Fondazione Prada

Video #2 of Finite Rants, a series of eight visual essays commissioned by Fondazione Prada and curated by Luigi Alberto Cippini and Niccolò Gravina. Bertrand Bonello reworks the last minutes of his 2016 film Nocturama, which documents the logistical operations and the organization of terrorist attacks in Paris by a group of teenagers. Starting with "Où en êtes-vous?", a video commissioned by the Centre Pompidou in 2014 and conceived as a letter to his then 11-year-old daughter, the director makes a new work altering the final sequence of Nocturama and completely modifying the textual component and the soundtrack in this video essay as a second letter written for his now 17-year-old daughter.

Cronenberg's speculative historical work draws inspiration from the anatomical waxworks at the La Specola museum in Florence, Italy. These wax models, traditionally used for medical demonstrations, are given a new perspective in the film. Cronenberg's work reveals the vibrant and surprising aspects of these female wax corpses, which were previously seen as static and serious. As David Cronenberg explains: “The Specola wax figures were created as a teaching tool, capable of revealing the mysteries of the human body to those who could not access … real cadavers held in universities and hospitals. In their attempt to create whole, partially dissected figures, whose body language and facial expression did not show suffering or agony … the sculptors ended up producing living characters apparently overcome by ecstasy. It was this surprising stylistic choice that captured my imagination: what if it was the dissection itself that induced that tension, that almost religious rapture?”

As a reinvention of the documentaries made by Pasolini, Vezzoli pushes the public of a fictitious italian tv program to talk about love and relationships

A little girl just a few months old is upset by a world that doesn't suit her, a broken world into which her parents have forced her. After the death of her friend the star, she wants nothing more than to cook.

A delirious movie installed inside a ghostly barn made with prefabricated materials. The oscillatory movement of the rocking chairs on which visitors sit partly helps to alleviate the syncopated rhythm of the montage and the frenzy of images that follow. A series of brassy characters in wigs and thick make-up map the various locations of the film: a lazy river, a hobby barn, and forest watchtower.