• from Nomadica to Istanbul International Experimental Film Festival 2019

    On: 8 novembre 2019
    In: 2017/2019
    Views: 1509

    15 November 2019
    Istanbul International Experimental Film Festival 2019
    12:00 P.M. | Salt Beyoğlu | Panorama: ITALY | Nomadica

    from Earth to Sky (film program curated by nomadica.eu)

    The more one moves away from Earth, the more one goes backwards, in time and space. Cinema is that movement, which is also a moment outside of memory, that recreates new visions while looking at the past (like a continuous present). Cinema, as if it was always the first time. With a program such as this one, we’d be tempted to cut the opening and closing credits of each film, and transform them into one unified masterpiece, but we’ll leave this possibility to your imagination.

    Andrò a ritroso della nostra corsa (I will go backwards of our path)
    by Mattia Biondi, Ita, Super8 (found footage), 3min, 2019
    “Andrò a ritroso della nostra corsa” is a backwards journey through the seasons and the units of the language. To change the prose of the world, its intact clock. There is always a place more thoroughly, lost images in minimun intervals.

    by Luca Ferri, Ita, Super8, 25min, 2016 (sub eng)
    In a desert and hostile paradise, between mountains of sand and solitary camels in perpetual journey, life is renewed with a promise of love in the shade of a lone tree. Adam and Eve have a chance. The last chance to heal and create a new progeny of more decent human beings. Nine long takes in super 8mm colour in which we took Adam and Eve and had them redo everything over again, from the scratch.

    Black Songs
    by Tiziano Doria e Samira Guadagnolo, Ita, Super8 -> 16mm, 5min, 2019 (silent / sub eng)
    A poetic recollection of a personal and collective memory, the work dissects, decomposes, fragments, distills and then re-creates anew – in a time that beats in repeated rythm, slow and circular – the dream of an ancestral childhood, of nomadic shepherds and tangled bushes of war and raids, and in this magnified gaze, the film wonders about the meaning and the nature of it’s own observations.
    Canti Neri (Black Songs) comes from the analysis of a private and family archive, of our property, of which we have selected some frames transposing them from S8mm to 16mm.
    The original films have been combined in a new way, focusing on details that had escaped from the eye of the operator, on the periphery of the image, extrapolating details, dissolving the flow of action and reiterating it in a dilated time.

    Merci mais non merci
    by Alessandra Beltrame, Ita, super8, 13’, 2018 (sub eng)
    Nico, reflects on existence, identity and responsibilies

    by Stefano Miraglia, Fr, HD 4:3, 3min, 2017 (silent)
    An exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs. “A stunning piece of ecclesial psychedelia!” (Sarah Bliss)

    Vaghe Stelle – MIZAR
    by Mauro Santini, Ita, 4K to HD, 11min, 2017
    “Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.

    Luminous variations in the city skies
    by Giuseppe Spina, Ita, HD (from photographic plates), 6min, 2019 (silent)
    Between 1932 and 1957, at the Specola Tower in Bologna, a new optical technology was invented, one that would revolutionize outer space observatory methods. Thirty years of research were necessary for the astronomer Guido Horn D’Arturo to invent the specchio a tasselli – also called multimirror or segmented mirror – an archetype of today’s most advanced telescopes. This silent film, made by Giuseppe Spina, is composed of digital scans and blow-ups of Horn D’Arturo’s plates.

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  • Three ways of talking Cinema (breakfast with *)

    On: 1 ottobre 2019
    In: Senza categoria
    Views: 0

    THREE WAYS OF TALKING CINEMA #1 (Nov 1 – h10.30/13.00)

    Found Footage Magazine, Revista Lumière, and Walden Magazine: three independent and international editorial projects dedicated to the creation and circulation of new ideas, reflections, and studies on cinema. A gathering, a chance to meet them, understand their working methods and their editing processes.
    Francisco Algarìn Navarro, Martin Grennberger, Cristina Martínez and César Ustarroz will be with us on the morning of Friday the 1st, and will curate three programs during the days of WOM.
    Found Footage Magazine is an independent and printed film journal distributed worldwide. It offers theoretical, analytical and informative content that hinges on the use of archival images in media production practices. FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up
    Walden is a film magazine published twice a year. The magazine was founded in 2012, and was an online publication up until 2015. Aside from publishing the magazine, Walden also arranges film screenings.
    Revista LUMIÈRE is a film magazine distributed both online and in print. The publication is self-published and self-financed thanks to its own sales and to the yearly contributions from the members of its General Assembly. Its goal is to cover in a rigorous fashion all of the paths of major interest of contemporary cinema along with tracing new ones coming from the past.

    THREE WAYS OF TALKING CINEMA #2 (Nov 2 – h10.30/13.00)

    Luca Ferri, Nomadica – Capo d’Orlando 2015, photo by Epifanio/Morello

    Luca Ferri is the Italian filmmaker that, in recent years – more than any other in Italy – has been able to rigorously experiment with different means of expression, formats, aesthetics, and themes. Together with composer Dario Agazzi, he contributed to the establishment of a personal reshaping of the relation between music and film. Despite living in an isolated village of the northern province, with his films, Luca Ferri intertwines and connects environments and people that are very different from each other. He approached us in the summer of 2012 and, from his film Magog/Ecce Ubu until today, his journey has been carried out with the self-production of three feature films and a series of superb short films.
    A long rendez vous with Luca Ferri on the morning of Saturday, November 2nd, preceded by the screening of his last work Pierino (2018, 70min, shot in S-VHS) on Friday, November 1st.

