The panorama of human events meets the man with the camera. His playing field has no boundaries, his curiosity has no measure. Characters, situations and places camp in the experience of a humanity that is simultaneously the one who sees and the thing seen. But what are the final days of this humanity? Have they already passed? Are they passing now or are they still to come? While waiting, the astronauts of the Atalante, in their Promethean in dreams, confront their image in a bubble of water. The pilot pushes his fireball to madness, subjectively, between fear and desire. Along the paths of the open sea steamers, a caress, an affection. In the mirror, camera in hand certainly, though always uncertainly, your own take takes place in a short, a too short, unit of time. But what we have learned is that there is no duration. Everything they touch becomes time, action, expectation and hope, it’s reminiscent of Demetra to the human hustle and bustle. A fragment of fragments. To make a gesture that escapes melancholy and play it in an even impossible movement. Kraus’ Mars theater hasn’t opened yet. We were busy “anarchiving”. And this drama can have no other spectator than humanity.
On the first page of Franz Kafka’s Diaries, a note: “The spectators freeze when the train passes”. Hundreds of hours of tapes flow. Enrico Ghezzi talks with the philosopher Emanuele Severino: We do not think adequately of the true fracture that brings cinema into history, what we are used to thinking of as the history of humanity. Cinema is the first time the world sees itself again. Then we know that it is fake, that it is a trick, that it is made of individual frames, but while photography is a frozen moment, with cinema we see a horse, the world sees itself again and this in itself is a materialization that one does not contemplate… Cut.
“If your eyes offend you, rip them out!” warns the preacher.