That Private Cinema collects those remakes, those variants that the passing of time, be it good or wrong, allow for the repositioning of our own gaze, to give new features to previous intuitions and feelings.
Luca Ferro, since the 1970s, thought of home movies, realizing their cultural importance (hence the need to protect it) underlining not only its subjective nature but also the “unaware documentary planning ability”. For its 14th Edition, Archivio Aperto presents some works of this pioneer of private cinema, who always fought to state its productive autonomy, both expressive and formal. As a filmmaker, in fact, he always moved outside of the main paths of documentary and independent filmmaking, starting with Impressioni a distanza in 1975, which we’ll watch in its digitally reworked version of 2007. It’s the first case, not only in Italy, of a film reflecting on home movies, through three moments filmed separately: the “Fascist” and war images shot by his father Giuseppe, a soldier in Ethiopia in the mid-30s; the set up sequences of the bourgeois Ferro family in the 1950s, and Luca as a child; and finally the images shot by the very same Luca in the 1970s, now a father himself filming: over time the looks change, liberating themselves, changing relations and the family intimacy, the landscapes change and the outer world too, and also technologies, films, chromatism and filmmaking and self-representation techniques
Ferro’s thought takes another shape, equally radical,with Coniglio, Leoni & circostanze varie which stages the device of home movies and the memories it produces, with a theoretical film worth a thousand books about home movies. With Inchiesta di famiglia, Luca Ferro presents the amateur shape in its deepest and literal meaning of the term: an emotional journey and a backwards inquisition into family history flowing into a mythology where true and false, but what is fake above all get mixed up, beyond recognition, but little does it matter because legends create families: in Ferro’s family tales we go through four generations tightly linked by a common epic story, thanks to the camera and the capability to cross the protagonists’ narratives. The tribute ends with Trascorrere con Laura and Hai presente?, dedicated to the life time with his wife.
In collaboration with the University of Florence, Department of History, Archaeology, Geography, Art and Performance and Doctorate Studies in History of Arts and Performance.