Portrait (1963)
The aesthetic moves progressively from loose “underground” means using expressionistic camera movement, multiple exposures, droning sequences and shock cut towards a static, didactic form of “documentary” marked with long takes, minimal camera movement, a surface concentration on showing how things are. Being silent they operate on sheerly visual means. From the outset they grapple with socio-political issues with the stifling atmosphere of Catholic family life in Italy
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The aesthetic moves progressively from loose “underground” means using expressionistic camera movement, multiple exposures, droning sequences and shock cut towards a static, didactic form of “documentary” marked with long takes, minimal camera movement, a surface concentration on showing how things are. Being silent they operate on sheerly visual means. From the outset they grapple with socio-political issues with the stifling atmosphere of Catholic family life in Italy