Rain
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In this video the Rain is made out of blood: a constant red rain falls on the vegetation of the town.
Here the concept of violence is not expressed literally with scenes of cruelty, but it is symbolically represented by the never ending rain that exists through the all duration of the film. This video does not present a resolution to this sad scenario, there are only few moments in which the rain stops, and leaves violently shaken by the wind moving in slow motion inhabit the screen.
The violence of the wind is here only a preface to another sad paragraph of rain. Rain starts with bunch of dry leaves and brunches that fall on the floor to subsequently draw the attention to a garden where we see some blood dripping on the grass, and hear a sound of two single notes echoing; at every change of scene there is the falling of a red flower, a brunch or a seed making a sudden dry noise.
This kind of object-falling represents a loss or a sacrifice, or even a sudden waking, that always brings us back to the observing of the red rain. This video does not present a narrative with a beginning, a middle point, and a resolutive end, but it confronts us with the same action repeated over and over in different places, therefore ironically it is like a vinyl record playing always the same music.
The irony of the content adds to the well thought composition of the images, and to the dynamism of some shots: this beautiful imagery is contradicted, and although coexists with the discomfort of the viewing of blood.
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The Checkered Tunnel
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The Checkered Tunnel is a animation made entirely with 3D software. This short movie represents a fragmented space made of a chequered tunnel where the squares that fill its walls, floor, and ceiling alternate from red to white (the colour red is a metaphor for trauma).
At the opening of the piece the point of view of the spectator (the camera) is turning on itself in a chequered room with a missing wall leading to a black void. The camera moves back and forward unsure if to dive into the unknown darkness, or to stay in the trapping room with no other exits. Once the camera makes its move into the dark void, it suddenly encounters a chequered woman (her skin looking like the surrounding space reminds us of the chameleon’s mimicry) that soon goes out of the frame to enter a tunnel full of curved metal surfaces and mirrors.
This trip into a fragmented reality full of intense lights and reflections that, like obstacles, have to be avoided, and that create a blinding effect, ends into a bigger room which looks like a real chessboard where a chess piece with a woman’s head on its top (The Queen), trapped into a muddle of slowly moving worms, turns on itself while the other objects nearby – a dice, and some bishops – rest motionless.
The atmosphere of this place is surreal, the camera at one point turns away from The Queen and moves forward towards a cylindrical container with some illegible words printed on it, before moving into the dark exit of the room.