    Cane Caro (Dog, dear), Italia | 2012 | 16′
    Una società di servizi, by Luca Ferri and Enrico Mazzi, Italia | 2015 | 35′
    Colombi, Italia | 2016 | 20′

    THREE WAYS OF TALKING CINEMA #3 (Nov 3 – h10.30/13.00)

    Marco Melani, photo by Chema Prado

    Marco Melani. The man with the golden eye
    A meeting with Chiara Seghetto

    The golden eye of an obsessed cinéphile, a fine talker, an omnivore and unconventional critic, an insatiable film-eater. The man with the golden eye is a glimpse on Marco Melani, composed of meetings, unreleased testimonies, a blob of revenant substances, unexpected edits, found footage, fragments, readings, synaesthesias. All of it gathered over ten years and straining forward to a (non)ending. Marco Melani lived and crossed path with cinema between the late 1960s and the early 1990s. His collaboration with the festivals of Salsomaggiore, Taormina, and Turin originated from his networks of wisely intertwined authors and actors, pursuing newness with no fear of unhinging the art of film programming. To him, cinema is the incarnation of those who make it. Melani befriended many filmmakers with whom he collaborated: Bargellini, Iosseliani, Jarmusch, the Bertolucci brothers, Bressane, Amico, Gitai (the list is infinite). In the mid-80s, he entered the group of Fuori Orario and Blob (two avantgarde RAI programs): here, his video edits are dictated by an anarchist vision of cinema and by the uncommon interlocking that is ignited between them.


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  • WOM FOCUS – LUCA FERRI (Fri. Nov 1 – h21.00)

    On: 26 settembre 2019
    In: Senza categoria
    Views: 0
    in presence of the author
    Luca Ferri, Italy | 2018 | VHS | Color | 70′ | sub Eng

    Pierino Aceti is a man of fixed habits, a film lover, and is currently retired after a white-collar life.
    For one year, for exactly fifty two Thursdays, the director went to visit Mr Aceti at his house from 10.30 to 11.30 am. Every meeting revolved around one question: “what did you do this week?”.
    The rigorous organisational schedule of Pierino’s days, his relentless ability to classify and remember things and details about films and life, to fragment time in meticulous and measurable events emerge during the formal agreement.
    Trailer: https://vimeo.com/293094442

    For a whole year, every Thursday morning, I went to visit Mr Aceti at his house. As in all my previous works, strongly characterised by a stylistic and structural rigour, in Pierino I used a narrative storytelling device where the limit is a fundamental part of the film itself. Only this time private life and filming have undergone a substantial fusion: the film follows the protagonist’s life’s rhythm and the slow passing of time during the agreement made with Mr Aceti, in a timeframe that is as important as the main character.
    This film, entirely shot in VHS with an old camera that doesn’t have a battery and thus needs to remain plugged into the socket outlet in order to function, is part of my project of a “domestic trilogy”. The three works are to be completely shot in small domestic environments in three different formats. Dulcinea in 16mm, Pierino in VHS, and The House of Love in the digital format.
    The choice of the analogue shooting format for Pierino is an homage to Mr Aceti’s cinephile nature, that led him to gather a wide collection of arthouse VHS films. The film couldn’t have been shot in any other format in order to achieve a coherent fusion between shape and content.

    luca ferri (Bergamo, Italy, 1976) (bergamo, italy, 1976), self-taught, since 2011 he has been dedicating to the writing, photography and direction of films presented to italian and international festivals, such as pesaro film fest, filmmaker, indielisboa, documenta madrid, atlanta film festival, punto de vista, curta cinema, fidocs, ghent flanders, poff, vilnius short film festival and videoex and in museums and art galleries, such as spazio forma meravigli (milan), mambo (bologna), macro (rome) and schusev state museum of architecture (moscow).
    in 2013 the national film library of rome organizes a restrospetictive of his works.
    his first feature film abacuc, released in 2015, was presented at torino film festival and mar del plata festival de cine.
    the film colombi was presented at 73rd venice festival in the orizzonti section.
    in 2018 his work dulcinea is selected at 71st locarno film festival in competition in the section signs of life and his last work pierino is presented at 61st dok leipzig.

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  • Weekend On the Moon 2019

    On: 17 settembre 2019
    In: Senza categoria
    Views: 0

    Nomadica – Weekend On the Moon 2019 – October 31 / November 3 2019
    Bologna, Menomale, via de’ Pepoli 1/A


    Rigorous, polymorphic, intimate, and explosive in the making: with such a drive this cinema investigates humankind and its gaze, work, existence, sense of self and the whole. The films we will be dealing with during this long weekend don’t display opinions or collect judgments, instead, they are gestures, acts: they are unknown and limitless images that generate multiple thoughts in front of the eyes that reach out and look at them, tie and untie them, and desire them (from the Latin de-sidera, “drifting apart from the stars”).
    This Cinema has nothing to do with the traditional ways of producing, it doesn’t attempt to capitalize a thing, and lives in another space of action: an essential authorial and artistic act.
    The Weekend On the Moon (WOM) refers to two celebrations: the moon landing of 1969 and – ten years prior – the starting of the exploration missions of the satellite (the first experiments on the Moon, and the first images that moved away from Earth). It is explorations we deal with, we who travel through the hidden corners of an underground cinema in continuous expansion.
    Tens of films, created in recent years and premiering in Italy, organized in a kaleidoscopic program that follows a continuous movement inside and outside of the screen, from day to night. And then, three mornings dedicated to the dissemination of thought and experience: Three ways of talking Cinema. All while immersed in a lunar Wunderkammer, the Menomale Space, the heart of the city.

    Un fare rigoroso, polimorfo, intimo ed esplosivo: con tale spinta questo cinema indaga l’uomo, il suo sguardo, il lavoro, l’esistenza, la percezione di sé, del tutto. Quelli che trattiamo in questo lungo weekend non sono film che espongono opinioni, potenziali sommatorie di giudizio, ma sono gesti, atti: sono immagini sconosciute, sconfinate, che generano pensieri molteplici di fronte agli occhi che le raggiungono e le guardano, le fanno e le disfano, che le desiderano (dal lat. de-sidera “mancanza di stelle”).
    Un cinema che non ha nulla a che fare con le modalità di produzione comuni, che non cerca di capitalizzare un bel nulla, che vive in un altro spazio d’azione: atto autoriale e artistico essenziale.
    Weekend On the Moon (WOM) fa riferimento a due ricorrenze: l’allunaggio del 1969 e, dieci anni prima, l’avvio delle missioni di esplorazione del satellite (le prime sperimentazioni sulla Luna, le prime immagini che si allontanavano dalla Terra). Di esplorazioni si tratta, per noi che viaggiamo negli angoli nascosti di un cinema sotterraneo in costante espansione.
    Decine di film realizzati negli ultimi anni, in anteprima italiana, strutturati in un programma caleidoscopico, in un movimento continuo dentro e fuori dallo schermo, dal giorno alla notte. E poi tre mattinate dedicate alla diffusione del pensiero e dell’esperienza:
    Tre modi di parlare-il-cinema. Il tutto immerso in una wunderkammer lunare, il Menomale, l’esatto cuore della città.

