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Farò un film!


Il panorama delle vicende umane incontra l’uomo con la macchina da presa. Il suo campo da gioco non ha confini, la sua curiosità non ha misura. Personaggi, situazioni e luoghi si accampano nel vissuto di un’umanità che è al contempo colei che vede e la cosa vista. Ma cosa sono gli ultimi giorni di questa umanità? Sono già trascorsi? Sono adesso o da venire? Nell’attesa gli astronauti dell’Atalante, nei loro sogni prometeici, incontrano la propria immagine in una bolla d’acqua. Il pilota spinge il suo bolide alla follia, in soggettiva, tra paura e desiderio. Lungo i tragitti dei piroscafi a mare aperto, una carezza, un affetto. Allo specchio, camera in mano, si verifica, certo sempre incertamente, la propria cattura dentro quella corta, troppo corta, unità di tempo. Ma quello che abbiamo imparato è che non c’è una durata. Tutto quello che toccano diventa tempo, diventa azione, attesa e speranza, ricorda Demetra all’umano affaccendarsi. Frammento di frammenti. Per compiere un gesto che sfugga la malinconia e la giochi in un movimento addirittura impossibile. Il teatro di Marte di Kraus non ha ancora aperto, eravamo occupati ad anarchiviare. E questo dramma non può avere altro spettatore che l’umanità.


1994. On the set of Piccoli horrori enrico ghezzi exclaims: I will make a film!Marco Melani glosses in the same shot: It can be done, but it can also not be done.

2019. More than 500 cassettes shot by egh in the last thirty years are acquired, digitized, reviewed. An archive is constituted. It is handled by a handful of painters, philosophers, psychics, scientists of sound and nature, young flowers, editing hares, nail charmers, some bandits awaiting for judgment, neither the depraved nor the computer scientists are missing. They meet and say: It can be done..

But it’s not enough. An editorial staff must be put together to complete it.
Producers who had shown an interest put their hands in their hair.
(enrico laughs)

– Why open an editorial to complete the editing of a film? they ask.
Because we were never interested in doing without living, without loving.
Best wishes, they say.

We propose a crazy economy, an economy of madness.

We ask those who believe, we ask around, we move the waters.
After all it is quite unique to open, today, a free crossing space, which uses the form of television schedule to give shape to a film.


Well, is said by several voices.

It adds: Cinema will die at noon.

Very well.


Briefly, very briefly.

We started by digitizing hundreds of hours, detecting a huge quantity of images, words, situations, people, places. The egh archive is a rare thing, dispersed and dispersive, we talk about it in a text, the TrattamentoTractatus.

Tuning in was enough. Irony, sarcasm, mastery of overturning, silences, laughter. The afternoons in the living room of Ghezzi’s house fanned out. Brief words, somersaults, jokes, boundless openings. Let’s do it.


So the second move was to invent a machine. A sort of archive mixer. It’s called The machine that captures excess.

– enrico, what do you think?
– It’s what I’ve always wanted to do.
– Ah! Are you too coming for a few days?
– I’d come every day.

And so it was.

It was June and we had a lot of fun, uncovered, came closer. Analogies, leaps in time.

The archive has grown by about 200 hours (assembling a machine with pieces in warehouses for 20 years): we produced excess!

We’re good at exceeding, Enrico says.

The orchestral and choral and simultaneous device that is the Machine has given us a precise demonstration of having begun to germinate. One cannot go back, one can no longer ignore that beauty of the ensemble, that whole and nothing together, that «It can be done, but it can also not be done». Thus theeccedanceis revealed, along with the idea of ​​bringing up an editorial team. The practice of excess, in the ambivalent generation of surplus and scrap, has found an opportunity to suggest a dance, a new urgency of immediacy and risk, of error and endurance, of skill and courage, of external and intimacy.


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