Abstract

In the contemporary art film landscape, Pietro Marcello’s cinema represents one of the most remarkable examples of hybrid form, intersecting heterogeneous materials and aesthetics. His filmmaking could be defined as a sort of fairy tale: too realistic to be merely the result of narrative invention, but at the same time his dreamy gaze rules straightforward record of reality. With his films he explores and recounts Italy’s past and present through a creative usage of archive, and of collective and private memories. His path as an auteur has evolved towards a film language in which social inquiry, pure narrative and the colours of elegy coexist.