    Alessio Galbiati intervista Giuseppe Spina, per Rapporto Confidenziale, rivista digitale di cultura cinematografica, 14 ottobre 2019


    h 18.00 – 19.00
    Selection 1

    h 19.00 – 20.30
    WOM focus: Sky Hopinka
    h 21.30 – 23.00
    Music sounds better with you
    h 23.00 ->
    Selection 2

    h 10.30 – 13.00
    Three ways of talking Cinema #1
    breakfast with Found Footage Magazine, Revista Lumière, Walden Magazine

    h 16.30 – 18.00 🎥
    Selection 3
    Selection 4

    h 18.00 – 20.00 🎥
    Field Studies:
    Rose Lowder and Scott Hammen

    h 21.00 – 22.30
    WOM focus: Luca Ferri
    h 22.30 ->
    Dark with excessive bright

    h 10.30 – 13.00
    Three ways of talking Cinema #2
    breakfast with Luca Ferri

    h 16.30 – 18.00
    Alcatraz revisited
    h 18.00 – 19.30 🎥
    Found Footage Cinema:
    Painting with film and light

    h 19.30 – 21.00 🎥
    WOM focus: Bruno Delgado Ramo
    h 22.00 – 23.00 🎥
    Nervous twitching
    h 20.00 – 24.00 🎥
    Canti Neri
    (new version for 2-4 projectors)

    installation by WarshadFilm,
    artistic duo from UnzaLab

    h 10.30 – 13.00
    Three ways of talking Cinema #3
    breakfast with Chiara Seghetto – “Marco Melani, the man with the golden eye”

    h 16.30 – 17.30
    Between Trancendence and Immanence
    (Contemporary Turkish Exp. Films)
    h 18.00 – 19.30
    Selection 5
    h 19.30 – 20.30
    Selection 6


    Nomadica – Weekend on the Moon 2019
    is created by / with the presence of / with the programs by / and thanks to:

    Francisco Algarìn Navarro, Zeynep Ayaşlıgil, Samantha Angeloni, Mattia Biancucci, Gianna Carbonera, Rinaldo Censi, Bruno Delgado Ramo, Federico Epifanio, Cecilia Ermini, Luca Ferri, Elena Fusconi, Martin Grennberger, Yavuz Gözeller, Tommaso Isabella, Christian Kühne, Fiona Lejosne, Marco Mago Magagnoli, Cristina Martinez, Sofia Mazzaglia, Giulia Mazzone, Stefano Miraglia, Naomi Morello, Alessandro Negri, Riccardo Re, Sofia Russo, Ines Schiller, Chiara Seghetto, Giuseppe Spina, UnzaLab, César Ustarroz.

    “Aspect of an eclipse of the Sun by the Earth, as it would appear as seen from the Moon.” Illustrated by James Nasmyth, 1874.

    With films by:

    Martin Arnold, Dianna Barrie, Prantik Basu, Alessandra Beltrame, Sarah Bliss, Dan Browne, Adrián Canoura, Linda Christanell, Charlotte Clermont, Colectivo Los Ingrávidos, Helena Deda, Bruno Delgado Ramo, Théo Deliyannis, Roger Deutsch, Lena Ditte Nissen, Tiziano Doria, James Edmonds, Zachary Epcar, Alex Faoro, Laurence Favre, Pedro Ferreira, Luca Ferri, Siegfried Fruhauf, Ariana Gerstein, Miriam Gossing, Tim Grabham (aka iloobia), Brittany Gravely, Samira Guadagnuolo, Vincent Guilbert, Sinan Güldal, Scott Hammen, Sky Hopinka, Roger Horn, Lara Kamhi, Chris Kennedy, Josh Lewis, Ken Linehan, Simon Liu, Rose Lowder, Jodie Mack, Jean-Jacques Martinod, Bori Máté, Ross Meckfessel, Luján Montes, Daniel Murphy, Naz Önen, John Price, Annalisa Donatella Quagliata, Lee Ranaldo, Georges Rey, Jay Rosenblatt, Sylvia Schedelbauer, Lee Anne Schmitt, M.M. Serra, Paul Sharits, Lina Sieckmann, Guli Silberstein, Claes Söderquist, Mike Stoltz, Deborah Stratman, Malena Szlam, Richard Tuohy, Esther Urlus, Zeno van den Broek, Josh Weissbach, Steven Woloshen.


    Three ways of talking Cinema (breakfast with *) includes:
    Found Footage Magazine / Revista Lumière / Walden magazine; Luca Ferri; Chiara Seghetto (with the project dedicated to Marco Melani)


    In collaboration with:
    Menomale, UnzaLab, Revista Lumière, Magasinet Walden, Found Footage Magazine, Movimcat / The Moving Image Catalog,
    Istanbul International Experimental Film Festival, La Camera Ardente

    Special thanks to:
    Lightcone, Sixpackfilm, The Film-Makers’ Cooperative

    The moon, by Henry Draper (1863)

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  • weekend_

    On: 15 settembre 2018
    In: Senza categoria
    Views: 0

    [versione italiana]

    A weekend-long, non-stop marathon on the occasion of the “Day of the Dead”; meetings and clashes, screenings and reactions, sounds and visions: dozens of international films’ and Italian premieres, a distillation of the most interesting contemporary experimentations.
    Seminars, focuses, Space itineraries – in various shapes and formats, from night to day and from day to night. Spazio Menomale, dug towards the centre of the earth, turns into an art gallery and a perpetual theater where you can sink, a perception room in which there is no time to find, filled with routes and crossroads that become – as always in Nomadica’s experience – the artwork itself, unique, displaced and displacing, irregular and not (always) screened-off. Underground chaos where “the everlasting shape of life” resides.


