Only those who love the taste of fear can completely understand the fascination with horror cinema. Fear is a drink best drunk hot and is one of those sensations that must be experienced.
In recent years, cinema of this kind has received an unexpected response. Its subversive force has grown thanks to the uninterrupted work of magazines such as NOCTURNO, a fanzine which has managed to become a true intellectual and creative platform.
It is a beautiful sunny afternoon in Piazza della Borsa, and here comes Antonio Manetti of the Manetti brothers; true icons and lovers of the genre, which went from underground to the popular consensus. This meeting with the director allows a sincere and intimate recognition of the ways, pitfalls and attractions of the cinematic world that people like this face on a daily basis.
Like anyone else, the Manetti brothers started as viewers, from the films of Bud Spencer and Terrence Hill. Then, their inventiveness found the support of the late producer Luciano Martino. Since then, after the surprising revelation of ZORA LA VAMPIRA, it has been a praised escalation of artistic success.
After more than an hour and a half of interviewing, with tourists and locals getting confused on the walk down Corso Italia, time is up to get to Piazza Verdi.
This garden of screenings straight away presents us with a precious flower, represented by the social short I TRE USI DEL COMPASSO by Ivan Gergolet. A shrewd and tormenting work, it tells of the double significance of the girl who no longer speaks after the death of her brother, who joins up with a blind schoolmate. The invoice is respectful and admirable, and at the same time it delves into a theme that involves all of us at various levels. It was filmed in Monfalcone with the help of all the educational facilities within the town. The short was admired in the square and emerges as a truly remarkable sequence.
For many, the snack bar in Leeds that also serves at night is a place to go to have a bite to eat. Here, however, a Jamaican poet works here and runs everything. The customers give his recitals much attention. STAN by Ben G. Brown tells us the meaning of life through the simple story of a person amongst people.
Amongst the nocturnal atmosphere of cars whizzing and neon flashing, Yang Qiu’s short A GENTLE NIGHT tells of the desperate search of a missing 19-year-old girl, the coldness of bystanders and how it all leads to a ‘Desert of the Tartars’ of feelings.
Have you ever thought about turning the hands of your watch human? It seems like an absurd question. However, this is what happens in the clever short SEGUNDITO by Roberto Valle. Full of Spanish humour, the director’s two minutes of wonderful craziness is admired by the audience.
A beach, an incredibly blue sea, a stray dog that plays with the waves and shares affectionate moments with a girl who survived a miscarriage… This story is immersed in a melancholy climate and almost detached from time, it is a work that draws us in and deeply moves us. This all happens within the short film DENIZ SUYU ICEN IT by Murad Abiyev. The relationship between mankind and death knows no creative bounds due to the depth of the matter in question. It is the argument and torment of any human generation.
Coming from Colombia, JUNGLA TE CONOCE MEJOR QUE TU MISMO by Juanit Onzaga, incorporates the theme of Mother Nature as both great punisher and salvific force.
A restaurant with many delicious dishes on the table and an atmosphere of opulent elegance is interrupted by the arrival of a giant diner. In the French animated short L’OGRE by Laurène Braibant, the protagonists are ogres on a grotesque gastronomic adventure, and very well-stylised.
Anyone who has seen a film by Guillermo Del Toro knows his visionary and disturbing way of depicting the animal world, joining the grids of human (metaphorical) cuisine. HEYVAN by Bahram and Bahman Ark is also a story of crossing the border from the dramatic and terrible epilogue.
German cinema, the rude and hyperreal kind, doesn’t discount KLETOMAMI by Pola Beck. It is not only a wild satire of motherhood, but also a continuous surprise for the spectators, who constantly find themselves in constantly changing hypertexts.
SUB TERRAE by the Spanish Nayra Sanz Fuentes deserves a sincere recognition for the originality of her assumption, and even for the acrobatics of her self-propelling camera. The crows floating in the motionless sky, become a figurative code.
Once again, we are transported to a beautiful beach; the location chose for the disconcerting story of PEDRO from Portugal by the Santos-Leao duo. It is a story of a homosexual relationship with other hidden meanings. The summery sequence on the dazzling white sand appears on the screen and greets its attentive audience.
Someone at the Audace pier is softly playing the guitar and a girl rings out her hair still wet with saltiness. Many pictures were taken that evening, like one of a flute left on a bench in front of us.