Screening of Renzo e Luciana (Boccaccio ´70. Mario Monicelli, 1962), Ingrid Bergman (Siamo Donne. Roberto Rossellini, 1953) and La Riffa (Boccaccio ´70. Vittorio de Sica, 1962). Session proposed by Miguel Alejos followed by discussion.
The projection begins: Renzo e Luciana (Mario Monicelli, 1962), 42 minutes approximately. I do not know the actress who plays Luciana, Marisa Solinas. I have not seen any other movies with her, according to Filmaffinity she has not had too many leading roles. She is petite, very petite I would say. Always running, and imposed between motley images of people and architecture. I see a lot of concrete, a public swimming pool at different heights, a crowded cinema, a small parish in a wasteland, and a platform that spins into a dance hall, making me want to dance.
Next: Ingrid Bergman (Roberto Rossellini, 1953) speaking directly to the camera, approximately 16 minutes. I imagine Roberto Rossellini taking the camera and recording Ingrid as she tries to catch a chicken that is destroying the flowers in the garden. This could be the most beautiful fragment. Camera in hand on a summer’s day. Maybe they were bored, and to pass the time they released the chicken on the rosebush and recorded it. Bergman runs after the bird throughout the garden.
Finally: La Riffa (Vittorio de Sica 1962), approximately 45 minutes. Sophia Loren eating a watermelon. It’s an image to enjoy and it fascinates me. And what I most want is to enjoy these images as if each one were a totem. They begin and end, silence for a few seconds, you settle down or get up and maybe you comment on something. The word summer resounds.
Once the images are finished, I would not like to forget those that it has been decided not to project, perhaps because they are better suited to another time, because they happen in a different way, but not because they are less fascinating: Anna Magnani, Alida Valli, Isa Miranda, Anita Ekberg and Romy Schneider. Above all, Romy. Thanks, Romy.
All of them, screened and not screened, are part of the following films:
Siamo Donne (Alfredo Guarini et al., 1953)
Boccaccio 70 (Mario Monicelli et al., 1962)
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CAPACITY: maximum of 15 people.
Miguel Alejos (Valencia, 1995). Graduate in Fine Arts from the Polytechnic University of Valencia. Master in Research and Art Creation from the University of the Basque Country. He has developed his practice in centres such as the Gas Natural Fenosa Museum of Contemporary Art (A Coruña), the Huarte Centre (Nafarroa), the BilbaoArte Foundation (Bilbao) and the Collaborative Research Centre, 2020 (IVAM, València). Among others, he has participated in the following exhibitions: Espacio de aproximación, Montehermoso Cultural Centre (Vitoria-Gasteiz), Un mundo sin cualidades, Galería CarrerasMúgica (Bilbao), XXIII Mostra Art Públic Universitat de València, Bilbao Art District (Bilbao), UMPRUM (Prague), FIG (Bilbao), Museo ABC (Madrid). He has self-published the following works: The Lady from Shanghai (2016), Olympia (2017) and Jugoslavie (2018).