Demetrio Stratos was born in Egypt to Greek parents. He first came to Italy in the 1960s where he becomes the singer of I Ribelli, which had been the band of Adriano Celentano. In the 1970s he co-founded Area, one of the most provocative and innovative experimental pop groups. Area brought musical exploration directly to the streets and protest gatherings. The band combined rock, jazz, contemporary western music, ethnical themes and electronic sounds. Beginning with Area's experimental repertoire, and running parallel to this, Stratos engaged in a study of the voice as a pure musical and sound-producing instrument. His discography includes several voice-only records, while he worked with artists such as John Cage, as he was able to express a very wide range of tonality, and was able to emit even three different-pitched sounds simultaneously. He gets studied by physicians and phoniatrists. The paths followed by his voice lead us to discover the creativeness of Italian and European political and artistical movements of the 70s, whose heritage is often at the fundaments of today's society.

Ladyfilmine is an instant movie about the first roman edition of Ladyfest: a ten-year-old international no profit festival for independent music, politics and arts with a queer feminist focus. Four days in four different countercultural spaces, told by four ladies' voices: those ladies who have decided to take back a place to express themselves, in a country where they see it becoming tighter and tighter every day. Part black and white super8 film, part color digital video, Ladyfilmine shows Ladyfest Roma through different moods, alternating some home movie moments, which evoke past feminist seasons, with partecipant observations of the contemporary social and musical documentary.

The spectacle of life in 7 pieces of theater-film. The scenes are based on the dramatic moment of "Handbook of Italo-English Conversation" Professor EW Fulk. Shot in Super 8.

Otranto, Torre del Serpente, the easternmost part of Italy, the point where, lest we forget, East and West once touched. Today, the memory of that link seems to re-emerge as a consequence of all the illegal immigrants that disembark on its beaches, as their clothes, shoes and personal effects found along the coast remind us. To those among them that did not make it, we dedicate the canto of the polyphonic Albanian chorus of Lapardha that, on August 5, 2002, at dawn, sang one of its passage for the victims of the 1997 “accident”, in which dozens of Albanians died aboard a boat sunk by the Italian navy.  

“Lui ed io” tells the thoughts of a woman as a wife and a mother, and how she lived through these roles between obligation and choice. The woman, filmed through the footage taken by her husband, militant and always far from home, is revealed as opposed to her husband’s world. A reinterpretation of women’s world as a politic act, aiming to tell that love is an act of acceptance of differences, and also that personal memories are part of collective history.

The neutral surface of the screen is continuously traversed by luminous interferences. The surface, defined by the screen, is traversed by a beam of light in multiple directions, revealing bodies of different nature and identity. Light, as a technical resource, names the object and, in its incessant movement, establishes a play of correspondences. Light is the eye that forms a singularity from the whole. Light is the language that isolates from the indistinct noise of sounds.