A film shot “on the road” through and during a magnetic storm, revealed in the continuum of a cosmo-cathartic flash. I’m sitting behind the movie camera that is set on a tripod at the height of the horizontal axis that goes through Valentina’s eyes. I filmed my dear ones, Valentina and her mother, Giovanna, in a single block, a sequence shot interrupted by the stop at the end of the roll. Valentina and I shot Gasoline in psychic contact: Piero is in Valentina and she is in me. The film is the audiovisual registration of Valentina’s subjectivity, in the simultaneous, double role of director and star, filmed from a single, objectified point of view (mine and the camera’s). Once the shooting was over, I developed the material “my way.” It’s the last film, in chronological order, that I finished and it’s also the most beautiful; but it’s also the “first” for the one-unity Piero-Valentina. (P. Bargellini)
Pierfrancesco Bargellini (Arezzo, 1940-1982), also known as Piero, bought his first movie camera when he was 20 and pointed it at his youthful passions: competition cars and motorcycles. A few years later he met Marco Melani, who became his cinema companion and an actor in his films. He started to make a name for himself in the world of amateur filmmakers and won a prize at the festival of Montecatini. One of the members of the jury was Massimo Bagicalupo, a founder of the Cooperativa cinema indipendente, and he invited Bargellini to enter the brand-new world of Italian underground cinema. While working as an agronomist at the Val di Chiana Irrigation Office he continued to make films in his free time, but shortly afterwards, with the notice and support of the magazines “Cinema & Film” and the group “Filmstudio 70,” he left his job and moved to Rome. Here, during the early 1970s he worked occasionally for RAI and carried on his activity as an independent director in the world of underground cinema. During this period he suffered a series of misadventures with the law and ended up fleeing to Turkey with his wife Oriana and their daughter Rebecca in 1975. After returning to Italy he continued experimenting, jotting down his discoveries in a series of notebooks and fruitlessly trying to find financing for various projects for experimental programs for Rai. Bertolucci and Storaro consulted with him during preparation for La Luna (1981) to try to resolve problems with various special effects. But Bargellini progressively lost contact with the world of cinema and shortly thereafter his troubles with the law began. He was found dead, officially because of an overdose, at dawn on July 10, 1982.
Il teschio; La fiera dei sogni; L’incompiuta; Club 3P Battifolle (1965), Anno 2000 (1965), La striscia (1966), ...vi prego di accettare questo semplice bouquet di parentesi appena sbocciate ((())) (1966), Questo film è dedicato a David Riesman e si intitolerà «Capolavoro» (1967), Morte all’orecchio di Van Gogh (1968), Fractions of Temporary Periods I parte: Ovvero Plans- Séquences per una bambina (1965-1968), 360° di cinediario (1968), Tempo-Tempio-Ritratto (1968), Macrozoom (1968), Baraccone (1968), Water-Closet ovvero attesa per una defecazione (1968), Stricnina (1969- 1973), Fractions of temporary periods II parte: Due ore pomeridiane della bambina (1969), Trasferimento di modulazione (1969), Nelda (1969), Un ottofilm di Pierfrancesco Bargellini (1969), Zukie (1970), Gasoline (1970), Bacino Casa del lupo o di Tonino Massimo e Piero (1970, esiste solo in stato di frammento/only fragments), Oracolo (1970-1971, distrutto dall’autore nel 1974/destroy by the director in 1974), Erinnerung an die Zukunft (1970, non terminato/unfinished), Due silenzi e un’armonica (1971), Dove incominciano le gambe (1974)
Dispersi/Lost: Saluto (gennaio/January 1968, 8-16mm, 18fts, sonoro/sound, 3’30’’, bn/bw), Relazione filmata (1968-1970, 8mm, 24fts, sonoro/sound, 13’, col.); Abbandonate ogni illusione, preparatevi alla lotta (co-regia/co-director Marco Melani, Stefano Beccastrini, 1969, 16mm, 24fts, 40’, col.-bn/bw)