Rondò final

Gaetano Crivaro is a filmmaker and videoartist; Margherita Pisano is an independent researcher and documentarist. They have founded L’Ambulante, a collective that realizes art projects, cinema and urban research. Felice D’Agostino has worked for 20 years as director, camera operator, DOP and editor. The Assembly of Montage was formed to edit this film, it was composed by Luca Carboni, Gaetano Crivaro, Felice D’Agostino, Alberto Diana, Arturo Lavorato, Margherita Pisano, Margherita Riva and Vittoria Soddu.

Rondò Final is the fruit of a very singular path, arrived at by various steps. It is grounded in a seven-year process, within certain cinematographic research and experimentation projects (“Second-hand Cinema” and “Assembling and Disassembling Imaginaries”), dedicated to making films taking the “re-use of archive films” as a starting point, and further developed by the “L’Ambulante Lab”. It is a film of obsessive research which could be defined as “of montage”: begun by two authors, continued in a workshop on so-called “archive” films, edited by “relay” under the aegis of an Assembly of Montage and given the shape of a film by the interventions of three directors. It is nourished by collective experimentation, giving structure and outlining the game of montage. The Assembly of Montage, composed of eight editors/filmmakers, is a space where projects are watched and re-watched, put aside, imprinted, cut, woven, slowed down, juxtaposed. Conversations began, interrupted by one and taken up by another. The partial result, the arrangement, structure, incipit, slowly conglomerates into a final edit in which three directors, like tightrope-walkers, weave these fragments with new threads of meaning, trying to create a dialectical tension between the individual elements and the total structure, through the periodic return of a central idea, different with each reintroduction. Undoubtedly what comes out of this is a multiple reappropriation. A second-… third-… fourth-hand film. The film is composed in the main of clips made by amateur cinematographers, often without sound. The film’s device is structured around this constraint, and around the relationship between image and sound, whereby sound, constructed for the most part from the sounds of the festivities gathered over several years, could seem diegetic, but constantly reveals its own non-belonging, playing continually with a tension between adhesion and distance, similarity and conflict, visible and imaginable.