaning coming from the innermost recesses of the body, as amorphous psychic matter.

film by Gianni Emilio Simonetti

Short by Michele Sambin.

Land Art performance by Nanda Vigo.

The film tries to demonstrate the way to regain possession of the city not so much with physical interventions but with behavioral and mental operations. "To live is to be at home everywhere: the phrase, almost a carousel slogan, opens the film as you start a poster, a sort of password to which the smiling face of Ugo La Pietra - all intent on the street making the beard reflected in the glass doors of a large door - offers the evidence of the images. Cinema for La Pietra becomes an indispensable means for analyzing and decoding the environment, recording the traces of an original creative activity, dismantling and reassembling the topoi of urban architecture, creating behavioral indications capable of giving life to "one's" city . (...) ". (Paolo Mereghetti, 1977).

Made on the occasion of the XV Triennale di Milano, the film was shot inside the Triennale which, empty, expresses the tension and expectation of an artist in front of his "big opportunity", finally called to express himself through a great exhibition in an institutional venue.

Scratched film with sensory effects.

Film poem in negative by Pier Farri. The second part of his trilogy 'Night scenes of artists and poets'.