After the actress-doll, the yogi, and the representation of female eroticism in everyday life, the will was to capture a different stage presence compared to the previous ones, powerful and animalistic. The actress, fleeing from her own human connotations, establishes here a symbiotic relationship with the mechanical objects with which she interacts, becoming something else, something indefinable.
A labyrinthine path composed of 223 images, the fil rouge is eroticism inserted into the everyday, embodied by a single actress. From sleep to awakening, from bath to make-up, from picnics to swimming in the pool, from dinner to a pool table. The challenge, verify whether the viewer emerges from the labyrinth worn out or pleasantly stunned.
The shooting of the theatrical auditions of the homonymous show, by the Ravenna-based theater company Fanny & Alexander, turns into a tribute to the neoclassical sculpture of the male nude.
Two masters in two different oriental disciplines, two parallel paths with antithetical traits that point to similar results. In Francesco the struggle is against the forces of nature, the enemy is exteriorized, the strength of the warrior pushes towards the 4 corners of the scene. In Francesca, the demon to fight dwells within the figure itself, what strikes is not the gesture itself but its obvious intimacy; the battlefield, a closed and dark space.