Fabrizio Ferraro

A companion piece to Les Unwanted de Europa (IFFR 2018) and Checkpoint Berlin (IFFR 2020), I morti rimangono con la bocca aperta extends Fabrizio Ferraro's project of retracing the historical footsteps of those fleeing persecution.

A companion piece to Les Unwanted de Europa (IFFR 2018) and Checkpoint Berlin (IFFR 2020), I morti rimangono con la bocca aperta extends Fabrizio Ferraro's project of retracing the historical footsteps of those fleeing persecution.

A companion piece to Les Unwanted de Europa (IFFR 2018) and Checkpoint Berlin (IFFR 2020), I morti rimangono con la bocca aperta extends Fabrizio Ferraro's project of retracing the historical footsteps of those fleeing persecution.

A companion piece to Les Unwanted de Europa (IFFR 2018) and Checkpoint Berlin (IFFR 2020), I morti rimangono con la bocca aperta extends Fabrizio Ferraro's project of retracing the historical footsteps of those fleeing persecution.

A companion piece to Les Unwanted de Europa (IFFR 2018) and Checkpoint Berlin (IFFR 2020), I morti rimangono con la bocca aperta extends Fabrizio Ferraro's project of retracing the historical footsteps of those fleeing persecution.

Mr. Emmer is a jaded Film Director, Catarina the assistant of an absent Producer. Together they embark on a journey in search of Hölderlin's places, for a never forgotten project on the German poet. But during the journey their aspirations will prove to be an obstacle for the realisation of any work. A love song for a suffering Nature.

Mr. Emmer is a jaded Film Director, Catarina the assistant of an absent Producer. Together they embark on a journey in search of Hölderlin's places, for a never forgotten project on the German poet. But during the journey their aspirations will prove to be an obstacle for the realisation of any work. A love song for a suffering Nature.

Mr. Emmer is a jaded Film Director, Catarina the assistant of an absent Producer. Together they embark on a journey in search of Hölderlin's places, for a never forgotten project on the German poet. But during the journey their aspirations will prove to be an obstacle for the realisation of any work. A love song for a suffering Nature.

Mr. Emmer is a jaded Film Director, Catarina the assistant of an absent Producer. Together they embark on a journey in search of Hölderlin's places, for a never forgotten project on the German poet. But during the journey their aspirations will prove to be an obstacle for the realisation of any work. A love song for a suffering Nature.

An elderly film director visits Berlin for a screening of his latest film, starting a physical and mental journey along the remnants of the wall that split the city for almost 30 years.

Portraying the last days in the life of philosopher Walter Benjamin (1892–1940), whose writings such as The Work of Art in the Age of Mechanical Reproduction have become of seminal importance in cultural criticism, Ferraro not only deals with a historical and philosophically fascinating subject, but has also crafted a landscape film of immense beauty.

Portraying the last days in the life of philosopher Walter Benjamin (1892–1940), whose writings such as The Work of Art in the Age of Mechanical Reproduction have become of seminal importance in cultural criticism, Ferraro not only deals with a historical and philosophically fascinating subject, but has also crafted a landscape film of immense beauty.

Portraying the last days in the life of philosopher Walter Benjamin (1892–1940), whose writings such as The Work of Art in the Age of Mechanical Reproduction have become of seminal importance in cultural criticism, Ferraro not only deals with a historical and philosophically fascinating subject, but has also crafted a landscape film of immense beauty.

Portraying the last days in the life of philosopher Walter Benjamin (1892–1940), whose writings such as The Work of Art in the Age of Mechanical Reproduction have become of seminal importance in cultural criticism, Ferraro not only deals with a historical and philosophically fascinating subject, but has also crafted a landscape film of immense beauty.

A group of visionaries decide to take a baroque a statue of Christ where it was planned to be by its sculptor, Francesco Mochi. During the trip, Christ breaks the four-hundred years silence and speaks to John the Baptist.

Fabrizio Ferraro’s homage to Saint Sebastian, subject of three paintings by the Italian early Renaissance master Andrea Mantegna, starts in the present day with colorful images of tourists in the ancient ruins of the Palatino and the Foro Romano in Rome. Suddenly we are transported to another dimension, now in black and white, the same place but another time, suggesting the film’s inherent circularity.

In QUANDO DAL CIELO, Italian filmmaker Fabrizio Ferraro rises to the challenge of filming music, or rather filming musicians in the midst of the creative act to reinforce the idea that the dimension of listening is active.

In QUANDO DAL CIELO, Italian filmmaker Fabrizio Ferraro rises to the challenge of filming music, or rather filming musicians in the midst of the creative act to reinforce the idea that the dimension of listening is active.

Whoever crosses the threshold of a mental health institution immediately finds themselves on a different planet. In PIANO SUL PIANETA, Fabrizio Ferraro’s superb black-and-white images create a dystopian tale, suspended in time but hugely restricted in space.

This is the diary which the French philosopher Simone Weil kept when, as a twenty-five-year-old, she took a one-year sabbatical from school and her studies and worked in a Parisian factory from December 4, 1934 until August 1935, running the presses at the Alsthom electric company. This experience formed the basis for her book La condition ouvrière. The written chronicle of her days is visually accompanied by a continuous flow of dark rooms and the urban landscape of Île Seguin (suburbs south of Paris), paying particular attention to construction sites and factories.

This is the diary which the French philosopher Simone Weil kept when, as a twenty-five-year-old, she took a one-year sabbatical from school and her studies and worked in a Parisian factory from December 4, 1934 until August 1935, running the presses at the Alsthom electric company. This experience formed the basis for her book La condition ouvrière. The written chronicle of her days is visually accompanied by a continuous flow of dark rooms and the urban landscape of Île Seguin (suburbs south of Paris), paying particular attention to construction sites and factories.