Sound
Pier Farri (Pierluigi Farri) is an Italian musician, arranger, composer, producer, actor and filmmaker.
Four friends, former 1968 student protesters who have checked out of politics and struggle to come to terms with the present, try self-criticism to figure out what to do with themselves, only to end up doing what they do best: sinking into endless talk without ever reaching a conclusion.
SUNSHINE CITY is Albie Thom’s sprawling, protoplasmic experimental portrait of his hometown of Sydney. The National Film and Sound Archive of Australia call it “a structured diary film which investigates the process of living in Sydney, which uses a repeating light modulation to intensify experiences of light, heat, colour”.
Edmondo Roth plays the role of Bette Davis in this campy dark comedy by Pier Farri.
A young poet falls in love with a sophisticated woman who hates poetry. But the poet wants to win her with poetry — and a bit of help from his mum.
A true story, fillmed in Rome with both actors & non actors. in the 1500's Roman life was often a nightmare - Count Cenci tortured his family, raped his daughter, murdered his sons, created general havoc. Beatrice got her revenge, before she lost her head. A hectic, hysterical nightmare built of intercutting, movement & emotion.
Strains of Wagner's Das Rheingold and African tribal ululations collide with bi-/tri-sected television footage while negative-positive visuals smash heedlessly into their mirror images, an unbounded series of “meaningful” artistic fender-benders that amount to little of resonant substance.
A group of pilgrims in the Vatican is trapped in an enclosed elevator. Then chaos erupts, and repressed urges come to the surface.
Film poem in negative by Pier Farri. The second part of his trilogy 'Night scenes of artists and poets'.
Pier Farri's Futurist Europe focuses on Futurism as the first avant-garde film movement in history.
Self-shot: a film shot without a camera operator. Sole witness: the movie camera. Fixed, directed at a single expanse, obedient to the orders of wires that I manipulate: characters splitting in two through the asymmetrical filtration of the comings and goings of self-irony. Composed of various extracts of historical films, such as the Eisensteinian battleship, intercut with stairways of various sorts; the unceasing use of negatives persecuted by positives and vice versa; a cinematic-theatrical dialogue between philosophical doubling and filmic doubling.
An artist's self-portrait problematizing the choice between tradition and the avant-garde, between being free or being disciplined.