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The Best Salvatore Insana Directed Movies

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A mental vision, a perceptual experiment. The visual field transformed by colour. Burning the eyes by dint of seeing. A black, mobile stain within a red, homogeneous, dreamlike universe. A colour of a solid, pulsating density, which presents itself as such, and not as a reference to the vast symbolic universe that has revolved around it for centuries.

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The Olmè wood, in Cessalto, Italy, on the border between the provinces of Treviso and Venice, is a residual plain, preserving one of the rare wooded areas that survived deforestation within the Po-Veneto plain. An exceptional resource for what it still preserves, an ecosystem linked to a phase preceding modernity and industrialization. Crossing it you enter a mystical, sacred dimension, you are immersed in a multiform and mysterious habitat marked by lights and sounds with a fairy and timeless character.

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Created from ten still images taken in December 2022, OF WHAT ELUDES is an audiovisual device that makes and unmakes itself as movement in poignant struggle against the stillness of the snapshot, in the unlikely but compelling challenge to monumentalizing each moment by translating it into a digital picture.

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Oscillation: that moment in which we run aground in an inexhaustible going and coming back, disconcerting jam, towards the imponderable and in fight against the tendency to stabilize. Between floating and temporal suspension, the oscillation is a long lasting back and forth. A cohabitation of opposing forces, which is at the same time letting go, getting carried away and resisting. Participate in the sensitive manifestations of impalpable forces that govern us, making one's body a storm of movement withheld

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On the night side of every life, there where the visible meets the enigma of invisibility, a couple explores the periphery of the day, guided by the moon and cradled by the wind. Expressionist hues and breath, artificial lights, yellow street lamps shaping slender natural stages moved by the wind and illuminated by the moon. Black backdrops behind which infinity hides. Two ghostly figures, less protagonists and more evanescent than nervous foliage moved by the breath of time.

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The heat cognition. a summer day in a city park. a scorcher. Those who can not escape looking surrogates to their holiday mood. The beaches are colored in green and off-stage feeds the view. childish and burned plots views. Pursuits to loss of sight.

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We are not there, we do not find ourselves, almost lost, almost suspended. Alert, ready to shoot, the danger is out of range and has no signals. Going toward the light to take dangerous risks. Restless tremor of face the horizon keeping our eyes wide open. Assuming or foreseeing the abyss, in a further condition in which we play the “non-adherence” to the present time.

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The human body as last bastion and first defense tool to scour and decode the world.

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In order to think and study about happiness, I chose to make my film by going through and re-elaborating the "home movies" of Adolf Hitler and Eva Braun, dated between 1938 and 1944, images of a private life, far from the clamor of the war and rich in moments of family joy, those that the "intimate circle" of the German dictator and his companion spent in the mountain refuge-house of Berghof or in the various trips around Europe.

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Hecate, Today is an investigation into visual anthropology and transformations of the imaginary, carried out by observing the urban landscape of Vimercate, a small town in Lombardy, Italy, and comparing the pervasive control of the territory by modern surveillance and satellite tracking systems with the function of ancient divinities responsible for protecting travellers, such as Hecate, who gives the work its title.

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"Io ho fissato il fuoco per sempre" is an investigation into the act of looking and being looked at, a history of the (not) archived gaze. The gaze of the filmed subject, that of the camera, and that of the spectator trigger a participatory obsession, made of eyes in action. Someone threatens or affects the quiet of our vision and taking your eyes off too early, you know, could be fatal.

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