You don't have to die to live Daniele Gaglianone and Alberto Pac-Man are launching the Freee! section, where viewing is completely free and ad-free. Short films, filmed documentaries, unique or rare footage that cannot be used commercially, and films whose rights have expired will be available to the public free of charge, ad-free. Daniele Gaglianone is one of the greatest Italian cinematic talents of the last twenty years, capable of unique lyrical intensity, always connected to the most challenging issues of reality, society, and the environment.
Streeen presents two works. Everyone asks me where I'm from, no one wants to know who I am, created by Daniele Gaglianone, Monica Affatato, and Luciano D'Onofrio as part of a project to support foreign minors at Porta Palazzo in Turin in 1999, is a hyperrealistic short film where, for once, the sense of revenge of the marginalized prevails. But the 90s are coming to an end.
You don't have to die to live, from the early 2000s, is a three-voice documentary on the history of IPCA, a dye factory in Chieri, in the province of Turin, which, with hundreds of deaths from cancer due to dye fumes and the total lack of protection, was sadly the protagonist of one of the most sensational trials of the 70s regarding the recognition of workers' right to health.
Alberto Pac-Man, writer, designer, set designer, painter, graphic designer, with collaborations from Fura del Baus to Mutoid-Waste Company to Manu Chau, made these two films in the early 90s shot in the occupied houses of the former East Berlin, in the years following the fall of the wall, superbly made films in super8 and edited in VHS in the cellars (video citronics) of El Paso Occupato in Turin. The first, Monster Machine I-IIIt's entirely performed by long rubber toy crawlers, with a light bulb acting as a head on the mechanical body, simultaneously illuminating and watching. The encounter between Monster Machine I and Monster Machine II, in the montage between metallic black and white and the sounds of the hose, is one of the most romantic moments of robot cinema and experimental cinema of the 90s.
TRIBEWith the same wild black-and-white beauty of the first film, it anticipates and fully reflects the anti-prohibitionist climate of experimentation with states of consciousness and tribal psychedelia that shook the 90s, seen as tools capable of challenging the functioning of the commodity society. In the finale, the techno-voodoo doll, charged with energy in the techno-orgiastic tribal ritual, flies towards the Berlin shopping mall to destroy it.
