“An almost contemporary writer says, ‘There is no object which is so revolting that intense lighting cannot make it appear beautiful. The way it stimulates the senses, the somewhat infinite nature which it has and which makes it similar to space and time, confers to every material object a joyous aspect.’ ” (Florenskij quoting Emerson) The secret of Ciprì and Maresco’s cinema has come to light. In fact, it is light itself. It consists of an immaterial aura and a guarantee of the visible and horrendous and excessive materiality of bodies.

Domani a Palermo. A memoria. There isn’t (only) a joke, in the titles. The letter (be it scarlet or stolen, imprinted onto the body/text and hidden in this, or exhibited in its presence to the point of annulling itself), succours, playing (nasty) jokes. One of the cinematographic styles most proudly, repeatedly, desperately, obsessively tied and committed to a set, a city, a nation, knows to be lacking from that set. In Palermo, perhaps, ‘tomorrow’. Or rather: ‘as a memory’. Where ‘a’ has the sound of space, indicating a state or a motion. Lacy’s meticulous ‘improvisation’ is not more impromptu than the appearance (in the history of Italian cinema, and in the first instance when one, of you or of ‘them’, sees, will see, saw them standing out) of glorious cynic bodies, so gloriously distant and extemporal that almost always Maresco’s Beckettian television voice seems to approach them, enticing them to participate in a different game which tempers or reduces the monumentality of their appearance. And in the encounter with Castagna, a talent scout for the international film industry who finds native actors, the really big cynical casting professionals are the two actors, capable of portraying dyslexia, involuntary anagrams, the forgetfulness of their manipulating hero, shortlived destinies of show business, motor of endless (non) appearances. The personal internal ‘auto casting’ in the DVD is of superior cynicism, driven to the point of love which illuminates all, and which puts together, in the same digital space, both Castagna and Lacy. I remember Lacy’s complaint and dismay, following the first showing of A memoria in Rome, when he saw the portrait of the sensational Sicilian film organizer: “How can we laugh about such awful characters ? It’s so sad. It’s too easy.

Instead they influence show business resulting in terrible consequences for artists, filmmakers and musicians.” He was unable to understand, he was unable to surmount, the great musician, the bitter taste of criticism, he found it almost complacent, when he was most similar to a harsh and self-critical ‘coming into action’ of the authors themselves; operators of a more painful ‘coming out’ of the subsequent cathartic figurations, incarnations, translation of the two directors of Il ritorno di Cagliostro and in Franchi and Ingrassia. Here the couple is more abstract and radical, or it is even ‘rediscovered’ and revealed by the staying together of A memoria and Enzo, domani a Palermo!. Grazie Lia… and Arruso (Arruza, Grazie Zia) are not the only titles of small cinematographic transformations and distortions. The ambiguous play on names, places, sexes and the story of the people and rituals is again the ‘move’ which exhibits and conceals the fragile power of all rituals and their obsessive consistence. The Ciprì/Maresco obsession is one of the rare ones that manages to encounter and reduce the technical obsession which is cinema and which is blurred, modelled and repeated with their voice.

From the ‘future memory’ designed from the virtual place of double exposure “Palermo domani+memory”, the drift which is the impossible and absent present evidenced by cinema (an archaeological memory of “present” states) can be easily extricated. A memoria is the present itself. Steve Lacy’s placid wandering about is not just the journey within a space and the improvisation and invention of thus; it is also the unravelling of a necessary cut, of the impossibility of illustrating or describing a space, of finding within this the image of oneself, or finding this in an image. A memoria is the piercing scar of absence (and also radically lacking ‘politically’), where the figure which is illuminated is the set itself in as much as it is an extreme spatial abstraction. Nor does the music accompany the film. It is the music which is accompanied, pursued, reached and immediately lost; a chronological sign of a beginning which never existed and an ending which has already been.

enrico ghezzi

One of those it like a virus for my pc. It closes everything down. Also subs are not in english?

yea. it was weird. if i opened to the folder with my films in it or just open that one movie. windows were do some illegal operation. i just deleted it. now it's fine. sucks i never got the subs to work tho. i wanted to take nice stills from it

What programs should I have to open these? Whenever I click on one of them, it opens in bearshare but does nothing.

What programs should I have to open these?

You need to have a software named eMule installed and running on you PC.

All the details here:

eMule FAQ

Just ask if you still have problems, and welcome to HHAH