Francesco Vezzoli once wrote that "Washington, D.C. is like the Hollywood of worldwide politics." In "Democrazy," a diptych of films that explore presidential public relations with two campaign advertisements, Vezzoli casts actress Sharon Stone and French public intellectual Bernard Henri-Levy as Republican and Democratic candidates named Patricia Hill and Patrick Hill.

Francesco Vezzoli once wrote that "Washington, D.C. is like the Hollywood of worldwide politics." In "Democrazy," a diptych of films that explore presidential public relations with two campaign advertisements, Vezzoli casts actress Sharon Stone and French public intellectual Bernard Henri-Levy as Republican and Democratic candidates named Patricia Hill and Patrick Hill.

This is a short film based on the 1979 film of the same name. The film is stylized with the actors wearing modernized robes and Roman jewelry and females playing male characters and vice-versa.

Written as a reading of a screenplay of the popular soap opera Dynasty, “The Kiss (let’s play Dynasty!)” stars Francesco Vezzoli and actor Helmut Berger, who appeared in several episodes as a conniving playboy. The artist gives the part of Alexis Carrington, made famous by Joan Collins, to Berger while he plays her son Steven, the first bisexual character in American television. After a heated argument about Steven’s love affairs and the extended family, the pair reconcile with a kiss. The act combines the fantasy of Oedipus with the artist’s deep interest in filmmaker Luchino Visconti, Berger’s mentor and romantic partner.

Written as a reading of a screenplay of the popular soap opera Dynasty, “The Kiss (let’s play Dynasty!)” stars Francesco Vezzoli and actor Helmut Berger, who appeared in several episodes as a conniving playboy. The artist gives the part of Alexis Carrington, made famous by Joan Collins, to Berger while he plays her son Steven, the first bisexual character in American television. After a heated argument about Steven’s love affairs and the extended family, the pair reconcile with a kiss. The act combines the fantasy of Oedipus with the artist’s deep interest in filmmaker Luchino Visconti, Berger’s mentor and romantic partner.

Rufus Wainwright staged a special performance of his traveling contemporary opera Prima Donna at the Odeon of Herodes Atticus, Athens on September 15, 2015. The opera featured a new film accompaniment directed by Francesco Vezzoli and starring Cindy Sherman as an aging soprano who hopes to pull off a comeback performance in Paris on Bastille Day. In the film, Sherman performs against the backdrop of the Théâtre des Variétés, Paris, in costumes originally worn by legendary soprano Maria Callas.

As a reinvention of the documentaries made by Pasolini, Vezzoli pushes the public of a fictitious italian tv program to talk about love and relationships

Ironic take on soap opera presenting, in word and song, the life of Portuguese fado singer, Amália Rodrigues.

As a reinvention of the documentaries made by Pasolini, Vezzoli pushes the public of a fictitious italian tv program to talk about love and relationships

Conceived as an ironic tribute, the “Bruce Nauman Trilogy” harks back to some of the works by the celebrated American artist, cross-pollinating their meaning with references to contemporary media culture. While Greatest Hits: Milva Canta Bruce Nauman: Vattene dalla mia mente! Vattene da questa stanza! is Francesco Vezzoli’s melodramatic rereading of the installation Get Out of My Mind, Get Out of This Room (1968), in Flower Arrangement he replaces the flour in Nauman’s work with red roses. Similarly, in The Return of Bruce Nauman’s Bouncing Balls, Vezzoli abandons the conceptual coldness of the original work to present a slick video based on the canons of pornographic filmography starring Brad Rock and his infamous American gay-porn testicles.