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  • The Family
  • The Guilt
  • The Waiting
  • KZ
  • Age of Anxiety
  • 21st Century

When Jean-Luc Godard said "Le travelling, c'est un affaire de moral", he wanted to highlight the responsibility of filmmakers towards the viewer, and not only for what was to be seen but, especially, how it should be displayed. This responsibility is particularly important now, when images or themes move the public for its excessive violence .

The film work of Patricia Venti addresses situations of extreme conflict. In them, when exceptionally hard episodes are reminded, consciousness becomes vivid and dense. Such memories temporarily elevate our perception. Thus in "The Father", a woman recalls years of moral and sexual violence at the hands of her father, with whom she begets several children. In the "Mother", a man recalls his own history of domination and incest. In both works, we try to recreate sensations linked to memories of a heartbreaking past but from two different points of view.

In "The Father", the scenes are presented through the eyes of a woman and the narrative treatment is more metaphorical, more poetic. The flash backs blend with the real time. The camera movement, the close-ups, the photography and the staging, were designed to immerse the viewer in the feelings of the victim and attend a dance of sensations taken out of a dream.

In "The Mother", a man through his memories, articulates a more systematic and logical narrative. The spaces are airy and his memory develops in three successive flashbacks that deconstruct the keys to his oppressed life. Some very religious elements present in this work, give it an existential touch that challenge and arouse questions to the viewer.

Unlike the two shorts that make up "The Family", the short film "The Son" is a literary film. Literature on multiple levels. The film is divided into four episodes loosely structured among each other, constituting a vertical journey into the essence of domestic violence; discards the rhetoric of the shot-reverse shot; dislocates picture and sound (we see and not hear, we hear but cannot see ?); we enter an uncertain territory. Even addresses the ineffable, using the lack of words.

The short film- documentary "kz" addresses the inability of language upon horror and refers to Jacques Rivette's Kapò (Gillo Pontecorvo, 1961): "It's hard not to propose certain questions when undertaking a film about concentration camps [...]There are things that need to be addressed only from the fear and the shudder. Certainly, death is one of them. How not to feel an impostor while filming something so mysterious? (RIVETTE, 1961:58). This work elaborates its speech around "the unrepresentable", "the unthinkable" and "the unimaginable", and finally makes evident the conflict between the realism of the representation and the author's attitude towards what he sees, what he films and, therefore, towards the world and all things (RIVETTE, 1961:59).

Finally, we would like to highlight "Uncertified copy" my new short film hard to categorize, where fiction and reality overlap. There are several levels, the first is a short film by Abbas Kiarostami; the second, the making-of of the latter and finally a documentary about "the blue overall." The line between these different levels is so thin that it immerses us in a game of mirrors, in a pure Borgesian style. As you move through the footage, the short film acquires a parodic tone that tells us, with subtlety and irony, that in everything that we see and hear, there is the director's hand, which cuts and decides everything.