"The Show Mas Go On" is a short experimental documentary on the cult department stores in Rome called MAS. Documentary style scenes are intertwined to surreal and fictional moments to describe this incredible place.
"The Show Mas Go On" è un video documentario su MAS, i mitici Magazzini allo Statuto. Tra documentario e scene surreali per descrivere un luogo cult di Roma.
ACTORS: SANDRA CECCARELLI, IAIA FORTE, FILIPPO TIMI E MAYA SANSA
Venice Film festival 2014, Venice Days, SIAE AWARD & PREMIO GILLO PONTECORVO
SALINA DOC FILM FEST, SPECIAL MENTION, 2014
KINO DER KUNST, MUNICH 2015
SPECCHIO DELL'ARTE, FLORENCE 2015
2002, 16mm transf. digital video, colour, sound, 7 '
" [...] Not360°is a funny title. It’s like saying, “Don’t think of a white elephant.” The film might not involve a 360 degree shot, but it states very clearly that a space exists around what is being seen, that the artist is aware of that, and most importantly, that she has decided to say so. We cannot see it, but we know it is there. To show this, the panning shot is accomplished skillfully but cruelly never arrives anywhere; a promising movement
that refuses to deliver. There are four separate scenes, each have the quality of cardboard cut-out theatres, popping up when opened, like a book, arranged in layers.On reflection, I think that the best
sound bite definition of this work I can think of, would go like this: Not360° is a very spatial film that
challenges the viewer by testing how many levels of suspension of disbelief can be coped with simultaneously." Manuel Saiz
Torino Film Festival, EMAF, Osnabruck video and film festival, Alternativa, Film Festival Barcelona, Les recontres Paris/Madrid/Berlin
16mm transferred to digital video, B&W, sound, 6'
The protagonist is a young man that seems taken from another story and inserted in the wrong landscape. He speaks another language and cannot find what he is looking for, something that may never be found…; when he meets another young man he cannot dialogue with him, not only because they speak two different languages, but above all because they make no effort to start talking: each is isolated in his own disorientation.
If on one hand the artist uses a very classic cinematographic style, with tracking shots, close-ups, black and white, on the other hand she always seeks to move away from this style: she proceeds by trial and error, as if she never wants to confirm that any means of expression is correct; in this case, to avoid being either too closely linked to cinema or definitively associated with art videos. She therefore prefers to dislocate, side-track with an image slightly off centre, with heads cut off or frames that constantly slip, dialogues that don’t correspond, identities
between the landscape and the scenery on which the two protagonists seem to be stuck. Spectators expecting Between to be a short film will be disappointed. But quite probably, this was exactly the artist’s intention: creating what is formally a film, but is in reality something very different, created from errors and, we could almost say, from ruinous actions”