Reflex

A young filmmaker advocates the creation of a new type of film, devoid of a traditional plot and composed of blocks of sequences that have no specific interdependence. Subsequently, the theoretical statement leads to practical demonstration: abstract images flow across the screen, accompanied, for the most part, by snippets of conversation on a wide variety of topics.

Trapianto heralds the end of utopia, the death of that underground, but is also the best prologue in Necropolis, which is not by chance found alive. It 's a film that establishes the passage of rolling between two friends, and Brocani Schifano, shared the same passions, and from living the cinema as a challenge urgent and vital, suspended between dream and action.

Before the three feature films, Mario Schifano directs the camera towards the people around him to create real film diaries. His friends, his time partner and the artists he frequented are portrayed in their everyday life or object of the mechanical gaze of the camera, a filter through which to look at the outside world.

A detective is assigned to investigate the mysterious murders of some Supreme Court judges.

Artists and poets meet in a dreamlike space between walks and performances.

A man drifts around Rome's tourism spots.

A seductive woman pushes three men to the limits toying with their sexual desires and male pride.

In the Search of the Miraculous is a multi-levelled story realized with extremely personal techniques and with the kind of atmosphere of Poetry and Introspection, only a poet could create. It is, in fact, the story of a poet searching himself through his love for a girl, and of the girl searching for her father. Obsequious to the iron rules of the avant-garde, the film has neither a beginning nor an ending it is a series of moods, it is a search which is at the same time spiritual and concrete, it is a moment in the life of two people. (Donatella Manganotti)

William Berger and his wife Carol are the protagonists of this silent film, in which bodies come to the fore and the gaze becomes obsessive.

Anna Carini, Mario Schifano’s partner at the time, is the protagonist of the film. The young woman is observed, followed, questioned in close-up, in both indoor and outdoor settings, by the camera that partially strays into the scene and then briefly makes room for the author himself. —Tate Modern

A (temporary) leave of many friends who are my truest world, with the attempt of getting them together in an ideal summary conceived to support me during my being far away. –A. L.

16mm short by Mario Schifano.

Experimental short by Mario Schifano.

A spot for Absolut Vodka shot on video by Mario Schifano.

The Vietnam War was extensively televised, and Mario Schifano, in turn, filmed it from the television, in fragments, in keeping with a typical procedure of pop art and a fundamental technique of his work in painting. The director Marco Ferreri appears at the start of the film.

A spot for Absolut Vodka shot on video by Mario Schifano and Roberto Lucca Taroni.