We Had to Move – Post-Industrial Turin

A video poem from Gottfried Benn's Turin, which recounts Nietzsche's madness in Turin. A backwards tracking shot travels through the Fiat Lingotto plant, now disused and not yet transformed into a shopping center. Ghosts and visions appear and disappear, reminders of the German philosopher's experiences in Turin.

Mazz-Art was a group of artists who made interventions and installations in an abandoned paint factory near the Royal Gardens, while Claudio Bagetto plays in Collegno in the spaces of the former mental asylum. I returned to filmmaking after years, not by choice, but because my life had taken a different direction. I made commercials, films for Iveco, with Braghin, Signetto, and the laid-off workers at Fiat. It was my return to cinema. The technologies had changed since the CCM period; I revived what had never been forgotten in my memory. Ceste Armando

Film documentary on the Italian State Railways' Officine Grandi Riparazioni (Great Repair Workshops) in Turin, on the occasion of a day of visits organized by the Città Svelata Association. It has participated in European audiovisual festivals specializing in urban planning and architecture.

Between March and July 97, a working group coordinated by “Città Svelata" traveled down the Dora River on rubber dinghies to its confluence with the Po. The documentation work was elaborated and made public in the project “Urban Rivers-Virtual Dora,” which took place in the dismantled ironworks located above the Dora River.

In Tristano muore (Feltrinelli) Antonio Tabucchi writes: "The music has already been played, all we have to do is introduce variations."
Hence the film's title, which suggests that perhaps we are not living in the best of all possible worlds. The actor introduces some variations, reacting with dance, song, and poetry to images that address pressing issues such as job losses, abandoned factories, the industrial crisis, layoffs, detention centers for immigrants, and the G8 in Genoa, alternating with other images from Dreyer's films.

Capacitors contain footage used as part of the Città Svelata project. With the inclusion of quotes from classic films, in the form of subtitles and soundtracks, they find a television home as unusual interludes.

In the 60s, to address the housing crisis following the arrival of immigrants attracted by work at Fiat, numerous public housing projects were built in neighborhoods that later became symbols of degradation. The film documents the demolition of one of these buildings in the Mirafiori Sud neighborhood, but above all, it reconstructs—through firsthand accounts from residents, former Turin mayors Diego Novelli and Giovanni Porcellana, and with the aid of newspapers and period footage—the lives of the families who lived there, the history of a neighborhood, and the epic story of southern immigration to Turin in the 60s.