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Every day of her life, Angela kept a diary, filled with words and drawings, in which she recorded public and private matters, meetings, things she had read, everything. Including the account of two trips to Russia (1989-90). The period of the collapse of the USSR. A diary that she had been keeping in small Chinese notebooks, since before Dal Polo all’Equatore (1986), on our uninterrupted work on the violence of the 20th century. From our tours in the United States with the “scented films” of the late seventies to the Anthology Film Archive of New York and the Berkeley Pacific Film Archive...
This new instalment of Angela's Diaries concludes the trilogy dedicated to the late Angela Ricci Lucchi, with whom Yervant Gianikian made all his films, which recount man's violence against nature, animals and humanity itself. Lucrezia Lerro sensitively reads Angela's diary about her illness, giving voice to her intimate writing and to the dense poetics of the painful passages that seem to be paced at the rate of her heartbeats, word after word, as she desperately tries to overcome her illness. Themes include the war, Angela's political work and the promise made to her to continue working.
In this filmic comment on Fascist ideology - which uses footage from the recently discovered archives of Luca Comerio - invisible hands push captive animals to fight among themselves.
Found footage anti-war film comprising film documents of the Austro-Hungarian and Italian army on the Alpine front, and from first generation picture material by war-film pioneer Luca Comerio.
The memoirs of Raphael Gianikian, Yervant’s father, who survived the 1915 Armenian genocide in eastern Turkey.
Comprised of images shot by amateur photographers and German soldiers in the Balkans from the twenties through the forties, BALKAN INVENTORY was begun by Gianikian and Ricci Lucchi in response to the tragedy unfolding in the former Yugoslavia.
African Diary uses footage from a filmed personal diary shot in Algeria by an anonymous Frenchman between 1927-1936. Here, they reprise his cinematic jottings as he followed in the footsteps of the 19th century Orientalists like Flaubert.
Decaying nitrate film: cinema as an incendiary explosive bomb of memory.