Twelve young actors, a poetess, and a director spend together three months in a theater in the middle of woods. Every day the poet Mariangela Gualtieri writes poetry drawing inspiration from the girls and guys themselves.The group of actors is trained by the director Cesare Ronconi to become a chorus, a unique body compact on stage. At the same time every actor is pushed to fathom their own solitude. The winter wood around the theater becomes the labyrinth to face where everyone looses themselves.
The early short films by Cesare Ronconi, winners at Salsomaggiore in 1985—a festival directed by Adriano Aprà and crafted with the collaboration of Marco Melani—are a remarkable experiment in cinematic form. Featuring static framing, these films unfold in a cosmic/comic loop that defies traditional staging and video conventions, offering a groundbreaking approach to visual storytelling.
Folgorazioni begins that path of “manipulation” of materials (filmed and refilmed, altered, stripped of all that is appearance) that we also find in the latest Come cani, come angeli. Divided into eleven fragments of different lengths, the film starts from physical violence to arrive at the mystery of life and death, the enigma that accompanies Valdoca’s works.
