ph Chiara Caterina
SEI ANCORA TU
a film by Chiara Caterina
from Party Girl by Francesco Marilungo
concept Francesco Marilungo
direction and photography Chiara Caterina
editing Valentina Andreoli
sound Mirko Fabbri
choreography Francesco Marilungo
performers Alice Raffaelli, Roberta Racis, Barbara Novati
light designer Gianni Staropoli
costumes Efisio Marras
project carried out within Marche Palcoscenico Aperto. I mestieri dello spettacolo non si fermano promosso da Regione Marche / Assessorato alla Cultura e AMAT
film premiered at the 57th MOSTRA INTERNAZIONALE DI NUOVO CINEMA DI PESARO
“Sei Ancora tu” is a project born from the collaboration of the choreographer Francesco Marilungo with the visual artist and videomaker Chiara Caterina who continues to investigate the contamination between theater and audiovisual language.
The theatrical material of the choreographer’s recent creation is made available to the camera for the realization of a new autonomous work. Not a film version, nor mere filmed documentation: rather, an encounter where the audiovisual image moves “towards” the theatrical operation and revolves around it in search of a dialogue. “Humanizing the machine”, as Aldo Braibanti writes referring to his complex theatrical operation Virulentia, “snatching it from the insidious tentacles of alienation and bringing it back into us”. This is exactly what we will try to do: to offer eccentric points of view that know how to give back the “breath” of a camera that becomes a participant body / eye.
This process of humanization of the camera corresponds to an objectification of the dance, of the theatrical and choreographic material. Party Girl, a performance which tries to metaphorically represent the process that makes the female body a sexual object, becomes itself an object through the ‘humanized’ gaze of the camera. It becomes the object of desire and in the executive passivity of those who are observed lets the formation of a new artistic product which, according to a logic of Chinese boxes, raises the concept of objec- tification to the square.
All the material was shot on 16 mm film to better capture the moment and the ‘spontaneity’ of the first viewing; the eye of the camera will thus be free from any conditioning or reworking resulting from multiple views of the performance.
A claustrophobic vision of empty hotels and places in an abandoned city is reflected in a scenic space inhabited by three female bodies.
Robotic, ordered movements, gestures that seem to lead back to the world of sex work, respond to the male command.
The film forces in the duration of the reel to choose where to look and how to look: in this technical and temporal constraint, however, appears a trajectory that from the objectifying gaze on the female body leads to liberation.