Ugo Nespolo and Piero Bargellini are exemplary representatives, in the radicalness of their positions, of the two souls of Italian experimentalism. On one hand there is the idea of cinema as ‘meditation in D’ on what is artistic and what is visual, self-reflection on the statute of cinema itself and on its possibility to be extended. On the other hand there is the perspective of the interior vision and excess of cinema, cinema that records the broadening of consciousness and the correlated visual. For Nespolo in the beginning, cinema was a field open to experimentation, a playful experience, a space for possible provocation and a technical device to try out. (…) Also because of the radicalness and significance of the research carried out in experimental cinema, The Museo Nazionale del Cinema in Turin plans to work systematically to safeguard and restore those experiences that are particularly subject to being lost. Recovery and restoration of Bargellini’s films, and restoration of Nespolo’s films thus reflects the desire to preserve and make known essential documents from the other cinema. (Paolo Bertetto)