Enrico Ghezzi

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Two old friends have urban adventures connected to the skull of an executed French aristocrat.

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“Why did you kill her?” Lou asks Philippe again. The life-odyssey of Joana, a modern-day Moll Flanders, continues as she moves through different times and places, like the stations of a personal via crucis, with occasional leaps into the present. From Paris to Rome and on to São Paulo. The body has lost every value, except the economic one.

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Inde Est is the title of the artistic contribution presented by cinema critic and situationist theorist Enrico Ghezzi at the ancient Church of San Ludovico in Venice for the third Internet Pavilion: The Unconnected (2013). Inspired by the Latin phrase fugit hora, hoc quod loquor inde est [time flees, and what I am saying already belongs to it] from Persius’s fifth Satire, Ghezzi’s durational performance consisted in a 8-hour mute speech that evoked the out-of-sync effect typical of his monologues for Fuori Orario [after hours], a radical overnight broadcast on avant-garde cinema airing on the Italian national TV since 1988. Miltos Manetas celebrates this cult figure of Italian television, filming him within the space of the Internet Pavilion. His portrait takes the form of a BlackBerry Painting, a simultaneous act of recording and painting that has accompanied Manetas’s practice since his early use of smartphones.

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A young woman wanders down an endless corridor, while other people knock at a door at night. A man takes a picture of Montmartre, two women hand him some money, while a patron manages from rue de Mhyra a network of Italian call girls. Adiba sings an ancient Moroccan song in a room full of children, while Vidya is performing her daily puja in Pune (India). Giuli sings to herself as she drives at night through Turin and runs to the station at day. Parallel stories where every character is caught “in a situation,” closed.

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Piero Tortolina has been a point of reference for a whole generation of film lovers. Pioneer of cinema-clubs and great film collector, he has been an invisible protagonist in the history of italian cinema.

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A voyage, from the Po river to Sicily, in search of the sense of culture for the italian population

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La Balena di Rossellini origins from one of the most beautiful Roberto Rossellini's dreams, an exemplary project for his autorial path. The film conceived, but never realized, by Rossellini took shape in his notes after a trip to Chile conducted in May of 1971, a trip made to conduct an interview-portrait of Salvador Allende, then actually carried out by the director of "Rome, Open City". October 28, 1971: Rossellini, back from Santiago, Chile, reads a newspaper reports of a beached whale on the Pacific coast near a poor village inhabited by fishermen. From this simple news comes a film script for a fable about wealth and poverty. A film whose shooting Rossellini would have been entrusted to the young student Claudio Bondì, just graduated from the Experimental Center of Cinematography.

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We started to make an extra to be included in our first DVD "Democratic Optimism", a collection of short films in black and white we shot between 1990 and 1999.

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Documentary focused behind the scenes of the making of the play 'io' by Antonio Rezza and Flavia Mastrella

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A woman in her flooded kitchen thinks of Ophelia and death by drowning. A nun wonders about her vocation. A girl, dumb by choice, walks around in Naples. A ballerina in a wheelchair. Three youths around a bonfire in a little island. A man secluded in a tower waiting for the end of the world. And many other stories.

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An old patriarch at the gates of death, who has been married five times, reunites his family and indulges in a sadistic game with them.

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Anthology of urban stories form seven Italian directors.

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A man and a woman have a weary relationship with no prospects or plans for the future. All that matters to them is to sustain poetic and philosophical discussions about the meaning of love.

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Docu-drama about cancer patients. An elderly farmer, believed to be mad by his family, dispenses wisdom to the other patients; an actress takes advantage of the hospitalization to shed light inside herself; a young doctor lives with schizophrenia his condition as a patient.

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Enrico Ghezzi cuts out porn magazines looking for a fake cataloging criteria, while Sergio Grmek Germani, off screen, reads and comments on a pornographic filmography edited by Marco Giusti (published by Italian magazine Filmcritica), correcting errors and underlining his insufficient pornophilia.

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Inspired by the "The wind of cinema" festival which every year deals with issues relating to the relationship between cinema and philosophy, it shows a conversation between the critic Enrico Ghezzi and some directors including Werner Herzog, Amos Gitai, and the philosopher Boris Groys. The theme addressed is the "Catastrophe".

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There's something wrong with the way things are perceived. A different, unfriendly view is to stand out among individuals as their own maker is spelling the rules from a tv set for them to keep on living or to die. No longer than a blow-up such an illusion will survive...

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