The road ‘to nowhere’ is also the one for NOW HERE, in addition to the palindrome that completes it infinitely reversed in ‘erehwon’. Which ‘era’ won will win wins, in the mercilessly elastic spatial crack that is the present? Reminder for an oblivion, cinema (all its filming) is also the sculptural erasure that sculpts the visible while hiding most of it.
Tonight we play there, where the water boils treacherously around the waterline of the iceberg and its Titanic. Where the night of the cave with its lost or saved transforms into the cave in broad daylight in Manhattan a 9/11 where the saved and therefore the lost are both the invisible and the visible, spectators and actors cut by the same fractal line. The whole world has been for sale for years, purchasable multiple times by the black money in circulation. This is the luminous truth of capital, which does not exist but is more real than reality. The slowness and delay of cinema and television allow us, for the umpteenth last time, to stand up opposing our shadow to the blackness of capitalism, our slow speed of filmic light to the acceleration that every still moment swallows us up. (demonstrations and remonstrances: rossellini debord ozu lang ford and mann and godard and a thousand others, and all the cinema, irredeemable NOSTALGIA FOR THE PRESENT)
Enrico Ghezzi is almost sixteen in May 1968. He loves Eddy Merckx, Jean Vigo, Max Stirner, Bob Beamon's 8meters and 90 centimeters, and... He deals with cinema and television (or, worse/better, he is busy with them). Since 1979 he has worked and played at Raitre (of which he directed the programming and was deputy director), where he curated and invented film cycles, the 40 non-stop hours of La Magnifica Ossessione for the 90th anniversary of Lumière in 1985), and the programs FUORI ORARIO, SCHEGGE, BLOB (and Publimania, Ventanni Prima, Fine senza Fine). He likes writing too much not to almost drown in images. He directs the Taormina festival from 1991 to 1998, and the Bellaria one. He founded and has directed, since 2001, Il Vento del Cinema/Chi Pensa il Cinema, meetings between filmmakers, images and philosophers, in Procida. He made the short film GELOSI E TRANQUILLI (1988), haiku for the Venice Biennale (on Kubrick, Eastwood, Rohmer), Parola (su una) Data, video conversations about September 11, 2001 with Derrida Eco Žižek and several other philosophers and directors, Con Aura/Senz’Aura (together with Luciano Emmer) and video clips (including Strani giorni, for Franco Battiato). He has published books for Bompiani, including Paura e desiderio, and in 1994 a PANTA dedicated to cinema. He (did not) edit the Italian edition of Guy Debord’s Complete Cinematographic Works. He is (did not) finish something that (did not) resemble a novel, Oro soluble. Like everyone else, he believes he loves and does not know if he is loved.