    THE PROGRAMME (from day ‘till night)


    h10.00 / 13.00
    Atelier • New Powerful Eyes

    h16.30 • BLOCK 1_ 47mn

    h17.30 • BLOCK 2_ 54mn

    h19.00 • FOCUS V

    h21.30 • BLOCK 3_ 54mn

    h22.30 • BLOCK 4_ 45mn

    h23.30 • BLOCK 5_ 39mn


    h10.00 / 13.00
    Atelier • Stories of vision

    h16.30 • BLOCK 4 rerun 45mn

    h17.30 • BLOCK 5 rerun 39mn

    h18.30 • BLOCK 6_ 40min

    h19.30 • FOCUS W

    h21.30 • BLOCK 1 rerun 47mn

    h22.30 • FOCUS X


    Breakfast with Cinéma Fragile

    h16.30 • BLOCK 3 rerun 54mn

    h17.30 • BLOCK 6 rerun 40mn

    h19.00 • FOCUS Y

    h20.00 • BLOCK 2 rerun 54mn

    h22.00 • (outer) SPACES

    h23.30 • ?????


    Breakfast with MOVIMCAT



    h20.30 – Cineteca di Bologna

    Out of programme – OOP
    h24 Spazio Menomale


    31 ottobre 2018 ore 20.30 Cineteca di Bologna
    Prima proiezione pubblica del film
    LA LUCINA un film di Fabio Badolato e Jonny Costantino, con Antonio Moresco e Giovanni Battista Ricciardi
    tratto dall’omonimo romanzo di Antonio Moresco
    Alla presenza dei registi e degli “esordienti” protagonisti.
    Vai alla pagina del film

    the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Christopher Becks and Emmanuel Lefrant, I don’t think I can see an island
    France | 2016 | 4′ | 35mm to HD | ita premiere
    A Film of Symbolically Authentic Non-Euclidean Adventures.


    Luca Ferri, AB OVO
    Ita-Marocco | 2017 | 25’ | Super8 to HD
    In a desert and hostile paradise, between mountains of sand and solitary camels in perpetual journey, life is renewed with a promise of love in the shade of a lone tree. Adam and Eve have a chance. The last chance to heal and create a new progeny of more decent human beings. Nine long takes in super 8mm colour in which we took Adam and Eve and had them redo everything over again, from the scratch.


    Albert Alcoz, Espectro Cromatico
    Sp | 2015 | | 3’ | Super8 to HD | ita premiere
    Color Spectrum shows the comings and goings of passersby on a boardwalk. Multiple exposure and color filters transform human figures in ghostly presences of variable color shades.


    Stefano Miraglia, Rodez
    Fr | 2017 | 3’ | HD 4:3 | silent
    An exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs.


    Stefano Miraglia, Ramusiana
    Fr | 2017 | 4′ | HD 4:3 | silent | ita premiere
    A universal map of the newly found part of the world. A homage to Italian geographer Giovanni Battista Ramusio.


    Stefano Miraglia, Anoche
    It-Uk | 2017 | 7’45’’ | HD 4:3 | sound | ita premiere
    Cuando Roma sea polvo, gemirá en la infinita
    noche de su palacio fétido el minotauro.
    When Rome is dust the Minotaur will moan
    Once more in the endless dark of its rank palace. – Jorge Luis Borges, La noche cíclica
    (in presence of the author)

    the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Dan Browne, Palmerston blvd
    Can | 2017 | 15’ | 4K | ita premiere
    An intimate portrait of a bay window recorded over the course of a year. Gradual shifts in the interior and exterior environments mark the passing of the seasons, a slow dance of objects and light juxtaposed by the rapid speeds of bodies and the urban landscape, revealing the processes inherent in all things.


    Pietro Librizzi, Softman
    It | 2016 | 17’ | HD
    Two young men wake up and find difficult to take decisions under the comfort of shade and the tyranny of a beautiful sea.
    (in presence of the author)


    James Edmonds, Overland
    DEU | 2016 | 22’ | Super8 to HD
    Structured in three parts, Overland evokes an enigmatic landscape of forms, substances, creatures and memory through a hand-edited super8 colour collage of personal material shot over one year.

    the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Nazli Dincel, Between regarding and use
    Turk | 2018 | 9’ | 16mm to HD | ita premiere
    “Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display…”
    B. Kirshenblatt-Gimblett, 1998 • (in presence of the author)


    Mierien Coppens, Carry on
    Belgium | 2017 | 12’ | 16mm to HD | silent | ita premiere
    Individuals wait, silence is heard, a microscopic attention trough a tired mass. If the film is almost mute, it is because it focuses on silent figures, although their struggle is deafening.


    John Woodman, The separation
    UK | 2017 | 7’ | HD | silent | ita premiere
    THE SEPARATION is a reflection on light, duration and transformation. Filmed in one continuous take at a constant aperture, moonlight on the sea surface is intermittently revealed and obscured by clouds, presenting a reflexive and phenomenological viewing experience. The title refers metaphorically to Genesis.


    Takashi Makino, On generation and corruption
    Japan | 2017 | 26’ | HD | ita premiere
    Inspired from Aristotle’s “On Generation and Corruption”. After the screening at Athen (In Mute Festival 2015), I had important conversation about Aristotle with one of old lady from audience. We talked about materiality of Cinema. We also talked about the construction of cinema itself already has similarity of life and time. Cinema never exist. They just keep doing Generation and Corruption. The situation is also similar with the construction of life and civilization. Then I decided shooting this film. All of images were shot in Japan. Image will continue to repeat the appear and disappear like a infinity loop.

    the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Mary Helena Clark, Delphi falls
    USA | 2016 | 20’ | HD | ita premiere
    In Delphi Falls, two youths wander through the woods, looking for a missing person. A tree falls without cause, a voice is thrown, the weather defies the season, unsettling the rational and linear trajectory of the feint of a story. Evoking the sci-fi genre, the film constantly shifts its point-of-view, blurring the distinctions between environment and self, grafting an interior space to the landscape.


