to gait + to retreat = to ascend (testament)
It is a musical film, beyond the words that represent the soundtrack, which in their icy documentary tone contrast with the intimate and daily images of the private archive. The sky shadowed and threatening, a gray bloated with lake melancholy, which crushes Lecco between the mountains and its lake; the ties between the cold psychoanalytical words and the gestures described by the images are subtle and counterpoint: from the car, to the stars, to the eclipse, to photographic erased images. The lunar eclipse is also the subject's eclipse portrayed in them, through the cancellation and colouristic crushing that favors cold tones; if hot: disappeared. The survey is held, suggested, conducted for idea associations through a narrative voice that cools the pathos of the other voices. Everything is dramatic and at the same time hides the comedy - it contains its subtle contradictions. The yearning for the unknown, the metaphysical of earthly places is recalled in the infinite landscape of the stars. He collects the Testament who dialectically is framed first, asking for a smile. The childish request is heartbreaking, because pure: the smile is for him, the slight purr, the breath, the fan that turns and ends it all.
Author's statement: I left myself very guided by the case, which I find more and more fundamental protagonists in everything I do: I have rarely moved sounds to other images. I chose the images and then I am amazed, listening to the sound, to find interesting ideas (eg "The 400 shots of Truffaut", from which an extract is heard). The idea is a musical, rhythmic, moving film (a bit like in one of my first films: "Going back to domestic reliefs") and the ordering criterion was the breath of my son's sleep, which I used as a leitmotiv in various passages (returning to the generating breath of "Greisttmo"); there are my hair on the lens, the subjective, the dreamlike deletions of "1510 - dream on printed paper with video" (everything started with the work of painting on frames, in 2016). There is voyeurism (of "I see") that distances oneself from its beautiful prisons (the graceful railings) looking beyond. There is a strong presence of the night (as in "Concerto Metafisico" and in "Luna in Capricorno") in the constant "Investigation ...". What happens is a rationalization of what is exorcised in films as in dreams.