performance piece or film, as a kind of “literary object”, to be observed from different angles, as if it were a sculpture. This is one of the reasons why
is in 4:3, and
is in
a little box. John Cassavetes and Werner Herzog were my favourite directors when I was studying film. They both worked in what you could call chaotic environments, one worked in the huge metropolis of New York and the other was so often found filming in the jungle. I’m attracted to the idea that if chaos hides a secret order, you can access it if you can articulate it. In my view Minimalist aesthetics kind of aspired towards this form of articulation, and definitely the way I think of my work. I’ve also watched a lot of Italian cinema, which from the Italian Neorealism onwards carried a huge responsibility in narrating the fragmented social and political story of the country. This brought me to believe in film as a tool for philosophical enquiry, whether it comes from a poetic and infatuated glance at the world or a political desire to bring attention to forms of injustice. we have
For this special edition of selected the
, an interesting film that explores
, that our readers have already started to get to know in the introductory pages of this article: while walking our readers through
of
,
would you tell us what’s your writing process like? Superwind was my graduating project from drama school in
interview
tendency is to think of the work- whether it be a