La mia battaglia
FRANCO MARESCO INCONTRA LETIZIA BATTAGLIA
Regia/Director Franco Maresco
Fotografia/Photography Alessandro Abate
Montaggio/Editing Francesco Guttuso
Produzione/Production Lumpen
Italia 2016, 30’ italiano con sottotitoli in inglese/ Italy 2016, 30’ Italian with English subtitles
Palermo: photography, the mental issue of the Ospedale Psichiatrico of via Pindemonte, life and death, love and old age. These are just a few of the themes addressed by the great photographer Letizia Battaglia in a “closer encounter” with Franco Maresco, that finally sees the light after twenty years of waiting. The result is an intense and unpublished story of a city that Letizia Battaglia made known to the world as brutally violent but without forgetting its grace, innocence and determination to never give up.
Rivisitazione dello sciopero
Progetto audiovisivo / audiovisual project
archivio / archive Lo sciopero dei netturbini, Pier Paolo Pasolini, 1973
sonorizzato dal vivo da /sonorized by Luca Maria Baldini
montaggio /editing Cosimo Terlizzi
produzione / production AAMOD, Le Cannibale
Italia, 2022, 40’
Italiano con sottotitoli in inglese
Lo sciopero dei netturbini, an unreleased documentary by Pier Paolo Pasolini, celebrates the first dustmen’s strike on 24 April 1970. It should have been part of a collective work, finished in September 1970. The film was shot, but not edited. Everybody thought it was lost but it was found again in 2005 (without audio) in the shelves of the Archivio del Movimento Operaio Democratico (AAMOD) by Mimmo Calopresti. Rivisitazione dello sciopero is an audiovisual project by Cosimo Terlizzi, director and artist, e Luca Maria Baldini, musician, sound designer and artist, produced by Fondazione AAMOD and Le Cannibale. It re-interprets Pasolini’s documentary on the occasion of the centenary of his birth. From the original 84 minutes of footage derives a montage of about 40 minutes, a work designed for a live sonorization which premiered at the PAC (Padiglione Arte Contemporanea) in Milan.
The director’s voice emerges from the worker’s faces, creating a semantic and acoustic short circuit. “Gli scopini” as he defined them, become the medium for his words and for Moravia’s famous speech during his funeral. The sound flow composed of samples, synthesizers and analogue instruments, puts the audience in an amplified perceptive disposition accompanying him in the audiovisual journey played live.