There are many protagonists in this video: the woods, above all, and different types of animals, natural light effects, installations by various artists (these were installed along the pathway in a Piedmont Valley in the North West of Italy as a result of a production of material in the field occurred during the project “La collera delle lumache” (The Snails’ Wrath), the stream, the sky, and other landscapes. Each of these elements, from time to time, can ‘take over the scene’ of Soglie (Thresholds), becoming the momentary protagonist of the work, totally without any pre-established hierarchies. An intangible entity that was possible to document only by evoking it with this composition of images and sounds, all of which are absolutely authentic and not treated in any way during post-production. One could define Soglie (Thresholds) as an epic of the events of those days, that which was seen by the invisible eyes of the woods and narrated by the forest itself. I repeatedly dreamed of it over the long term that I devoted myself to the choice of images and sounds, and to their transformation, and now tell my dream to everyone who sees this video work.

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A documentary put together from an anonymous collection of 16mm home movies showing safaris in Central Africa filmed between 1957 and 1963. The footage, which was later edited and had a sound track added, shows a group of friends, lovers of small game hunting, meticulously filmed by a cameraman: a safari in French Equatorial Africa (Chad), footage of “kills” in Cameroon, Angola, Mozambique and other African countries, that have the impact of a colonial-touristic expedition.

Essay-film experiments, a third dimension of Situationist texts. Ralph Rummey text illustrated with a sequence of 12 shots from the film "Spione" by Fritz Lang in 4 different variants.

A film director suddenly dies during the preparatory stages of a documentary titled “Prostor v tej galaksiji” (A Place in This Galaxy). The film should have closely explored the ever tangled relations of personal memory and images – photographs, filmed sequences – through a reflection on their alleged documentary objectivity, doubting the very character of the testimonies whereupon one bases the sharing of a plural, collective memory. A woman-friend of the deceased film director – she herself a documentarist – decides to finish the incomplete project, starting out from the materials found in the flat where he lived: a bunch of pages of a fragmentary, incomplete screen-play; a heap of untidy, hardly readable notes; filmed sequences and photographs emerging from wardrobes and drawers; just a few, already shot, inscrutable and apparently disconnected scenes; literary quotations; personal recollections; loose thoughts and queries striking one during the idle time of one's waits.