Le opere e i giorni

Civitella San Paolo, an emblem of disorientation in the elsewhere of foreignness and non-return. Where works find no grounds for completion for reasons of need, desire or forms, where the days no longer respond to anticipation or duties and have abdicated their function of marking time according to the natural sequence of human life. Therefore, this isn’t a tale, but an inexorable peregrination in a mental and visionary archeology. Rather than real encounters, there are ghostly iridescences, allurements in a play of reflections.

“The final effort, a summary of an idea and a way of ‘making cinema’ that is absolutely foreign to any rule and any group membership. Thirty years later here is a return – that I feel is successful and proudly conscious – to the gestures of Necropolis and Trapianto. I am very satisfied with the result and even more than a little surprised by the outcome of such daring, such pitiless ‘willpower,’ without any self-pity, truly ‘Nietzsche-like.’ But you judge for yourselves.” (F. Brocani)