Provocation, grimace, search for a sense: this and more is the process of creating a work of art. Artificial light bundles, marble corners, hybris exercises, contemplative frameworks and lyrics, but also workers, craftsmen, noises. Intellectual and physical processes together are shown in the movies that connect the art and the world that influences it.
A movie in a crisis of identity, to the surreal research of itself.
At the end of the movie, the director will meet the public.
The artist's collaborator puts Frank in front of the camera and the photographer opens himself in a psychoanalytic session.
This term gives the title to the Fame Festival, a revolutionary event that from 2008 to 2012 led to Grottaglie the best street artists all around the world, from Blue to Conor Harrington, from Erica the Dog to Os Games, from Escif to Vhils.
A coherent synthesis between vision and object, the film feeds on its creative strength.
The film is above the avant-garde in Socialist Revolution.
Alberto Morsiani, film critic and essayist, he is director of the Associazione Circuito Cinema of Modena and collaborator of magazines and newspapers. Among his publications: “Anthony Mann” (Firenze 1986), “Joseph Mankiewicz” (Firenze 1990), “Scene americane. Il paesaggio nel cinema di Hollywood” (Parma 1994), “Oliver Stone” (Milano 1998), John Ford. Sentieri selvaggi” (Torino 2002), “Gus Van Sant” (Milano 2004), “Quentin Tarantino” (Roma 2004/2011), “L’America e il western – Storie e film della frontiera” (Roma 2007), “Quentin Tarantino. Pulp Fiction” (Torino 2008), “Il cinema indiano” (Roma 2010), “Peter Weir” (Milano 2011), “Ribelli on the road – Moto e bikers del cinema” (Roma 2013), “Paesaggi mobili. Desiderio e paura nel road movie” (Modena, 2014), “Ai confini del buio. Piacere e violenza in Kathryn Bigelow” (Alessandria 2016), “I film di Quentin Tarantino” (Roma 2016), “Cinema di figure” (Modena 2017).