NOW
Year: 2010
Length: 20 min
Copyright: Alberto Cima
Direction, screenplay, cinematography, editing: Alberto Cima
Editing Assistant: Paola Ratti
Watch it on YouTube
Subject:
The amazement of being alive, here, now. The look at the things. The sea, the rocks of Sardinia. The paradise of the fantastic flowering in spring. The roughness of the inhospitable rocks. The tangle of winding ramifications. The millennial olive that doesn't die. The tracks of man. Footprints on sand and deserted remains of powerful factories. The obscure history of mysterious nurages. The old body of a woman, her cats and the blowfly. The effort and the intelligence of Coleopterans. The pangs of death of the insect and the tenderness of palpitating breasts. Days that spend in a awful and charming wait.
Review:
Orazio Bravi
(Transcription from the video by Alberto Nacci)
Cima, plus a passion for form, also has a passion for the shapes of things, among which he never creates a hierarchy. In the movie NOW, who turned in Sardinia, everything is conducted with an eye trained to see the shapes of things, to see the feelings that these things convey to the beholder. Alberto Cima place almost an education of our eyes to get in touch with things. In the sense that, isolating them, he makes us perceive them almost in their native creativity and they are able to pass their beauty. I really like the use of the word that makes Alberto Cima in his films. He never does interviews, there is never a narrator behind, but he creates a harmony with people, and sometimes vivid words come out, words really full of meaning, of feeling. He loves these words, there is a culture of the word in these films. In NOW the old Sardinian woman utters very few words, but there's that "blowfly" that says everything of Sardinia, the way in which she utters it, the tonality, the intonation. The protagonist of his films is always him, Cima, that he has this ability to go out, through the pictures, the shots through the words he manages to bring out his characters, to reveal what it is he, as he feels the life, as he feels the existence. It's him the protagonist of all his films, and here is its ability, that I would say that he almost pulls these characters to be what he wants, to express the values of life, the meaning of life, of existence.
The amazement of being alive, here, now. The look at the things. The sea, the rocks of Sardinia. The paradise of the fantastic flowering in spring. The roughness of the inhospitable rocks. The tangle of winding ramifications. The millennial olive that doesn't die. The tracks of man. Footprints on sand and deserted remains of powerful factories. The obscure history of mysterious nurages. The old body of a woman, her cats and the blowfly. The effort and the intelligence of Coleopterans. The pangs of death of the insect and the tenderness of palpitating breasts. Days that spend in a awful and charming wait.
Review:
Orazio Bravi
(Transcription from the video by Alberto Nacci)
Cima, plus a passion for form, also has a passion for the shapes of things, among which he never creates a hierarchy. In the movie NOW, who turned in Sardinia, everything is conducted with an eye trained to see the shapes of things, to see the feelings that these things convey to the beholder. Alberto Cima place almost an education of our eyes to get in touch with things. In the sense that, isolating them, he makes us perceive them almost in their native creativity and they are able to pass their beauty. I really like the use of the word that makes Alberto Cima in his films. He never does interviews, there is never a narrator behind, but he creates a harmony with people, and sometimes vivid words come out, words really full of meaning, of feeling. He loves these words, there is a culture of the word in these films. In NOW the old Sardinian woman utters very few words, but there's that "blowfly" that says everything of Sardinia, the way in which she utters it, the tonality, the intonation. The protagonist of his films is always him, Cima, that he has this ability to go out, through the pictures, the shots through the words he manages to bring out his characters, to reveal what it is he, as he feels the life, as he feels the existence. It's him the protagonist of all his films, and here is its ability, that I would say that he almost pulls these characters to be what he wants, to express the values of life, the meaning of life, of existence.
