Conversazione con Franco Maresco

The mystery of entire districts of the metropolis that are emptied of human presence. A disturbing new order that investigates and represses. The lives of three women intertwine in an ambiguous game of escapes and captures, in which the roles of victim and executioner are exchanged to the point of confusion.

Massimo Bacigalupo, in his house in Rapallo, talks about his cinema, which passed through the festivals of the FEDIC circles and then in the lively and active Rome at the turn of the 1960s and 1970s. Massimo talks about his films and recalls his encounters with Mekas and Markopoulos, the fundamental one with Tonino De Bernardi, Pia Epremian and the Turin group, the vicissitudes of independent cinema in Italy and the relationship with the USA.

Portraits of women, stories from their past and their present as prostitutes working between Italy and France (and Brazil). Women who used to think they were lost, and men just as lost as them.

“Why did you kill her?” Lou asks Philippe again. The life-odyssey of Joana, a modern-day Moll Flanders, continues as she moves through different times and places, like the stations of a personal via crucis, with occasional leaps into the present. From Paris to Rome and on to São Paulo. The body has lost every value, except the economic one.

Experimental short made from scrap film material. Coda is after the end, it's the countdown, it's skin and film, it's 35mm, it's digital, it's a game, it's pirated, it's blind, it's primitive, it's punk, it's a crime, it's a love song, it's a wound, it's against cinema. There is no Coda.

For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.