Anna Marziano
Nascimento : 1982-01-01, Padua, Veneto, Italy
História
Anna Marziano (1982, Italy) studied filmmaking at Centro Sperimentale di Cinematografia (Rome) and Political Sciences (Padova). In 2009 she moved to France supported by the Film Commission Friuli Venezia Giulia Fellowship. She attended the Ateliers Varan (Paris) and participated in Le Fresnoy – Studio National des Arts Contemporains (Tourcoing). Anna's practice experiments with the documentary form, exploring the construction of contemporary identity through a film process that questions subjectivity, social roles and multiple singularities through the aesthetic of the fragment. In her practice, a great attention is dedicated to possible ways of relating to each other through the film process.
Her films are screened internationally (Toronto International Film Festival, Ann Arbor Film Festival, Torino International Film Festival, Kurzfilmtage Oberhausen, MediaCity Film Festival Detroit, LABoral Centro de Arte Gijon, FRAC Dunkerque, National Gallery of Art Washington DC, Wexner Center for the Arts, Experimenta Film Festival Bangalore). Since 2012, she is based in Berlin (Germany).
Director
Inspired by the last essay Charles Darwin wrote on the action of worms, Anna Marziano crafted a film where the cultural and political action is placed in continuity with the work of earthworms, digesting and feeding the soil microscopically day after day. The film intertwines direct observation, video projections and the decay of some film negatives buried in the ground in the attempt to keep visual traces of the life of micro-organisms.
Director of Photography
A reflection on the concept of pain through an immersive flow of images and words.
Sound
A reflection on the concept of pain through an immersive flow of images and words.
Editor
A reflection on the concept of pain through an immersive flow of images and words.
Original Concept
A reflection on the concept of pain through an immersive flow of images and words.
Director
A reflection on the concept of pain through an immersive flow of images and words.
Sound Recordist
Set to a breath-like rhythm, Anna Marziano’s Beyond the One is an essayistic exploration of love’s various guises, considering different attempts at courtship, living together, and sustaining connections with people once they have died.
Producer
Set to a breath-like rhythm, Anna Marziano’s Beyond the One is an essayistic exploration of love’s various guises, considering different attempts at courtship, living together, and sustaining connections with people once they have died.
Editor
Set to a breath-like rhythm, Anna Marziano’s Beyond the One is an essayistic exploration of love’s various guises, considering different attempts at courtship, living together, and sustaining connections with people once they have died.
Cinematography
Set to a breath-like rhythm, Anna Marziano’s Beyond the One is an essayistic exploration of love’s various guises, considering different attempts at courtship, living together, and sustaining connections with people once they have died.
Director
Set to a breath-like rhythm, Anna Marziano’s Beyond the One is an essayistic exploration of love’s various guises, considering different attempts at courtship, living together, and sustaining connections with people once they have died.
Screenplay
This film is composed of 5 horizons, each one offered by the filmmaker to the voices of some passers by met in Apulia, in June 2013: their words draw closed and open spaces, paths of illnesses and healing.
Director
This film is composed of 5 horizons, each one offered by the filmmaker to the voices of some passers by met in Apulia, in June 2013: their words draw closed and open spaces, paths of illnesses and healing.
Director
Roubaix, a city with an industrial past, is today one of France’s most destitute areas. During six months of shooting in public places, the filmmaker asked the townspeople to think of one or more things they had been told in the past and that had somehow changed them. Through thirteen sequence shots and microscopic images, she then constructed a sort of cartography of micro-transformations of human trajectories, a poetical study of the dynamism of individuals. In between the extraneousness of the images and the intimate closeness of the voices, the ambiguous space of the singular/plural identity is offered to the experience of the public.
Editor
O filme explora a habilidade do humano de se adaptar perante a catástrofe enquanto passagens de literatura seminal implicam em um corpo social transitório
Director of Photography
O filme explora a habilidade do humano de se adaptar perante a catástrofe enquanto passagens de literatura seminal implicam em um corpo social transitório
Director
O filme explora a habilidade do humano de se adaptar perante a catástrofe enquanto passagens de literatura seminal implicam em um corpo social transitório
Director
“Marie-Claude Treilhou (Ateliers Varan) proposed that we make a collective film composed of various shorts that all deal with rage. Even though the project hasn’t yet been completed, right from the start I felt very close to this subject. I’m not talking about the emotional aspect of rage, nor its interpretation in a revolutionary key. Instead, I’m referring to a silent and constitutive rage. Los justos by Jorge Luis Borges was a poem which guided me as I wrote the short, like a serene expression of a radical state of rebellion, composed of the renunciation of power and violence.”
Director
Which artistic practices are possibile in a society that revolves on artificial needs? An open consideration through the work of the artist Dan Perjovschi. An invitation for a walk along the imaginary axis of the sight.