    Marta Mateus, Farpões Baldios (Barbs, Wastelands)
    Port | 2017 | 25’ | HD | ita premiere
    In the end of the 19th century the peasants in Portugal started a courageous struggle for better work conditions. After generations of starving misery, the Carnation Revolution sowed the promise of an Agrarian Reform. Mostly in the Alentejo region, these rural workers occupied the huge proprieties where they were once submitted to the power of their Masters. Perhaps the lost seed of other fruits… It is said in Alentejo, when something is lost, those who are looking should start to walk back to the beginning. We must pray and ask Saint Lucy to clear our vision, so we can see and look better. The protagonists of this film, resistants of this struggle, many of them illiterate, working since childhood, tell their story to the youngsters of today, in their own words.

    the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Helena Giron and Samuel M Delgado, Plus Ultra
    Span | 2017 | 13’ | 16mm to HD | ita premiere
    Plus Ultra is the motto of the Spanish state. This slogan was used to encourage navigators to conquer new lands, forgetting the warning from Greek mythology: Non Terrae Plus Ultra (There is no land beyond here). The Canary Islands — testing ground for the tactics utilized in the colonization of the Americas — becomes the setting for a tale about this land.


    Prantik Basu, Sakhisona
    India | 2017 | 26’ | 35mm to HD
    Near Mogulmari in West Bengal (India) lies a mound known locally as Sakhisona. The stories about it are still sung by local musicians. A dig nearby recently uncovered the remains of a monastery as well as some objects dating back to the 6th-century. The film shows the objects unearthed and re-enacts the folklore in fragments.

    the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    Azucena Losana, At your heels
    Argentina/Czech Rep | 2017 | 3’ | 16mm to HD | ita premiere
    A recurring dream where I keep on following his traces, always at his heels.


    Giuseppe Spina, Romnì (Wife)
    It | 2017 | 19’ | Hi8mm to HD | world premiere
    Years ago, a gypsy group of kosovan origin settled at the foot of Volcano Etna. This movie is an objet trouvé, a gypsy dance dedicated to a bride, a young woman who prepare herself to become wife and mother, center of a culture. A show without a show, full of details and life. (in presence of the author)


    Pablo Polanco and Pietro Bulgarelli, El hilo
    Chile | 2017 | 6’ | Super8 to HD | ita premiere
    An old seamstress’s recollections are woven into a dreamlike postcard in which the sea carries away a house, God takes in a child, and the burden of life shines through into a blindness in which the most sensitive organs are the hands that meticulously work the loom.


    Monica Saviron, Answer print
    USA | 2016 | 5’ | 16mm to HD | italian premiere
    “The fading that devastates color films occurs in the dark. It is accelerated by high temperatures and, to a lesser extent, relative humidity. Dye fading is irreversible. Once the dye images have faded, the information lost cannot be recovered” (Image Permanence Institute).
    Answer Print is made with deteriorated 16mm color stock, and it is meant to disappear over time. Neither hue nor sound has been manipulated in its analog reassembling. The soundtrack combines audio generated by silent double perforated celluloid, the optical tracks from sound films, and the tones produced by each of the filmmaker’s cuts when read by the projector. The shots are based on a 26-frame length: the distance in 16mm films with optical tracks between an image and its sound


    Jaione Camborda, A rapa das bestas
    Spagna | 2017 | 10’ | Super8 to HD | ita premiere
    A traditional, picturesque event that invites us to experience the intensity of a close combat between man and animal
    curated by Stefano Miraglia
    Travels, explorations, rhymes. Look, touch an object, meet an artist.

    Pauline Rigal, Montée de cimes
    Fr | 2018 | 7′ | HD | col | sound | italian premiere
    Diving into the interior of a small forest, up to its clearing at dusk, Montée de cimes (A treetop rising) catches sight of the disappearance of birds and stops at hollows left on tree trunks. Among these forms, like parietal images, the film questions our gaze and our perception of the distance that separates our body from the elements. The fauna and flora are just there, but their presence is fragile and fickle. Could the plane in the distance fall? Could the dewdrop slip off the leaf? Could the bird on the branch see us and fly away?


    Julio Fermepin, Corriente
    Ar | 2017 | 6′ | 16mm to HD | col | sound | italian premiere
    A fascinated gaze upon the exuberance of the Argentine province of Corrientes (Current) wanders through the Esteros del Iberá and the coasts of Empedrado. In its passing, it deposits attention on the overflow of life that surrounds everything.


    Pierre Voland, Galicia – Apuntamentos
    Fr-Es | 2018 | 3′ | Super8 to HD | col | sound | world premiere
    Discovered Santiago de Compostela and Finisterre with a single roll of film. A small, fragmented, postcard. A collection of impressions, unfolding on a song by San Paio de Antealtares sisters.


    Elsa Brès, Love Canal
    Fr | 2017 | 18′ | HD | col | sound | italian premiere
    300 million years ago, the north of France was a wetland. 140 years ago, a canal is dug and never filled with water. One day, vagabonds decide to go down an invisible river and pick on the way débris of a world to start a new one.


    Mauricio Freyre, A IS CID
    Es | 2017 | 9′ | Super8 to HD | col | sound | italian premiere
    An utopian project, an architectural prototype of a nomadic city that existed briefly for a few weeks. Built in community in 1971 in Ibiza, a redoubt of the counterculture of the time, passed unnoticed by the repression of the Franco dictatorship. Taking as an object of study two locations related to this history, the film superimposes different time scales to speculate on critical ways of transcribing history in a present of forms without utopias.


    Tinne Zenner, Nutsigassat
    Dk-Gl | 2018 | 20′ | 16mm to HD | col | sound | italian premiere
    “Go outside. The lovely mountains two, Sermitsiaq and Kingittorsuaq, look at them.” While the housing blocks carry a past of national diaspora, layers of snow cover a future development in the city of Nuuk, Greenland. The landscape acts as a scenery for collective nostalgia and industrial production, as the film studies glitches in translation of language and culture in a post-colonial modernity.


    Leandro Varela, La Señal Cósmica
    Ar | 2018 | 2′ | Super8 to HD | b&w | silent | world premiere
    The demonstration of a series of messages encoded on film format.

