Anna Marziano

Roubaix, a city with an industrial past, is today one of France’s most destitute areas. During six months of shooting in public places, the filmmaker asked the townspeople to think of one or more things they had been told in the past and that had somehow changed them. Through thirteen sequence shots and microscopic images, she then constructed a sort of cartography of micro-transformations of human trajectories, a poetical study of the dynamism of individuals. In between the extraneousness of the images and the intimate closeness of the voices, the ambiguous space of the singular/plural identity is offered to the experience of the public.

Which artistic practices are possibile in a society that revolves on artificial needs? An open consideration through the work of the artist Dan Perjovschi. An invitation for a walk along the imaginary axis of the sight.

The Mutability of All Things and the Possibility of Changing Some explores our human adaptability in light of catastrophe by way of seminal literature passages implying a transitory social body.

A reflection on the concept of pain through an immersive flow of images and words.

“Farsi seme is silent. Silent like the plants that surround us. Silent like the seeds that I began to collect in places where I would go for a walk. Collecting blood, collecting seeds. The power of seeds represented the intersection of solidarity and singularity: it wasn’t only a no-longer-being-a-flower. There was a multiplicity of forms, a lushness, the intricate delicacy of their forms… I thought of translating venous and menstrual bloods into two different natural pigments, hematite and rubia tinctorum”. (Anna Marziano)

This film is composed of 5 horizons, each one offered by the filmmaker to the voices of some passers by met in Apulia, in June 2013: their words draw closed and open spaces, paths of illnesses and healing.

Inspired by the last essay Charles Darwin wrote on the action of worms, Anna Marziano crafted a film where the cultural and political action is placed in continuity with the work of earthworms, digesting and feeding the soil microscopically day after day. The film intertwines direct observation, video projections and the decay of some film negatives buried in the ground in the attempt to keep visual traces of the life of micro-organisms.

Set to a breath-like rhythm, Anna Marziano’s Beyond the One is an essayistic exploration of love’s various guises, considering different attempts at courtship, living together, and sustaining connections with people once they have died.