41° TORINO FILM FESTIVAL
SPAZIO ITALIA
IMPRESSIO IN URBE - SIRACUSA
by Giuseppe Spina, Giulia Mazzone
Impressio in-urbe explores the textures of urban space: the materiality of architecture, perspectives of a city that you will never see. A breakdown of the city’s covering from which the torn, apparently immobile matter emerges. It is the trace that everything and every gesture leaves behind: an identikit (or vivisection) of the space and time of the city.
Biography
film director

Giuseppe Spina, Giulia Mazzone
in 2010 they founded Nomadica, an association dedicated to the study and development of art cinema. They curate and organize events and programs in Italy and abroad, involving film masters, young directors, intellectuals, programmers and international artists. Their films have been presented at international festivals including International Film Festival Rotterdam; Animated FF of Annecy; Crossroads in San Francisco; European Media Art Festivals in Osnabrück, Germany; Interfilm in Berlin; Cámara Lúcida in Ecuador; Iowa City International Documentary Film Festival; Montreal Underground Film Festival; Pesaro Film Festival; Invideo in Milan. Dove vanno i vecchi dei che il mondo ignora? is their first feature; the film premiered in 2022 at the TFF.
FILMOGRAFIA
El tiempo del no tiempo (mm, 2013), Zauma (cm, 2014), Jazz for a Massacre (cm, 2014), Città-Stato (’92-’94) (cm, due versioni diverse: 2008 e 2015), Romnì (cm, 2017), Impressio in-urbe / Bologna (cm, 2017), Màcula (cm, 2018), Luminous variations in the city skies (cm, 2019), Macchina Infinita (cm, 2021), Dove vanno i vecchi dei che il mondo ignora? (2022), Impressio in urbe - Siracusa (doc, cm, 2023).
Declaration
film director
“The film is part of a series produced by Nomadica with the collaboration of various fine arts academies in Italy. Each film (Bologna, Siracusa and, still unreleased, Brescia) reconstructs an ‘impression of the city,’ it is a kaleidoscopic journey through time and urban space, a deconstruction of the surface of things, through filming and a relief of its fragments. Then these are melted together to make up urban aesthetics, with details that create the whole, the atoms that make things: the matter and patterns of city architecture, the lines of squares and buildings, the flayed skin of city. The human presence is in the background, while the voices and noises of the city intertwine and echo incomprehensibly. The grandeur of the architecture remains distant and detached in its apparent fixity, but the city wears out over the centuries, at times other than those of human beings. Thus we are crossed by the time and matter of each place, with a game that in some ways is a historical and scientific experiment.”