Frédéric Maire, director of the Cinémathèque Suisse and former organizer of an important retrospective of Delbono's cinematographic work at the Locarno festival (of which he was the artistic curator from 2005 to 2009), says that there was a time when there was talk of "stylus-work", corresponding to an idea of cinema made as if it were written, at the speed of light or thought. With Pippo Delbono, Maire claims, the camera merges with the filmmaker's body. This is his perspective of the "cinema body" that he will explain in Rovereto. The camera becomes a physical extension of the director, and is at the same time his gaze, his thought and his gesture: the author embodies the camera. A presence that imposes itself both on theater scenes and on cinema screens (as an actor in films by Guadagnino, Risi or Bertolucci), Delbono has become increasingly discreet and marginal on the screen of his own films. In Guerra (2003) and Grido (2006), which were his first feature films, he is still both behind and in front of the lens. In Fear (2009), shot entirely with a mobile phone, he discovers something that gives him a mask, brandishing the phone like the extension of a limb that allows him to establish a new relationship with reality. Amore Carne (2011), in whose production the Cinémathèque Suisse directed by Maire participated, was also made with tools aimed at maximum economy. This film continues the same research by establishing an intimate, almost secret and even more physical relationship with the lens, which Pippo tends to hide. And he appears there only at times and in fragments, breaths and reflections. He exists only for what he is showing and for what he says, and his voice seems to be the direct emanation no longer of man, but of images: it transforms into a "cinema body".