Alberto Grifi

Fuori Orario airs for the first time the 13 hours of footage from which Alberto Grifi and Massimo Sarchielli made Anna, plus other video material filmed during the same period. Anna's 'off-screen footage' allows us to take an even closer look at the characters and events that are the protagonists of this unique film.

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After its premiere at the Berlinale Forum in February '75, Anna was also presented in Venice, the film was followed by a very well-participated debate, alongside Alberto Grifi there was Adriano Aprà, and among those present was Tatti Sanguineti, the author of a very articulate critical speech. The footage of this meeting is part of the 30 cassettes containing the video footage from which the film was edited, thanks to the work of Anna Maria Licciardello, the Cineteca Nazionale with the Fondazione Grifi and the La camera ottica laboratory in Gorizia.

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Alberto Grifi host at the exhibition Visioni Sconsigliate (Pescara, 2004) tells Flavio Sciolè the genesis of his masterpiece 'Anna', the staging reversed, the whole back, the transition from film to the video, the discovery of free spaces.

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In the film we find some scrap of slow motion they see a Monica Vitti trying to cry, a meeting between Antonioni and Grifi, a film shot in the concentration camp of Auschwitz with a survivor who recounts those awful moments, a glimpse of Palestine today, Grifi's reflections on the prison.

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7 April 2006 Alberto Grifi, a year before his death, is interviewed for the last time by Roberto Silvestri and canecapovolto. What emerges in the interview is the portrait of an underground filmmaker who was always intrigued by the dual aim of pursuing scientific and artistic research simultaneously, and whose cinema, influenced by Grotowski's method, was made by people whose objective was to understand how life works by interpreting roles that allow them to live experiences which were totally different from their own ones.

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The documentary focuses on the impressive event of the Italian youth world organized at Parco Lambro in Milan in 1976. The gathering, four days dedicated to counterculture and pop music, was attended by students, young people, workers, lumpenproletarians, feminists, gays and young people from extra-parliamentary groups. The memories and testimonies of those who organized, sang or simply participated will be a commentary on the splendid images of the time. For the first time, meaning is given to the exclusive and complete material shot by Alberto Grifi and six other operators at Parco Lambro in 1976.

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Alberto Grifi, an experimental filmmaker, becomes aware of the experiments conducted by Dr. Kanudo, who, following in the footsteps of T. Leary and A. Huxley, documents the effects of psychotropic substances on the human mind. In collaboration with engineer Norsen, Dr. Kanudo invents a machine capable of visualizing mental images. The scientist's goal is to document, in a mirrored manner, the mental experience under the influence of ketamine, a substance known for its hallucinogenic and dissociative effects. Dr. Kanudo agrees to have the experiment filmed. The filmmaker also takes on the task of finding two patients to take ketamine and attends a rave party, where he documents the use of the substance in such gatherings. Meanwhile, in the laboratory, everything is progressing well until an unexpected reaction from the second patient to the administration of the drug and a raid by the authorities threaten to derail the situation.

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This film deals with the theme of the heritage left to the underground cinema by the historical avant-garde.

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A film about Alfonso, who was the protagonist of the third episode of Paisà (the street urchin who steals the American soldier's shoes). A reflection on neorealism, filmed with Michele Schiavino and Maria Paola Fadda, third special Sony video prize at the Locarno Film Festival.

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A documentary ostensibly about Anna, a young drug addict taken off the streets by one of the filmmakers. Through her they attempt to explore the social issues from their hippie perspective, instead they create a revealing, uncomfortable self-portrait and inadvertently raise questions about documentary film-making.

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From Paolo Brunatto's series "Scheggie Di Utopia".

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Fuori Orario airs for the first time the 13 hours of footage from which Alberto Grifi and Massimo Sarchielli made Anna, plus other video material filmed during the same period. Anna's 'off-screen footage' allows us to take an even closer look at the characters and events that are the protagonists of this unique film.

Open details →

After its premiere at the Berlinale Forum in February '75, Anna was also presented in Venice, the film was followed by a very well-participated debate, alongside Alberto Grifi there was Adriano Aprà, and among those present was Tatti Sanguineti, the author of a very articulate critical speech. The footage of this meeting is part of the 30 cassettes containing the video footage from which the film was edited, thanks to the work of Anna Maria Licciardello, the Cineteca Nazionale with the Fondazione Grifi and the La camera ottica laboratory in Gorizia.

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A trip in an automobile described in the style of the phonetic poetry by Patrizia Vicinelli.

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In the film we find some scrap of slow motion they see a Monica Vitti trying to cry, a meeting between Antonioni and Grifi, a film shot in the concentration camp of Auschwitz with a survivor who recounts those awful moments, a glimpse of Palestine today, Grifi's reflections on the prison.

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This film deals with the theme of the heritage left to the underground cinema by the historical avant-garde.

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During his stay in Italy, Harlan accepted a commission from Rai and created a ruthless portrait of society through an archetypal setting. This film, set in a Roman school and filmed inside a classroom during a lesson, is a ruthless portrait of students and Italian society after the end of the protest movements of previous years.

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Michele, a political prisoner, witnesses the violence and fury of guards against a drug addicted prisoner.

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A day in the life of poet Patrizia Vicinelli who tries for the umpteenth time to free herself from drug addiction.

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The intervention of a student at the "counter convention" at the Fabbrica della Comunicazione di Brera, against the convention on anti-psychiatry by A. Vermiglione.

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A documentary ostensibly about Anna, a young drug addict taken off the streets by one of the filmmakers. Through her they attempt to explore the social issues from their hippie perspective, instead they create a revealing, uncomfortable self-portrait and inadvertently raise questions about documentary film-making.

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A prison escape gone wrong. A man and a woman meet in an apocalyptic scenario, in the midst of an obscurantist wave of repression of consciences.

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In the distant future, a spaceship inhabited by a group of young descendants of a "subversive" minority who escaped the destruction of the Earth, recovers a capsule in which the hibernating body of a reactionary warmonger has been preserved, who after having caused war and death, it has abandoned the now unlivable Earth. The visual experimentation aimed at the liberation of the gaze is intertwined with psychedelic visions on the one hand and with the orgone theory of Reichian memory on the other.

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