{"id":10152,"date":"2025-07-22T14:23:41","date_gmt":"2025-07-22T14:23:41","guid":{"rendered":"https:\/\/asinovolablog.it\/?p=10152"},"modified":"2025-07-22T22:18:49","modified_gmt":"2025-07-22T22:18:49","slug":"mnemosyne-2-2","status":"publish","type":"post","link":"https:\/\/asinovolablog.it\/en\/mnemosyne-2-2\/","title":{"rendered":"Mnemosyne – The reviews"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text text_direction=”default”]\n

curated by Chiara Ghidelli and Chiara Granata | reviews by Chiara Ghidelli<\/em><\/p>\n

A<\/span><\/strong>s part of its 2025 edition, Concorto Film Festival explores once again the third year, the themes of the Mnemosyne focus, dedicated to the reuse of archival materials. The focus recalls the title of the work with which Warburg showed the extent to which our visual culture has been crossed by images meant to return. What Mnemosyne wanted to tell then is the cultural value and the linguistic versatility of these \u201creturning images\u201d, so-called found footage. These are materials that are now experiencing a new springtime thanks to great successes ranging from authorship to mainstream, from niche to trend.<\/p>\n

Confirming once again the power of archives, which have now emerged from purely popular and documentary narratives, the third edition of Mnemosyne will focus on works that, turning to found footage, address a new way of understanding fiction and the search for new narrative formulas that are able capable to transform an existing document into a new reality.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”20″ bottom_padding=”20″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_gallery type=”image_grid” images=”10158,10160,10162,10164,10166″ image_grid_loading=”default” display_title_caption=”true” layout=”fullwidth” item_spacing=”default” constrain_max_cols=”true” gallery_style=”3″ load_in_animation=”none” img_size=”600×403″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text text_direction=”default”]\n

The selected shorts<\/strong><\/h4>\n

curated by Chiara Ghidelli and Chiara Granata<\/em><\/p>\n

J\u2019avais Fui (Running Away)<\/strong> by Anas Salaheldin, Anne Boffy, Germany\/Egypt\/France, 2025
\nLe Prime Volte (The First Times)<\/strong> by Giulia Cosentino, Perla Sardella, Italy\/Spain, 2025
\nSome Thoughts on the Common Toad<\/strong> by G. Anthony Svatek, USA, 2023
\nThe Flowers Stand, Silently Witnessing<\/strong> by Theo Panagopoulos, UK, 2024
\nVollupya<\/strong> by \u00c9ri Sarmet, Jocimar Dias Jr., Brazil, 2024[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”padding-1-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][vc_column_text text_direction=”default”]J’avais fui (Running Away)<\/strong> by Anas Salaheldin, Anne Boffy, Germany, Egypt, France (2024)<\/p>\n

The narrating voice in J\u2019Avais Fui<\/em> film reads excerpts \u00c9douard Louis\u2019 autobiographical book Changer: m\u00e9thode<\/em> published in 2021 and traces some of its main topics. The story is about escape and quest for revenge, and is told through a collage of archive images from different areas of France and depicts a confrontation with one\u2019s past version, a dialogue between the present self and the infant self, an analysis of what one has become as a result of where one grew up due to the choice of others. A necessary escape, but first and foremost a political one.<\/p>\n

Le prime volte<\/strong> (The First Times) by Giulia Cosentino, Perla Sardella, Italy and Spain (2025)<\/p>\n

\u201cDid I choose what I really wanted or only what I could imagine? This question haunts me\u201d. This is one of the questions that Emilia and Caterina ask each other in an exchange of letters as they recall youth in a boarding school in the 50s. By telling both minor and major stories, Le Prime Volte<\/em> claims a particular point of view: that of a woman prevailing over the man\u2019s gaze, or, in other words, the perspective of someone who could actually watch and see. This story creates a collage in time, a collage made of reality and fiction, depicting the historical evolution of power and roles attempting to provide an ending that is, if not happy, at least filled with anger.<\/p>\n

Some Thoughts on The Common Toad<\/strong> by G. Anthony Svatek, USA (2023)<\/p>\n

Some Thoughts on the Common Toad<\/em> is a collage film based on George Orwell\u2019s homonymous book that encourages the viewer to consider beauty as a political act. Created by cleverly assembling several public archive materials, and narrated by Tilda Swinton, the film features essayistic features, encompassing zoology, anthropology, and history. As stated by G. Anthony Svatek: \u201cnature has become an increasingly mediated and abstract experience, radiating through digital screens or confined to artificial sanctuaries. In the film, nature itself has become a distant memory, as images of today\u2019s wars and environmental destruction echo from our era into Orwell\u2019s and vice-versa. The toad\u2019s croaking sound has the power to remind us of this cycle of history\u201d.<\/p>\n

The Flowers Stand, Silently Witnessing<\/strong> by Theo Panagopoulos, UK (2024)<\/p>\n

Between the 30s and the 40s, a Scottish man decided to create a film archive of Palestinian wild flowers, a country that was under UK administration at that time. Using a 16mm film, he captured the first color footage of that area. Almost a century later, in 2023, a young Palestinian filmmaker living in Scotland, Theo Panagopoulos, discovered this unknown archive and decided to digitize two of these botanical films, namely Wild Flowers of Palestine<\/em> and Floral Beauty of the Holy Land<\/em>. In these 45-minute-long films, only 2 minutes and 13 seconds portray images of Palestinian women and men. This is the umpteenth dissonance, the umpteenth substitution and marginalization, the umpteenth transcription of a past that tells about a culture whose history focuses on resistance, and whose identity is very lively and colorful.<\/p>\n

Vollupya<\/strong> by \u00c9ri Sarmet, Jocimar Dias Jr., Brazil (2024)<\/p>\n

This short film\u2019s genre has been extensively used in recent archive films, namely science fiction with a dystopian and post-apocalyptic nuance. This film by \u00c9ri Sarmet and Jocimar Dias Jr. gives the viewers access to a priceless archive of Vollupya, a Brazilian queer club from the 90s. Set within a fictional frame made up of images shot from scratch, an intergalactic explorer discovers this archive as if it were an archaeological relic. The ancient voices of those people who once inhabited that place tell a story of independence and conquering free spaces, of survival, of community, of freedom that was and will always be avant-garde.[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_raw_html]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[\/vc_raw_html][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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