    (in presence of the authors Elsa Brès and Pauline Rigal)



    FOCUS W (70’) - Liquid Crystals
    curated by Tommaso Isabella
    A scientific time-lapse film on crystallization, a layered landscape study merging film and 3D animation, a desktop documentary about gold mines, virtual clouds and e-waste dumps, a digital meditation that delves into a sea of glitches. Four very different works as leaps between states of matter, approaching the indeterminacy that lies beneath ordinary distinctions such as natural and artificial, material and immaterial, production and disintegration, in an attempt to depict a reality continuously shaped by processes of abstraction and concretization.

    Jan Cornelis Mol, Kristallen en kleur
    Nl | 1930-35 | 9′ | col | 35mm to HD | silent (copy from EYE, restored in 2010)
    Jan Cornelis Mol specialized in shooting footage using the time-lapse technique: at intervals of fifteen minutes or more, he filmed budding plants or flowers so that the flowers seemed to bloom within a few seconds. Mol also experimented with sound and color systems and was one of the first to introduce optical sound on the amateur film format 16mm.
    Uit het rijk der kristallen is one of the most successful and fascinating scientific films made by Mol. The crystallization processes of various chemicals which are visible only through the microscope are shown using time-lapse acceleration at times. Mol worked several years on this film, producing different versions. The original black and white silent film was given a soundtrack in the 1930s, and he also produced a color version of the film, Kristallen in kleur. It partly made use of the Dufaycolor system. The film was not only screened at educational and scientific presentations, but also circulated in avant-garde circles. Filmliga considered it a good example of the ‘absolute film’ as it contains one of Mol’s trademarks, a fascination for abstraction. The work was screened at the Harlem branch of the Filmliga and also at Amsterdam’s Filmliga. In 1928 at a presentation at Studio 28 in Paris, the film was screened as a ‘triptyque’, with three projectors side by side.
    Our nitrate print of Kristallen in kleur had been preserved in 1996, but because colors played an important role, it was decided to try a new digital restoration to come closer to the hues of the nitrate print. That print was scanned with an Oxberry scanner at 2K. After grading, a new internegative and print were made. (Simona Monizza – Il cinema ritrovato)


    Tinne Zenner, Arrábida
    Port-Den | 2017 | 16′ | 16mm/HD to HD | col | sound
    A film centred on the production of landscape and concrete in the Arrábida Natural Park, Portugal. Covering a vast area of coast, caves, mountains and forest, the park is inhabited by a massive concrete factory that branches through the landscape. Documenting the various layers of the sourced material, the factory body and the constructed landscape, the film looks at how time is physically embedded in the matter and how the molecular particles act in a circular re-shaping of the whole. The film merges 16mm footage shot in the area of Arrábida with 3D animation of the topographic landscape as an equal analogue layer. Há só uma terra. There is only one earth.


    Louis Henderson, All That Is Solid
    Fr | 2014 | 15′ | HD | col | sound
    “All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.”A technographic study of e-recycling and neo-colonial mining filmed in the Agbogbloshie electronic waste ground in Accra and illegal gold mines of Ghana. The video constructs a mise-en-abyme as critique in order to dispel the capitalist myth of the immateriality of new technology – thus revealing the mineral weight with which the Cloud is grounded to its earthly origins.


    Jacques Perconte, Vingt-neuf minutes en mer
    Fr | 2016 | 29′ | HD | col | sound | ita premiere
    Saint-Valery-en-Caux, 2016
    À force de cette violence omniprésente voilà que l’image saigne. Mais le rouge ne reste pas à la surface de l’eau.
    A peaceful image transforms imperceptibly into a blood-red scene. Below the soothing waves of the sea, deep unrest simmers. Digital impressionism. An inner journey in our relationship with violence and memory, through a patient deconstruction of the image, set to the subtle sound of a never-ceasing wind.
    “It is a long and deep inner journey in our relationship with violence and memory. Digital moving images are made to maintain information stable. But we can break it. ” J. Perconte
    Other possibilities of the sea. Digital impressionism, expressed through a patient deconstruction of the image into moving colours, set to the subtle sound of a never-ceasing wind. The rocking motion, further emphasized by contemplating slowness, evokes a sense of the permanently changing waves.


    FOCUS X (112’) - Atomic Light Shadow Optics
    curated by Rinaldo Censi

    All this took about one minute. It was a series from bright to dark, and I had seen it. I am about the only guy who actually looked at the damn thing – the first Trinity test. Everybody else had dark glasses, and the people at six miles couldn’t see it because they were all told to lie on the floor. I’m probably the only guy who saw it with the human eye. (Richard P. Feynman, Los Alamos from Below — Reminiscences of 1943-1945)


    Robert Aldrich, Kiss Me Deadly
    USA |1955 | 106′

    Science fiction becomes pop sociology in Invasion of the Body Snatchers. And noir veers into apocalyptic sci-fi in Robert Aldrich’s 1955 masterpiece Kiss Me Deadly, which, briefly described, tracks one of the sleaziest, stupidest, most bru­tal detectives in American movies through a nocturnal, inexplicably violent labyrinth to a white-hot vision of cosmic annihilation. (Jim Hoberman)


    Tony Conrad, The Flicker
    USA | 1966 | 30’
    «I’ve always thought of The Flicker as a kind of bizarre science fiction movie, as a space that you can enter—in the way that you enter the narrative space of a regular Hollywood movie—and go floating off into some weird dimension, and then come back. I constructed the film very carefully so that you’re inexorably moved, very deliberately and very systematically, into an experience completely out of the ordinary, where perception is dramatically altered. If you look around the theater during The Flicker, you find that everything is somehow made strange».
    Tony Conrad. “On the Sixties”, in S. MacDonald, A Critical Cinema 5. Interviews with Independent Filmmakers, University of California Press, Berkeley / Los Angeles / London, 2006


    FOCUS Y (38’) - La Machine infernale
    curated by Alessio Galbiati
    Or three fragments on the concept of death and its representation. A selection of moving images, noncinematographic, concluded by a phantasmagoria by Georges Méliès to reflect around the limits of vision and representation.

