Pace non cerco, guerra non sopporto (2020)

The sight of a landscape is suddenly interrupted by the passing of a train entering the frame. It blurs the vision, covers the sounds of nature. Trains, as taught by Film History, represent a technological fascination, an industrial attraction, but are also the symbol of a progress careless towards the world and human beings (suffice to think of the founding myth of the Old West), aimed at commodities, at an economic rather than moral value. In the same way Ramiro, a debuting musician, is overwhelmed by the “productive machine” which seduces him, but also startles and scares him, because it sells off people and makes them all the same.