cinema

Grab and record

The style, as noted by Marcel Proust, is never an embellishment, as some people believe, is not even a technical matter, is - as the color for painters, a quality of vision, the revelation of particular universe that each of us see, and that others see. The pleasure to introduce us a universe in addition, a tone, a color, a shape. Speaking of form now seems almost trivial seeing what are the contents that afflict us not only on TV but also to the cinema. The form is essential to understand the shape and we need to think about boundaries, about how, research.
The cinema (at least some cinema) will never end. Especially one that shifts ever forward the boundaries of the imaginary film, escaping any definition that limits in areas defined and closed . This is why it is so important and so hated. But apart from the mass boycott by the media, what can happen, wanting to be pessimistic, is to stop, motionless, to crystallize on codified forms, forgetting his true nature, which is not to just show the reality but also to know how to interpret and reveal in its myriad forms.
The film, in its highest form has widely demonstrated its maturity, its expressiveness, its necessity. There was some discussion on the forms, intentions, distances, now try some preparation, some reflection on its borders, that is on that border area where things are often more interesting and where they develop new forms and where you can imagine a different future .
Staying at the border (any border it is) involves discomfort and needs. The conscious filmmaker knows that movie where there are no certainties or safety requires (in addition to a new production set) a moving image, emotion created by a liberal establishment, where it is allowed to get lost in the extreme. (In Italy there is this film, even if it's hard to be seen. Two examples of all: "An hour alone you would like to" by Alina Marazzi - "The mouth of the wolf" by Pietro Marcello - both found in the series of Feltrinelli documentaries). Cinema for all, understandable to all but not accessible to everyone. We must try to strut, no one offers it to you, no one submits it you.
Look in strange places. This "condition" of the film is necessary to give some off-line filmmakers the chance to see the metropolis in the desert, or in the boundless spaces of the desert not only the decline of man but also his subtle beauty hitherto undiscovered or told. This road leads to a considerable distance from the banality of reality, to an area of mystery, that the camera has the task (and the vocation I would add) to grab and adjust. It is precisely at this point that come into play as the author, his intellectual discipline, the clarity of his artistic consciousness. Combine short critical intelligence and talent. It is when you call into question the boundaries, shapes discounts, easy ways that you are confronted with the actual staging, with the completion of the form. The technical choices are never casual. They are the result of routes, views, beliefs, even an infinite number of doubts. The search for a comprehensive definition of how to confront and overcome the barriers of pre-established form of art is not easy topic to tackle. Conceive of the filmmakers as creative elaboration of the evolutionary process of our time. This concept will first have theorized, then put into practice by the great filmmakers of the last century. Recognize it - even if it is difficult to pursue - by many filmmakers of today. But not enough to overcome the boundaries and be elsewhere as well. Being able to overcome their own way of making films is not easy. It provides courage, awareness and I believe a large dose of insanity.