TRILOGY OF SILENCE

TRILOGIA DEL SILENZIO

By Diego FIORI

PHILOSOPHISCHE GEBILDE - GESELLSCHAFT FÜR DIE BILDDEKONDITIONIERUNG - as PROD

Drama - Completed 2009

The Trilogy of Silence deals with the unavoidable necessity of a human being to be a contemporary being.

Festivals
& Awards

IN OUT Festival - Centre of Contemporary Art Laznia - Poland 2010
2nd Prize
VIDEOHOLICA - Bulgaria 2010
Sardia Filmfestival - Italy 2010
Festival Int. de Cine y Video Alternativo Comunitario - Colombia 2010
MOVING FRAMES – Animation and Video Art Festival 2010
NO Festival of Video Art and Animation - Russia 2010
International Video art Festival of Camagüey - Cuba 2010
MADATAC – Festival of Contemporary Audio-Visual Arts 2011
    • Year of production
    • 2009
    • Genres
    • Drama, Transmedia
    • Countries
    • AUSTRIA
    • Budget
    • 5 - 10 M$
    • Duration
    • 18 mn
    • Director(s)
    • Diego FIORI
    • Writer(s)
    • Diego FIORI
    • Producer(s)
    • Olga POHANKOVA (PHILOSOPHISCHE GEBILDE - GESELLSCHAFT FÜR DIE BILDDEKONDITIONIERUNG)
    • Synopsis
    • The fracture, which originates the relation of the occident between human and nature, between I and world is what, at the same time, presupposes and favours our research of identity.
      The Trilogy of SILENCE – “Between one flower plucked and the other given the inexpressible nothing” had written Ungaretti – in a cinematographic language of consumed wisdom, accompanied by the noise of the sea breath in systoles and diastoles that unifies everything – speaks about the necessity to retrace the research phases of our Being – of our being subject – to be able to recompose the truth of what we are, through the mask destruction that imprisons our existence.
      The archetypes of Apollo and Dionysus gives themselves the hand in this slow dialogue between the “figure”, the “mask” and the universe that scrutinizes imperturbably the events, forwarding us insensibly into the most ancient mystery, into the re-conjunction among body and psyche and, metaphorically, among art and life. But the language necessarily remains “divided”, plays with false displacement – phase displacement among natural and artificial, among opened and closed, through the mobility of passages between shadows and lights – like in the masterly sequence of the initial going-through the wood in Donate Silence, in the coming and going of the sea foam amongst the tangled dry branches that touch the shore, in the slow maneuver of concentration- contact that accompanies the re-conjunction in The Last Classical Kiss.
      To the mobile, opened, cosmic edging of the first two acts replies the quadratic bareness of the closed room in the last trilogy piece. Air and soil of the first part, reflect themselves in the water and soil of the second one. They meet in the cold fire – the alchemic white heat (?) – of empty and perfect images, like an eggshell due to the forms and plaster casts. Diego Fiori seems to want to say us that the word rests at the bottom of ourselves.
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