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Before the three feature films, Mario Schifano directs the camera towards the people around him to create real film diaries. His friends, his time partner and the artists he frequented are portrayed in their everyday life or object of the mechanical gaze of the camera, a filter through which to look at the outside world.
Anna Carini, Mario Schifano’s partner at the time, is the protagonist of the film. The young woman is observed, followed, questioned in close-up, in both indoor and outdoor settings, by the camera that partially strays into the scene and then briefly makes room for the author himself. —Tate Modern
Artists and poets meet in a dreamlike space between walks and performances.
A young filmmaker advocates the creation of a new type of film, devoid of a traditional plot and composed of blocks of sequences that have no specific interdependence. Subsequently, the theoretical statement leads to practical demonstration: abstract images flow across the screen, accompanied, for the most part, by snippets of conversation on a wide variety of topics.
16mm short by Mario Schifano.
A man drifts around Rome's tourism spots.
Trapianto heralds the end of utopia, the death of that underground, but is also the best prologue in Necropolis, which is not by chance found alive. It 's a film that establishes the passage of rolling between two friends, and Brocani Schifano, shared the same passions, and from living the cinema as a challenge urgent and vital, suspended between dream and action.
The Vietnam War was extensively televised, and Mario Schifano, in turn, filmed it from the television, in fragments, in keeping with a typical procedure of pop art and a fundamental technique of his work in painting. The director Marco Ferreri appears at the start of the film.
Experimental short featuring fashion photographer Bob RIchardson at work in his studio.
A spot for Absolut Vodka shot on video by Mario Schifano.