Daniele Rugo, Video Installation, Bologna
The Inner beauty of the Vanzina Brothers
As Andrey Tarkovsky recalls, French director Pascal Aubier shot a ten-minute film consisting of only one shot. No editing, no acting and no decor. The only thing that remains within the frame is time, the film has been constructed on the only element that is proper and exclusive as it were to cinema, time. The aesthetic impact of cinema is here concentrated on time, it is time, or rather rhythm, that conveys any lay moment a qualitative value.
The attempt in 'The inner beauty of the Vanzina brothers' is to move the opposite path from the one walked by Aubier. At point one we take a movie, in the very final stage of its theatrical release; furthermore the movie is a comedy, embracing most of the cliché of the genre, least it is a movie addressed to everyone.
At point two we reduce - or elevate, according to different values - this movie, this one two, this movie addressed to a very wide audience, to its rhythm, to its time, to the actual flowing of time within it. We undo the process that leads to the completion of a movie, writing, lightening, framing, shooting, acting, mixing, editing…and we reduce it to the power of its frame by frame movement, as if it was a matter of dividing the all filmic structure by time. What we are left with is a completely different picture, a patchwork of frames unraveled as if the film, the actual physical support, would have been unwrapped and laid down on the floor. Paradoxically this work, which springs and makes us of digital media, moves in the direction of the physical sequencing of cinema.
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