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4 screens overlapping in part in the shape of a crooked cross and having initially each petal a single color and scent but then resulting in a corolla of rose, lily-of-the-valley, lily, cornflower, and fragrant artichoke. "My bestiary".
The construction of the film is very simple. Most of the time we see faces in close-up. Three pairs of faces, usually, on three different levels of superimpositions. At first, the faces are very theatrical, made-up. It's not clear whether they are men or women. They move only slightly. They are, indeed, godlike. As the film progresses, very unnoticeably, these faces begin to gain more life and masculine and feminine qualities. At the end of the film, after three hours, the faces are very real, and very human, and sexes and ages are very clearly defined: men, women, children.
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.
Collective manifesto by the members of C.C.I. It is a collective film, the result of an operation devoid of any aesthetic purpose: to verify the existence of any harmony between a fairly large group (twelve people) of members of the independent Cooperative. Someone, who had the idea, turned 60 meters of Ektachrome according to the moods –or discontent – of the moment and gave them to others to see. The others reacted, each with their own piece. It was then thought to call the film “circular letter”. It was not so simple and so quick: the operation, which started in June of ’68, ended in March of ’69.
Betty, a famous brasilian 'telenovelas' star, is in search of her twin sister Marlene, who vanished when the kids were four years old (Marlene is now a prostitute). Fragments of other stories, like that of an italian traveller Filippo who left in Italy Giuli, pregnant, and claims to have a split-personality, are inter-twined with the main one
This is a story about a Neapolitan guy, Antonello, immigrant in Turin, who, for a living, hooks on the street as Rosatigre. Sasà, a friend of his, tries to bring him back to Naples, but, after a tortured decision, Antonello chooses to come back North and to keep living “on the street”.
Lune (Moons) is a fragment from Cronache del sentimento e del sogno (Chronicles of the Sentiment and the Dream) and consists of a series of images-in-images of faces and bodies. It is a study of the significance of the face, movement and the character of (photographic) light.
Tonino De Bernardi and Massimo Bacigalupo met in the second half of the 60s and since then they have always remained friends, the two of them and their families. Massimo appears in several of Tonino's films and Tonino is in some of Massimo's films, an uninterrupted relationship, theirs, which has been a source of comparison and sharing for both.
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.
Elettra is adapted from the tragedy of Sophocles and played by non-professional actors of Casalborgone.