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The storytelling [in Futuristic Toys] aims to be a reprise of a certain futuristic representation, a grotesque tale of the lack of psychology in this type of dramatic scenes, and which would spark a sense of loss and amazement in the viewer, still remaining in a dreamlike vision. On the other side it is an expressionist "drama" which contextualize the human being ruled by the "mechanicity" built by himself and it wants to awake his
asleep conscience.
The drama,actually pretty ironic,actually, touches also issues raised by classic Italian literature as "La Divina Commedia" and "I Promessi Sposi" ,making them extremely synthetics - as Futurist theater was. The film can be considered in a certain sense autobiographical, but can also represent we all (if we are able to see ourselves like the "impersonal protagonist"), walking
without astonishment in the time and the space , trying to find "that something different", been entangled by those derisory and inconsistent values created "ad hoc" to maintain the society alive... and every time we get irreparably trapped, for then waking up and falling again, but, at least, having something more inside and being a bit less "mechanical".
I wanted to provoke thinking for young people , till they have the chance to still decide about their lives, to take it in a "more primitive direction."
| Director:
Claudio Castelli (their other films)
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| Producer: |
Genre: Art / Artist |
| Country: Italy |
Copyright Year: 2005 |
| Original Format: other video |
Color Type: Color |
| Sound Type: Magnetic Stereo |
Length: 10:50:00 |
| Original Language: no dialogue |
Subtitle Language: |
Other Info:
SCRIPT
After an incubus overwhelming (or reality?), happened
mechanically inside of the alarm clock, the protagonist
suddenly wake up, throwing himself against the alarm
clock and then making to stop the other noise, this time
not mechanic: the rooster.
After having a very quick breakfast, he goes down to
the bewitched nature of his little town, where, after a
first moment of idyll , are all revealed the grotesque
facets, ridicules and horribles that also this fairy-tale
landscape offers.
After a short movement, made by the meeting of mechanical
personages, all carryng out their function in
“automatic” way, the apex of the “grotesque” is in the
SUICIDE: an automaton,maybe’ the most mechanic one
in the narration, perhaps overwhelmed from his own
mechanicism , thrown himself in the vacuum, getting
immediately swallowed from the earth.
Rain, wind, devils cancel his traces, but when the suicide
is already sinked the “Benediction” intervenes :
perhaps the action (or simply the rain) extinguishes the
flames of the hell, the earth closes up and the world is
safe: the protagonist, with some other creatures, stops
himself to contemplate the mysticism of the existing.
But this ecstatic moment is upsotten from the entrance
in the scene of two threatening automatons, “bravi
manzoniani” (citation of “promessi sposi”, classic Italian
novel from Alessandro Manzoni : two mercenaries
are sent from the local boss (Don Rodrigo) to the local
priest asking to not celebrate the marriage of Renzo
and Lucia, two humbles persons, and the priest, “Don
Abbondio” ,pretty easy to get scared, agree with them).
Seeing them, the “placid executor of the blessing” escapes
screaming, and the ecstasy ends.
Bar and brawl of drunkards: the protagonist gulp down
a glass (of CAMPARI, obviously), before getting the
ticket and to enter in the “peripheral station”(stazione
periferica): place of transit, portal for the rest of the
world, last outpost of dailyness (I hope this word exists).
Quick jump on the train, grinding divinity mechanically
moved by flames, gears and bolts.
The landscape quickly runs away, the campaign get eagerly
devoured by the metallic monster, in a violent whirling
of shapes and of colors that are mading up in mechanisms
the CITY-METROPOLIS get announced.
The impersonal protagonist reaches the central station ,
turmoil of working mechanisms, workers automatons,
fleeting trains, passenger automatons that go and come
from all over, and chooses, confused by the swarming
crowd ,a secondary exit, absolutely deserted.
Little steps gropingly in the dusk of the underground tunnel,
and then the fall, the Portal for HELL.
Not upset at all from the atrocious suffering of the
damned and from the threatening sneers of the devils, he
haves a quick snack and quickly moves to the way-out,
but instead of “seeing again the stars”(uscir a riveder le
stelle) keep stayng underground, in the SUBWAY.
Gained the exit, the menacing shadows that dull in the
secondary alleys pushes hims to diving itself in the void,
landing in a trash-can of an old council houses complex.
This place, microcosm of naturalness in the impersonal
city, takes him to the primitive instinctiveness: he chases a
CAT in roquambolesques vicissitudes, until he bumps into
the ASIAN HUNTER.
After the forced return to normality, he contemplates the
rise of the city: skyscrapers, palaces, swarming construction
machinery, Divinity matrix and mother also of men,
expelled in fastest sequence from the the bowels of the
GREAT WILD WOMAN (la grande selvaggia).
Absorbed By now in the generative seriality , it slips
inside to a funnel, with other objects, trash, automaton men:
he will succeed catching a glimpse of a love, synthesized
in a fairy segregated in a tower, in order then
“to be milled” from “the social” machine and to be HOMOGENIZED
in the social structure, somewhat MECHANICAL,
that dominates to the mechanism in which he lives.
To become one that small PROPULSIVE force for one of
the MILLIONS of gears, constituent one of the MILLIONS
mechanisms that move the existing. |
| Film Website: http://www.kurageart.com |
| Upcoming Screenings |
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Microcinema Interview/Article:
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