We had to move
4 themes - 31 short filmsThe cinema of Armando Ceste, Alberto Signetto, and Alessandro Tannoia, unheard cinematic visionaries in late 900th-century Turin.
- Topics
- Review info
- Other reviews
- Step 1 —
- Step 2 —
- Step 3 —
- Step 4 —
The cinema of Armando Ceste, Alberto Signetto, and Alessandro Tannoia, unheard cinematic visionaries in late 900th-century Turin.
Être en train
Reflections on the genesis of violence within the family.
Earth Men Lake - Dialogues on the Production of the Documentary Film
A video essay on the issue of documentary cinema in Italy, conceived as an American film from the 60s.
, then after - A film by Lucio Lionello and Alessandro Tannoia
The fragmentation of life due to the continuous wounding of memory.
Two or three things
An elderly Tibetan woman and Jean-Luc Godard talk about themselves and their experiences. A film about personal memory, images of an autobiographical past.
A past that is not dead, in fact it is not even past.
A memory of emotions seen through other memories of emotions.
Every story, every life, has a beginning, a middle, and an end, though not necessarily in that order."
Ceste Armando
A Dog's Life - A film by Lucio Lionello and Alessandro Tannoia
The unemployed man's daily struggle for survival. When poverty and hunger sharpen one's wits. The film participated in the 7th Turin International Youth Film Festival.
I still have my hands
An electromagnetic cartoon video with music by Meredith Monk.
Reflections on the big toe
The result of the deadly mix between the horrible 80s of the agonizing First Republic and the terrifying prolegomena to the cultural nothingness of the pounced Second.
A flimsy house
A house under construction collapses, and the construction site guard dies under the rubble. The collapse threatens to claim another victim: a child who is saved thanks to the timely intervention of Guillaume Apollinaire. Who is to blame? Who will solve the mystery?
The last tape
Loosely based on Beckett's Krapp's Last Tape, it is the reflection of a lonely character grappling with his past. Images from television and an impossible program "about the difficulty of being a communist" lead him on this journey of memory, exploring personal and political stories.
The cinema of Armando Ceste, Alberto Signetto, and Alessandro Tannoia, unheard cinematic visionaries in late 900th-century Turin.
Anna Karina - the face of the Nouvelle Vague
Anna Karina was the icon of the Nouvelle Vague, her face painted in black and white, tears and smiles, the close-up of the 60s. It's not that Anna Karina lives only in memories today, but inevitably everything takes her back to that period, a golden age, a season that will be gone, which saw her not only as an actress, but as an inspiration and protagonist in the birth of modern cinema.
Angelopoulos backstage
On the set of the film by the great Greek director “The Source of the River”, filming alternates between Thessaloniki and Sidirokastro, a few kilometers from the Bulgarian border, interviews with Angelopoulos, the main actress, and some technicians who have collaborated on the director's projects for years. Fragments that give us some idea of the way of working, the process of constructing a film, the relationship of a crew with the director “conductor” of a demanding choral work.
Via Crucis
Turin-based band Motel Connection joins forces with multifaceted artist Nicus Lucà in a sacrilegious audio-visual performance at Milan's Hollywood Club.
Accord - Richard Nonas in Bossolasco
In a textured and scratchy black and white, a nod to the old Leica Monochrom that Richard Nonas always carries around his neck as a faithful traveling companion, the film documents the work of the New York artist invited to Bossolasco for Sentè d'art by Filippo Fossati and Jennifer Bacon of the Esso Gallery in New York.
The cinema of Armando Ceste, Alberto Signetto, and Alessandro Tannoia, unheard cinematic visionaries in late 900th-century Turin.
Weltgenie
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.
Bagetto/Mazz-art
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
OGR – Yellow Zone
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.
Unveiled city, urban rivers
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.
Variations
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.
Experimental Interludes - Condensers
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.
Civic Garrone
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.
The cinema of Armando Ceste, Alberto Signetto, and Alessandro Tannoia, unheard cinematic visionaries in late 900th-century Turin.
Movement
The Strait of Sicily has become the largest underwater cemetery in the Mediterranean.
The most conservative estimates speak of twelve thousand drowning deaths in the last ten years on the routes between Africa and our southern coasts."
Where Everything Is - A film by Lucio Lionello and Alessandro Tannoia
Time: its passage and the impossibility of stopping it. The "unconfined" world of a young man.
Cailloux
Walter Benjamin's escape from Nazism had Port Bou as its final and definitive stop.