    Mark LaGanga’s WTC 9/11 Video (Enhanced Video/Audio & Doubled FPS)
    USA | 2001-2018 | 29’ | CBS News
    Only 29 minutes passed between the two World Trade Center towers falling. Photojournalist Mark LaGanga captured the eerie scene up close


    Jon Rafman, A Man Digging
    USA | 2013 | 8’
    In Jon Rafman’s newest film, A Man Digging, a virtual flaneur undertakes an evocative journey through the uncanny spaces of video game massacres. In a re-visioning of the game Max Payne 3, Rafman radically transforms the role of the player. He now encounters the digital landscapes not as a numb fighter, but as a human who is touched by death and gore, even when it is rendered banal in its ubiquity. Divorced from their original context, the slaughtered bodies take on a dull, inarticulate violence that is disquieting. Through a film that becomes a de-sensationalized spectacle, Rafman confronts both the danger of passively aestheticizing the wreckage of the past, and the romantic fixation on death as a placeholder for meaning.


    Georges Méliès, Escamotage d’une dame au théâtre Robert – Houdin
    Fr | 1896 | 1′
    Un prestidigitateur recouvre une belle dame d’une nappe, exécute des passes magiques, enlève la nappe : la dame a disparu, à sa place un squelette. L’artiste repositionne la nappe, fait des passes, ôte à nouveau la nappe : la dame a reparu. Ils saluent de concert.


    (outer) SPACES itineraries (65’)*
    curated by Riccardo Re (inside “Space Itineraries”, section promoted by Menomale)

    Mauro Santini, VAGHE STELLE
    “Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations.
    The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.

    ALKAID | Ita | 6′ | Color | 4K to HD | 2017
    MIZAR | Ita | 11′ | Color | 4K to HD | 2017 (italian premiere)
    ALIOTH | Ita | 5′ | Color | 4K to HD | 2017 (italian premiere)
    (in presence of the author)


    2013 | 16mm | color | silent | 4′ 00
    Lunar Almanac traces the observational points of the lunar cycle in a series of visual notations. Using single-frame and long-exposure photography, the unaltered, in-camera editing accumulates over 4000 layered field views of half-moons, new moons, and full moons. These lunar inscriptions flit across the screen with a frenetic energy, illuminating nocturnal reveries that pull at the tides as much as our dreams.

    Lawrence Jordan, Our lady of the sphere
    US | 1969 | col | sound | 10’ 00
    The mystical Lady with the orbital head moves through the carnival of life in a Surreal Adventure.

    Deborah Stratman, These blazeing starrs
    2011 | b&w | sound | 14′ 14
    Since comets have been recorded, they’ve augured catastrophe, messiahs, upheaval and end times. A short film about these meteoric ice-cored fireballs and their historic ties to divination that combines imagery of 15th-18th century European broadsides with NASA Jet Propulsion Laboratory footage.

    Cécile Fontaine, Spaced oddities
    Fr | 2004 | b&w | sound | 4′ 20
    Pictures from a black and white documentary on the life in fresh water, recomposed on the celluloïd ribbon by collage frames by frames to form new figures … repeating itself atregular intervals, like variations of a same motif.

    Robert Breer, Inner and outer space
    US | 1960 |col | sound / 5' 00

    Len Lye, Particles in space
    US | 1966 | b&w | sound | 4’ 00
    “PARTICLES IN SPACE (1979) grew out of the same calligraphic material as FREE RADICALS. As with its companion film, PARTICLES is concerned with the energy of movement – of shaping light in darkness, by scratching on the film surface. In this film, Len Lye focuses on “a smaller, more compact zizz of energy than I’d ever got before on film.” The rhythms of African drums again provide the musical counterpoint. “I thought FREE RADICALS as ‘definitively revised’ an almost unbelievably immense masterpiece (a brief epic) and that PARTICLES IN SPACE was its contemplative equivalent. COLOR CRY as great as I remembered it..” Stan Brakhage

    *Except for Mauro Santini’s Vaghe Stelle, all the screenings will be in 16mm and the films will be screened by Mirco Santi (Home Movies)

    New Powerful Eyes. A seminar with Flavio Fusi Pecci
    (an academic whose expertise ranges from stellar evolution to galaxies and cosmology, vice-president of the SAIt - Società Astronomica Italiana)).
    In the field of Astrophysics and Cosmology, one aspect in particular has influenced the evolution of our knowledge of the universe and its components: thanks to this, access to a "multi-frequency" (s.a. observation in gamma band, X, optic, infrared, and radio) and a "multi-messenger" (s.a. cosmic rays, neutrons, astroparticles, gravitational waves) approach was made possible.
    (inside “Space Itineraries”, promoted by Ass. Menomale in collaboration with SOFOS)

    Stories of vision. Art as school of senses (and sense) with Francesco Cattaneo
    (researcher and professor of Aesthetics, Department of Philosophy and Communication Studies, University of Bologna)
    What it means “to see”? And what role does the artistic vision play, in our being in the world? The seminary doesn’t aim to general definitions, but rather to develop encounters (and recounts), using specific philosophical, cinematographic, pictorial and literary experiences as catalysts for meditation.
    I’ll try, by this way, to bring out how our senses (in the double meaning that refers to sensitivity and significance), far from being reduced to something “natural”, require an uninterrupted exercise, especially in the terms of the “dissolution” referred to by Rimbaud.

    NOTA: To take part in the Atelier please enroll by sending an e-mail to: info@nomadica.eu

    Breakfast with Cinèma Fragile
    Francis Magnenot and Katia Viscogliosi, Primavera
    It - Fr | 2018 | 43’ | HD
    Primavera is composed of short cinematographic haïkaï written with a camera, in the spirit and rythm of the japanese poetry. It’s a cinema of the moment, minimalist, made with starving eyes, in constant search of what we are rich of, here and now. No subject but life: like if cinema should not be written, as it’s a way to write down things that happen.
    (in presence of the authors)

    Breakfast with MOVIMCAT
    Stefano Miraglia presents his curatorial project The Moving Image Catalog
    + collective rambling about the online dissemination of artists’ moving image

    Out of programme (OOP)

    AudioWebTeleVisionArchive _h16.30 / h24.00
    Different programs (without a program) of audio/video materials, web, television
    curated by Federico Epifanio, Giuseppe Spina, Tommaso Isabella, Elisa Cuter, Francesco Selvi, Alessio Galbiati

    Wunderground – central hall _h24
    The venue will host objects and works of any kind that anyone can bring and exhibit.
    A recollection of “ofrendas” will be in an home altar in honour of the dead.

