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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Reptilica
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Reptilica is partly animation and partly a film where real people perform. It Starts with a doll which is animated with the stop motion technique, she is searching through the many dry leaves that rest on the floor, something she has seen or felt passing by, but she can’t seem to find it.
Other scenes in the movie introduce small pink worms falling on a group of ivy leaves, these are the disturbing presence that bother the doll as they sneak under the leaves, never letting themselves to be seen. These worms might be imaginary creatures belonging to the same fragmented body of the doll/woman.
The doll’s actions alternate with those of a real woman, which is also searching through the leaves, and her movements at some stage of the film become frenetic: she tries to cover her body with the plants as if to operate an impossible symbiosis with nature.