Get out of here
Rain, sun, clouds. An urban outskirts. Someone waits in front of a car. Elsewhere, a procession of workers. An explosion. The roar of the crowd. A hallucinatory journey begins, spanning space and time.
Two girls look around, read the newspaper, enter a cinema.
The travel lights pulse hypnotically.
Erri De Luca after Genoa - ramshackle nursery rhymes
I was looking for a lofty language, different from the mass media coverage of newspapers and TV that had invaded our eyes, hearts, and brains in those post-Genoa days. Reading Erri De Luca's nursery rhymes, I was moved and recognized in a poetic language, certainly biased, but thought-provoking. Ceste Armando
Timeless
"The usual story. Who has the power, who doesn't. Now, as always, the clergy wins. Watch out!" Alessandro Tannoia and Lionello Lucio
Endgame
A car journey, in Endgame. From the initial blackout—inside a garage—to the journey to peripheral locations, squares dedicated to communist militants, highways and tunnels, the video image is so powerful that it fades away and presents itself with all the warmth of film and, in any case/always, of a final tape to reckon with. The "endgame" concerns the Moro murder; the two men transport his body to the place where it was found. Giuseppe Gariazzo in issue 320 of «Cineforum»
In the Belly of the Steamship - Piedmontese of Argentina
The director retraces firsthand, fifty years later, his family's long journey to Argentina, where he was born, during the last wave of Piedmontese immigration in 1948.
Synopsis
Bisognava Muoversi is a film festival dedicated to Armando Ceste, Alberto Signetto and Alessandro Tannoia, three directors who worked in Turin in the world of cinema between the 80s and the early 2000s, in different and often very personal ways.
All three had the ability to radiate creative energy around them, not only with their works but also with their person and with their social actions.
Three complex personalities who lived intensely and creatively in the period between the turn of the century and the millennium, which coincided with the great changes from the factory city to the city of who-knows-what, changes of which they were, over time, interpreters, witnesses and victims.
These three directors belonged to an alternative cultural area, they had different ties with the politics of the movements, with the underground and with the artistic and creative trends that were moving in those years in Turin, in Italy and abroad.
Of course, they weren't the only ones in the city, but they were certainly three symbolic figures.
We had the misfortune of losing them relatively early, within a short timeframe of each other, in the same order in which they were born: first Armando, then Alberto, and finally Alessandro, between 2009 and 2014. This certainly served as an initial stimulus for reflection on them, first individually, then trying to "bring them together." In this decade, other friends and directors from those generations and that Turin environment have also passed away. I'm thinking, for example, of Nicola Rondolino, whom I'm happy to remember, whose filmography has fewer connections and points of contact with that of our three, but he was certainly very close to them on a human level.
The three, taken together, were cinematically pure, determined and exuberant figures, as demonstrated by the extreme visual similarities in some films, often made in different years.
They were pure in pursuing an idea of cinema that had to be theirs, to which all three literally dedicated their lives.
Determined to pursue their absolutely personal idea of cinema, in the choices to make and above all in those not to make.
Exuberant in their way of being, appearing and acting.
After 30, Signetto began to develop a very robust build, and Tannoia even earlier. They were considered the two greatest playmakers in Turin.
Ceste has always been handsome, in the usual sense of the word—that is, shorter than the other two, but more slender, always smiling. Like the other two, we can see him in photos wearing black faux leather raincoats or something similar, in the Turin autumns of the early 1990s.
All three had a reputation for being grumpy and intolerant, but all three actually loved discussion, in which they were, yes, always rebellious and intransigent towards the injustices and hypocrisies of the world, especially politics, of which they were all three acute critics, being Marxists, heretics and non-aligned in different ways.
They were passionate cinephiles: if I think of two directors they have in common, whom all three certainly loved more than many others, Jean-Luc Godard and Jonas Mekas come to mind.
They also knew each other for this reason, they respected each other a lot.
Ceste, Signetto and Tannoia were all three dissidents in the Turin film world, irreducible and irredeemable to a vision that was not in keeping with their own at an epidermal level.
Although they were somewhat prolific authors, as can be seen from their filmographies, they did not create the great works they would have liked and probably could have created, retaining until the end this bitterness against a system of things in which, despite their diverse talents, they hardly managed to find adequate space.
For this reason, we wanted to pay homage to them with a review that doesn't aim to tell everything about them, but rather aims to say something to prolong their spirit, as well as to continue their memory.