    Space Itineraries #2 _ in girum… _h24
    An “urban – star” map will be donated to participants, to guide them through the discovery of “celestial things” through the streets and buildings of the city.

    PLEASE NOTE: *the program is divided into 6 blocks
    ** to take part in the Atelier please enroll by sending an e-mail to info@nomadica.eu
    *** The weekend with the dead has come true without any public or private funding, it is the result of the work (and pleasure) of researchers, academics and tens of filmmakers that offer their work without anything in return. Attendance is free and open to everyone, however a voluntary contribution is expected and appreciated





    PREVIEW. That the life can shine (screening and meeting)

    31 October, h20.30 - Cineteca di Bologna

    a film by Fabio Badolato and Jonny Costantino
    with Antonio Moresco and Giovanni Battista Ricciardi
    based on the homonym novel by Antonio Moresco
    First public screening of the film, in presence of the authors

    more info





    from 1 to 4 November– Spazio Menomale, Bologna
    "Weekend with the Dead" • an international selection of very different films
    [screening room 1 h4.00 pm / 02.00 am • screening room 2 h10.30 am /02.00 am • central hall h24]



    Section 1 [general programme – room 1]
    The principle behind this selection is not the showing of coherence between the works, much less the personal taste; it is about the heterogeneity of vision, in order to give back a faithful overview of the current – diversified – trend of contemporary experimentalism. The selection of film-makers that we will present took us to the most disparate countries, and through diametrically opposite dimensions of storytelling, we are looking forward to an unprecedented experience, generated from the clashing of their films and filled with unexpected echoes and vivid collisions. During the days of this exhibition, we ultimately hope to give our contribution to the breakage of the anachronism of meek visions, so that abnormality can become the rule and the viewer’s gaze can free itself from those very chains that prevent it from exploding. (curated by Giulia Mazzone, Riccardo Re, Giuseppe Spina)
    fotogramma da Delphi Falls, di Mary Helena Clark

    With films by :
    Albert Alcoz, Prantik Basu, Christopher Becks,
    Dan Browne, Pietro Bulgarelli, Jaione Camborda,
    Mary Helena Clark, Mierien Coppens, Samuel Delgado,
    Nazlı Dinçel, James Edmonds, Luca Ferri, Helena Giron,
    Emmanuel Lefrant, Pietro Librizzi, Azucena Losana,
    Francis Magnenot,Takashi Makino, Marta Mateus,
    Stefano Miraglia, Pablo Polanco, Monica Saviron,
    Giuseppe Spina, Katia Viscogliosi, John Woodman
    (all the films in this section will be screened twice in different days and times)





    Section 2 [multifocus, room 1]
    • Focus curated by Rinaldo Censi – Atomic Light (Shadow Optics) - with films by Robert Aldrich and Tony Conrad
    • Focus curated by Alessio Galbiati - The infernal Machine - with films by: Mark LaGanga, Jon Rafman and George Melies
    • Focus curated by Tommaso Isabella - Liquid Crystals - with films by: Jan Cornelius Mol, Louis Henderson, Tinne Zenner, Jacques Perconte
    • Focus curated by Stefano Miraglia - NOMADICA ODEPORICA PLASTICA - with films by: Pauline Rigal, Julio Fermepin, Pierre Voland, Elsa Brès, Mauricio Freyre, Leandro Varela, Tinne Zenner

    Section 3 [Space Itineraries#1, room 1]
    Space Itineraries #1 curated by Riccardo Re, promoted by Ass. Menomale
    With films by: Robert Breer, Cecile Fontaine, Larry Jordan, Len Lye, Fern Silva, Deborah Stratman - screenings on 16mm
    + Vaghe Stelle (Alkaid, Mizar, Alioth), by Mauro Santini














    Section 4 [Atelier – room 2]
    - 1 november, h10.00 am / h1.00 pm
    Seminar “New Powerful Eyes” with Flavio Fusi Pecci, academic and former director of the Astronomical Observatory of Bologna, an expert in stars evolution, galaxies, and cosmology.
    (promoted by Ass. Menomale in collaboration with SOFOS)
    - 2 November, h10.00am / h 1.00 pm
    Seminar "Stories of vision. Art as school of senses (and sense)" with Francesco Cattaneo, researcher and professor of Aesthetics, Department of Philosophy and Communication Studies at the University of Bologna.
    What does ‘seeing mean’ what role does the artistic vision play in our being in the world? The seminar’s aim isn’t to advance general definitions, but rather to develop encounters (and recounts) by using specific philosophical, cinematographic, pictorial and literary experiences as catalysts for meditation. With this seminar, I’ll try to bring out how our senses (with its double meaning that refers to sensitivity and significance) require an uninterrupted exercise, especially in terms of “dissolution” (referred to by Rimbaud), and far from being reduced to something “natural”.
    - 3 November, h 10.00am / 11.30am
    Breakfast with MOVIMCAT: Stefano Miraglia presents his curatorial project The Moving Image Catalog + a gram collective rambling about the online dissemination of artists’ moving image

    Section 5 [AudioWebTeleVisionArchive – room 2]
    Different programs of audio/video materials, web, television
    by Federico Epifanio, Giuseppe Spina, Tommaso Isabella, Elisa Cuter, Francesco Selvi, Alessio Galbiati

    Section 6 [Wunderground – central hall]
    The venue will host objects and works of any kind that anyone can bring and exhibit. A recollection of "ofrendas" will be in an home altar in honour of the dead.

    Space Itineraries #2 (in girum…): Break away from the earth (promoted by Ass. Menomale)
    An "urban – star" map will be donated to participants, to guide them through the discovery of "celestial things" through the streets and buildings of the city.





    Associazione Menomale
    Rifrazioni. Dal cinema all’oltre
    Rapporto Confidenziale
    La Camera Ardente
    The Moving Image Catalog


    thanks to
    eye filmmuseum amsterdam
    Cineteca di Bologna


    #inthelightofdead #nomadica #everyonewiththeirownsaints #wunderground #breakawayfromthearth

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