Federico Chiari

This film is an homage to the Gaza Strip and to the possibility of hope beyond hopelessness. Ouroboros, the symbol of the snake eating its tail, is both end and beginning: death as regeneration. A 74-minute experimental narrative film that turns the destruction of Gaza into a story of heartbreak, Ouroboros asks what it means to be human when humanity has failed. Taking the form of a love story, the film's central character is Diego Marcon, a man who embarks on a circular journey to shed his pain only to experience it, again and again. In the course of a single day, his travel fuses together Native American territories, the ancient Italian city of Matera, a castle in Brittany, and the ruins of the Gaza Strip into a single landscape.

Around the sleeping bodies, some presences occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself under the flashlight. Monelle is a circular film without any narrative or hierarchy, without a beginning or an end, and it circumscribes a place of promiscuity and ambiguity between the different formats used—35mm and CGI animation—and the approaches of two opposites film attitudes—the structural cinema and the horror genre.

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La Gola (The Belly), Diego Marcon’s film commissioned by the Kunstverein in Hamburg, revolves around the correspondence between Gianni and Rossana. The two characters are portrayed by hyperrealistic dolls with digitally animated eyes and facial expressions. The combination of human voices, analogue dolls, and digital (post-)production brings forth hybrid characters whose status between analogue and digital defies clear distinction.

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An encounter between the kid and four characters represented by costume props: gloves, foulard, trousers, and pullover, and an encounter between the golden age of American animation and Italian opera.

A family gathers around a bed to sing a lament to their own deaths, accompanied by a blackbird.