Virgin grain as a prologue to two acts lacerated by Artaud’s words. Distant faces flaking off the frescoed walls of the 15th century church of Santo Stefano in Soleto; an outpour of violence from the shot, as their eyes reveal the intimate atmosphere of the former roller mill “Cortelli & Imparato” in Corigliano d’Otranto, with a point of view shot that soften the shapes, flattening them into a precious shroud. Like a landscape lost in the camera obscura of an eye, eclipsing itself among the veins and arteries of a body that cannot be exhumed.
Carlo Michele Schirinzi
Carlo Michele Schirinzi (Capo di Leuca, Lecce, Italy, 1974) is a video maker and artist. In 2004, his short All’erta! won an award at the Pesaro Film Festival, which then dedicated the 2005 retrospective to him. Over the years, the Torino Film Festival has presented much of his work: Astrolìte (2002), Il nido (Special Mention in 2003), Oligarchico (2007), Sonderbehandlung (2008), Notturno stenopeico (Best Italian Short in 2009), Mammaliturchi! (Special Mention in 2010), and Natura morta in giallo (2012). Eco da luogo scolpito was selected at the Venice International Film Festival. He presented his first feature film I resti di Bisanzio (2014) at Pesaro Film Festival and at Doclisboa.
filmografia essenziale/essential filmography
L’amanuense (cm, 2000), Il sepolcro (cm, 2000), Dè-tail (cm, 2001), Trappe (cm, 2001), Astrolìte (mm, 2002), Il nido (cm, 2003), Fuga da Nicea (cm, 2008), Notturno stenopeico (cm, 2009), Prospettiva in fuga (cm, 2009), Mammaliturchi! (cm, 2010), Frammenti da un confine (cm, 2010), Eco da luogo colpito (cm, 2011), Natura morta in giallo (cm, 2012), I resti di Bisanzio (2014), Eclisse senza cielo (mm, 2016), Deposizione in due atti (2014-15), Padrone dove sei (2019).
“Deposition in Two Acts continues the search for places abandoned by civilization, deteriorated by the passing of History, and clinging in vain to life like dying heroes suspended in time, perpetually awaiting. The scarred faces of the frescos are so distant and aware; they scan the space inside the mill with their eyes, while you strain yours at the exhausting sight of these haggard surfaces; the gaze caresses the frescoed epidermis before violating it deep inside its arteries: the rape of these places is, in my way of seeing, a cruel and constant pathology of its concept.”
Carlo Michele Schirinzi
Stefano Urkuma De Santis
Kama soc. coop. a.r.l., In-Cul.Tu.Re, MIUR, Apulia Film Commission