Documentaries are no longer the same, are the vanguard of cinema and Italy is the nation’s flag bearer. The reason is all the great digital revolution, proved to be Fuocoammare Rosi, victorious in Berlin
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Two won the festival with two documentary films, one after another. In 2013 Gianfranco Rosi with Sacro Gra won the Golden Lion at the Venice film, then with Fuocoammare , his next documentary, has just won the Bear ‘gold at the Berlin Festival. A demonstration of impressive strength, a victory that comes from the great technological change of our years. Rosi’s films are not like the others, he explains, “ really are not lovers of documentaries for the BBC “, are not filled with information or tell facts or reconstruct stories are rather explorations. If traditional documentaries can be equated to prose, his are then poetry.
But would not have been possible for Gianfranco Rosi refine his incredible style decades ago, without digital technologies . His documentaries, which resemble not to anything else, are children of a completely different process than that of any other movie, a passing through one man , the same Rosi.
If the documentaries usually revolve with crew read, Rosi is even more radical: is only , that is, with very few people behind the camera, just the bare essential to move quickly and adapt to what is happening.
There are operators, it is he who moves the camera, there are no sound technicians, has a mounted directional microphone on the above video camera, there is nothing but him and his equipment necessarily light but also qualitatively flawless. So, alone, he has spent about a year in Lampedusa to film both landings, is the life of local, totally impervious to what’s going on. And (almost) alone has won two of the three major European festivals (there is always the team that works to editing and postproduction).
Moving battery , and moved to the places they want to tell, Rosi in person establishes a relationship with the environments, one that can then be transferred in the film. Turning for a year hours and hours of video, penetrating into the reality, talking to people, knowing them and gaining their trust and then manages to take them back with a depth and unusual invisibility.
This is the spearhead of a deeper change. In recent years the documentary was in fact the film genre which first affected by the technological changes in the audiovisual sector. The transition to digital has released the first budget to be tiring (the film cost a lot), then by bulky equipment and still to work with the water in the throat (most costing the film does not go even wasted, so you can not take everything to the bitter end). To put it another way the new digital cameras have begun to allow anyone at a reduced cost to film for hours and hours even in extreme conditions, coming where no one drove. If the fictional film put us in the years to understand the scope of the novelty, the documentary has been embraced as was just waiting.
This is the reason why since the late 90s, gradually, the documentary has become the kind dynamic ever, the real new cinematic reality , the place to go to find the ‘ advanced . Which opened suddenly to fans of the first new possibilities documentaries have flourished and began to find the most amazing stories, the ones that the fiction film had not yet met.
Authors such as Roberto Minervini, Peter Marcello, Frammartino and Gianfranco Rosi began with more decision and skills of others to contaminate their documentaries with ideas taken from fiction cinema. Not only occasionally prepared scenes, but also the narrative techniques movies with actors and scripts. The ellipses , introduction , gender music , or even how they treat real people of Roles , considering them the detective or the victim of the story, in order to create a story that has pace and strength of the fiction film points.
from this arise complex movie and ambitious , scattering salt on the ground destroyed the narrative didactic of the old documentaries and become stories that have a strange relationship with reality. Not direct subsidiaries of events, but not inventions, stories that are real but that strike like those unreal. You advanced of a language that is slowly affecting the rest of the film and is mostly from ‘ Italy . Here we first worked on the changes of audiovisual digital technology, coming to explore areas in which we are pioneers.
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