I Colonnelli di Roma
Documentario ITALIA 2012 25' |
Un omaggio a Franco Brocani, regista speri La sua testimonianza fa da sfondo al discorso sulla condizione italiana di oggi, sul senso dei festeggiamenti del centocinquantesimo e sul cinema contemporaneo. A tribute to Franco Brocani, Italian experimental director. His testimony acts as a background for the discourse on the Italian situation of today, on the meaning of the celebrations of the 150th anniversary and on contemporary cinema. |
Cosa significa vivere in Italia oggi, non solo da artisti ma da cittadini attivi.Il senso dell'Italia arretrata che rincorre le altre potenze internazionali. What does it mean to live in Italy today, not just as artists but as active citizens. The meaning of a backward Italy that chases the other international powers. Il cinema quindi come quantità e qualità di immaginario, opinione e orizzonte. Cinema as quantity and quality of imagination, opinion and horizon. Eight characters address these themes, figurative colonels on the command deck of culture and costume stage: actors, writers, politicians, authors. |
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.Riff, Rome Independent Film Festival - Italy 2012 NOTE DI REGIA Director’s notes. I Colonnelli di Roma is a documentary on the decay of contemporary Italy. The film is shot on the 17th of march 2011, day of the celebration of the 150th anniversary of Italian unification. A date made ineffective by the frustrating exploitation of the informative system. Contagious abuse of politics and mind, an attempt to glorify power. In our film the Italian unification is a pretext, a very current pretext bearing in mind the recent changes towards the new reign of technocracy. A pretext that searches for the chemistry of its interlocutors, taking us by the hand and guiding us towards the last morality. Eight characters talk, representatives of a residual Italian counterculture. Brave captains, partly mythological: contemporary speakers. The meetings are casually arranged, encounters stolen from some last minute call. Telephone contacts that were in a phonebook, filed during a festival or an exhibition focused on them, numbers that were waiting to be called. Cinema as encounter, catalyst between us and the rest. With them we try resetting the tones to an issue of feeling and soul, an infinite dialogue of individual, violent and polemical consciousness. It is in this adventurous controversy that I Colonnelli di Roma finds form and balance. A verbalism sometimes menacing, ready to destabilize the motherland and Italianness, but constantly able to create polished trajectories of action towards luxurious thematic spaces; Japan, the New Hollywood, fireworks. Rome’s streets are the stage of our film operation and of this modernity, governed by that pervasive aesthetic of symbols and perspectives distorted by false myths. A variety of elements historicized and archived by eras, by school manuals; a museum classification that we try to scan through practices hybridization. In fact it is a highly contaminated film, a film of voices and techniques, uniting the agility of high definition with fragments of tape and archive material.
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