The Films of Alina Marazzi
Born in 1964, Italian director Alina Marazzi began studying film in London in the 1980s. She quickly became part of a new generation of Italian filmmakers interested in video art, the documentary genre and all forms of expression using new technologies. These "poetic possibilities" are crystallized in her work with the Milanese studio Azzuro.
His first film For One More Hour with You (2002) lays the foundations of his work. Interested in memory via the archive, she confronts the domestic image confined to the male-gaze through the juxtaposition of personal letters from women: in this case, those of her mother.
Later, she deepens this methodology of hybridity through the use of national archives of post-war Italian society, advertisements and written notebooks (We Want Roses Too): the archive becomes no longer the illustration of History but a new window on a chorus of political and social voices.
The image is thus no longer fixed and delimited to the historical designs of the frame, it converses on the contrary with the contemporary realities of the spectator. It is reinterpreted in the long time by a subtle dialogue between its contextual function and the evolutionary and personal investment of this (re)mounted meta-history.
Moreover, Marazzi's fictional voice and letters are added to and sometimes crisscross her work, informing us about the process of discovery of her material: from micro-history to a more personal discourse, it is always women and their cultural identities (Forever) that the filmmaker strives to re-transcribe through the re-interpretation of tenacious and permanently distorted patriarchal visions.
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Forever
_Per Sempre_ (_Forever_) examines the reasons that spur certain women to choose a religious life within a monastic community. The film starts with the fundamental question that prompts the film director to confront this reality: how is it possible, today, for a woman to make an extreme and permanent choice, one that will last forever?
For One More Hour with You
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The face of a woman. Two voices joking, then a popular song, _Un'ora sola ti vorrei_. This face and this voice are all that remain for Alina Marazzi of her mother, who committed suicide when she was seven and of whom she tries to retrace the existence through sequences filmed by her maternal grandfather, between 1920 and 1970. These silent images are accompanied by the filmmaker’s voice as she ...
We Want Roses Too
Anita, Teresa and Valentina have never met. They lived in Italy in the 1960s and 1970s, at different ages and in different cities. But their true stories, recorded in diaries, are part of an ideal continuity, and bear witness to family and political struggles, personal and collective, to assert their autonomy, their identity and their rights in a patriarchal country. *Vogliamo anche le rose* (*...
Forever
_Per Sempre_ (_Forever_) examines the reasons that spur certain women to choose a religious life within a monastic community. The film starts with the fundamental question that prompts the film director to confront this reality: how is it possible, today, for a woman to make an extreme and permanent choice, one that will last forever?
For One More Hour with You
Subscription access
The face of a woman. Two voices joking, then a popular song, _Un'ora sola ti vorrei_. This face and this voice are all that remain for Alina Marazzi of her mother, who committed suicide when she was seven and of whom she tries to retrace the existence through sequences filmed by her maternal grandfather, between 1920 and 1970. These silent images are accompanied by the filmmaker’s voice as she ...
We Want Roses Too
Anita, Teresa and Valentina have never met. They lived in Italy in the 1960s and 1970s, at different ages and in different cities. But their true stories, recorded in diaries, are part of an ideal continuity, and bear witness to family and political struggles, personal and collective, to assert their autonomy, their identity and their rights in a patriarchal country. *Vogliamo anche le rose* (*...
