Federico Fellini did not believe the world ended at night-time. In fact, he thought that another dimension of reality opened up at night. Cinema has always told stories about dreams and has had a special relationship with ‘the other side of the world’. This section starts with Georges Melies, film’s first storyteller of dreams, then moves on to Dadaist and Surrealist cinema, which makes the unconscious and dreamlike its aesthetic and linguistic guide, and ends with a Danish animated film about the unbridled dreams of a child. As Desnos wrote, “In the absence of the spontaneous adventure that our eyelids let escape upon wakening, we go to the dark cinema looking for artificial dreams”.

LE CAUCHEMAR
(A Nightmare, Francia/1900) di Georges Méliès (1’)

ENTR’ACTE
(Francia/1924) di René Clair (estratto, 6’)

VORMITTAGSSPUK
(Ghosts Before Breakfast, Germania/1928) di Hans Richter (estratto, 6’)

LE RÊVE DU RADJAH OU LA FORÊT ENCHANTÉE
(The Rajah’s Dream, Francia/1900) di Georges Méliès (2’)

LE RETOUR À LA RAISON
(Francia/1923) di Man Ray (3’)

BALLET MÉCANIQUE
(Francia/1924) di Fernand Léger (estratto, 3’) 

DREAMS THAT MONEY CAN BUY
(USA/1947) di Hans Richter (estratto, 3’)

YOUGHAL CLOCK TOWER
(Irlanda/1909) di James Horgan (1’)

PALLE ALENE I VERDEN
(Palle Alone in the World, Danimarca/1949) di Astrid Henning-Jensen (25’)  

So Beast  
Katarina Poklepovic and Michele Quadri are producers, beatmakers, musicians and composers temporarily based in the countryside outside of Bologna. They came about as a duo experimenting and improvising, exploring sound and radio art, and headed towards a more defined music form with live electronics, combining elements of contemporary, avant-garde, hip hop, trap, psychedelic, post punk and pop music, to create a unique and polished fusion of musical styles.