Franco Brocani or the coherence of the idea

The artist told in the document by Giacomo R. Bartocci

(a –not so– free traslation)

An idea of cinema. Something that could be sufficient to pursue an attempt, a necessity, an obsession, a rebellion, a work, a novelty. And at a certain point he says that it is so, Franco Brocani, that his cinema is rossellinian. At a certain point of the document put together by Giacomo R. Bartocci that reminds us one of the more intense artist of the italian cinema tout court. Because indeed Brocani says that his cinema, and the cinema by Schifano and Bene was not underground; they wanted to do Hollywood, they wanted to make cinema. Bartocci decided to propose this author portrait starting from the last film of the artist, Le Opere e i Giorni, shot in 2006 and committed in the theme always dear to Brocani: the theme of works' indeed, of the possibility for art to last through time, and of the time's itself. Some characters from the beginning of Necropolis are back, and relaunch some of its themes, doubling them in the present social contest, but, as we said, with an idea of cinema that remained unchanged, coherent since derived by unchanged sincerity and and loyalty. The idea is simplicity, the lack of astheticism and faith in the aesthetics of realm, of the living actor and of the figure that to exist in the cinema's space and to resist in a reproposition of the myth needs that and no more. Franco Brocani cuore meccanico in corpo anonimo is the title of the document that not only propose sequences from the movies but also from the backstage of Le Opere e i Giorni and excerpts of interviews and speeches of the artist about his fraternal friend Schifano, his cinema and his love for Jean Marie Straub. Interesting document and of emotional value.

Claudio Fora
MP News
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