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“Fascism was just a bunch of criminals in power, but it managed to deeply transform Italy. Nowadays the opposite is true, and the power of today’s democratic regime is managing to achieve the acculturation and standardization that fascism was unable to complete. The power of the consumer society that destroys other particular realities and impoverishes the diversity of human beings.”
Untitled“Do you maintain that the bourgeoisie is triumphing?.” “Yes, it is. And the neo-capitalist, consumer society is the true bourgeois revolution.” “I have banished the word ‘hope’ from my vocabulary; I continue to fight for concrete truths at each moment.”
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Pier Paolo Pasolini is one of cinema's greatest figures. The influence he continues to exert to this day, one of the of the many contradictions surrounding his life, has not yet been fully recognised. Responsible for a challenging, hard-to-classify body of film and literary work, and an equally explosive personality, Pasolini talks calmly, splendid as ever in front of the camera (despite all the uproar and expectations around the shooting of “Salo, or the 120 Days of Sodom” at the time), as he concisely explains his views on cinema and life. Bertolucci thus achieves a true portrait, allowing Pasolini has to talk about his own work and ideas with the filming of Salo as a starting point, and weaving in an interview by journalist and documentary maker Gideon Bachmann with photos by Deborah Imogen Beer also taken at the set of what would be, due to his early, violent death in 1975, his last film.
UntitledImages of 'Italian Popular Bench' have been realized in approximately 6 years, since autumn of 2000. They frame the same park bench in Finanze Square, in Rome. Since the beginning of the new millennium this bench has given rest and shelter to hundred of persons, becoming a witness of the passage and the meeting of people of all etnies.
Flexible work, an unpredictable and precarious life, infowork, expropriation of communal space for use by the transnational companies that rule the empire... the precarious working conditions in which millions of people find themselves within the global society that is being constructed.
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This film is born from the discover of 4 short film footage in a street of Barcelona (real found footage!) showing: 1. a tourist with a photo camera sit on the ground 2. a small rowing boat go away 3. a couple come down from a staircase 4. a gun shooting from an old, unknown western film The film protagonist is a voice without a body searching your organic identity between the images. The voice try to find a link between the 4 film footage, but this is extremely difficult, and perhaps useless. The film pictures are: the four real found footage films; home movies pictures; documentary pictures in public domain (war films, naturalistic-scientific film, and a film about the day after the rise of Berlin wall); original shooting.
This film is born from the discover of 4 short film footage in a street of Barcelona (real found footage!) showing: 1. a tourist with a photo camera sit on the ground 2. a small rowing boat go away 3. a couple come down from a staircase 4. a gun shooting from an old, unknown western film The film protagonist is a voice without a body searching your organic identity between the images. The voice try to find a link between the 4 film footage, but this is extremely difficult, and perhaps useless. The film pictures are: the four real found footage films; home movies pictures; documentary pictures in public domain (war films, naturalistic-scientific film, and a film about the day after the rise of Berlin wall); original shooting.
