- “Is this tai-chi ?”
- “No, it’s Indonesian capoeira”
Who do places really belong to? How large can an intimate territory be? Where do indoors and outdoors begin in the contemporary infinite public space? What relations are there between identity and territory, between their boundaries and freedom? These questions seem to have more to do with sociology and geopolitics than with images, sounds and cinema. Giravolte (Freewheeling in Roma) asks these questions and deals with all of them. It does something more, too. It is an experiment on the testimonial value of fiction, but also a short essay on documentary. It is the story of a possible
psycho-geographic lay-out of Rome, but it is also an inebrious and amused dive in the cinematic form to gently force its boundaries. The camera twirls, the protagonist twirls in the shady and sunny spots of social invisibility, discover a central territory of contemporary time, even if it is slightly blurred by vaults and elliptic movements. This is the territory of the sight, the intensity and the energy of the real world. It is the land of metissage, made of infinite identities, where individuals establish bizarre relations with one another, but above all with space, with the environment. A territory of trade, of linguistic, economic, social and cultural exchange.
It becomes an intimate territory: intimate for everyone, intimate to oneself. Carola Spadoni throws herself wholeheartedly into it, her gaze captures it. The film becomes a nomadic and personal community.
Sounds travel insideout and above images, incessantly extending the boundaries of vision and the perception of control over situations. Music and environmental noise exchange their role with words, and dialogues, expanding images into the sphere of feeling. Giravolte, as a matter of fact,
does not belong to any codified genre. This is where Carola Spadoni explores and works, on the verge of storytelling and mise en scene, inside and around images, experimenting their limits and potentialities.
This is what Carola Spadoni explores and works on, to the verge of storytelling and staging, inside and around images, experimenting their limits and potentialities. If we can, perhaps, talk of genres,we are faced more with the history of art than with moving images. A portrait, of a town, a landscape, of human beings. An inversion through a constant balanc exercise (acrobatics), as if searching for the right distance, always poised between background and foreground. Carola Spadoni’s eye shapes a ‘plastic’ vision of reality. She shares a similar care for images and sound with other few artists: with Johann Van der Keuken, Robert Kramer, Alberto Grifi over the last years; today with Amos Gitai, Pedro Costa, and Abdellatif Kechiche above all; with Steve McQueen among visual artists.
Giravolte, then, as an unusual portrait of Rome, tropically hot and tropicalista. A territory undergoing never-ending metamorphosis, which draws on its traditions, and devours the new and extraneous bodies crossing by, finally returning them totally transformed.
Carola Spadoni is a visual anthropologist, sensible to the flow of contemporary marginality, as well as, of course, anthropophagous of its energies. As an answer to the questions above mentioned, her cinema and her artistic research lay out the most authentic of all possible roads.
The most sentimental, the most political.