Diritti migranti

A 22-month anthropological expedition to the African continent with the 'Gauchos del Mar' brothers traveling in a 1985-model military ambulance from Spain to South Africa. The objective is to encourage human relationships through an unprecedented surfing exploration, promoting cultural exchange in this vast and diverse continent.

A slow, decisive handwriting, which becomes fast, furious, angry; thus - REBUS - receives and attacks the spectator, it accompanies him in an unknown world of images and sounds, played out between the known and the unknown, almost to amaze and frighten, to divide who knows from who does not know, who wants to know from who wants to escape. The predictable element is the unpredictability and its playing out everything, or almost, for the autonomy of the significants and for the defence of their free and potential transformation in the natural flow of time. Every given signification is destined to perish!

The Children of the Noon deals with the universal subject of life. Daily activities mark the passage of time for the children and teenagers in the orphanage in the small Kenyan village of Nchiru. It soon emerges that the fact they are orphans and the genteel poverty they share are not the only problems that unite them and determine their days. A sudden death of one of them breaks the narrative rhythm and changes all points of view, intertwining a dense web of pains and joys, friendships and hopes.

"Quod est in speculo ut in subiecto." According to medieval philosophers, being in a subject is an insubstantial way of being that does not exist in itself, this one is in something else. In this short film, the nature of the images is questioned, particularly the one of the reflected corpses in the mirror. What is their nature? How can a mirror with his two-dimensional character transliterate three-dimensional images? The essence of the image, visible on the mirror surface, is a continuous formation in absence of tangible substance. A tribute and at the same time a contestation of J. Cocteau.

In this film, what we normally perceive as the horizon line is rotated by 180°, disrupting and short-circuiting the image vertically. A kind of interrogation of the 'habits' of the eye and the ear. The conceptual approach of seeing oneself see, of hearing oneself speak — an elementary projection into something else — is denied in favor of the imaginary function, in order to reexamine what seems immutable: the sense of truth and the truth of sense.