Filomena Rusciano - Liquid path
4:00, 2013, Video DanceDirectorFilomena RuscianoProducerFilomena RuscianoWriterFilomena RuscianoCameraGennaro SorrentinoEditorGennaro Sorrentino, Filomena RuscianoComposerPaolo BaroneCrewILLUSTRATION IN STOP MOTION : RINEDDA
CountryitalyLanguagemuteSubtitlesnoEdition2014 PurpleBudgetNo budgetScreeningsFESTIVAL INTERNATIONAL DE VIDÉO DANSE DE BOURGOGNE 2014 (France), A CORTO DI DONNE 2014 (Italy), CINEDANS - ONE MINUTE DANCE FILM CONTEST 2014 (Amsterdam, NL), DANÇA EM FOCO - Festival Internacional de Vídeo & Dança 2014 (Brazil), SINEMA DANS ANKARA 2014 (Ankara, Turkey), INVIDEO 2014 (Milan, Italy)AwardsWinner BEST VIDEO-DANCE: BANG - VII FESTIVAL INTERNATIONAL DE VIDEOARTE DE BARCELONA 2014(SPAIN), RUNNER_UP: 60SECONDSDANCE.DK 2014 (Copenaghen, DENMARK), • RUNNER_UP and Special Prize to Production: DANZA IN UN MINUTO 2013 (Torino, Italy)
< overview
Your film is about?
It’s the perception of an migrant’ journey in the Mediterranean sea between hopes and uncertainties
How did you start with film? And do you have an educational background in art or film?
I have an educational background in contemporary dance and dance theater not in film.
this is my first approach to film-making
Could you explain how you work, what themes or concepts you use and what is important to you?
I always use a non verbal language. I never work in narrative way, but in emotional and intuitive. The body is my main tool. I like the dialogue with other art forms. In LIQUID PATH are present the illustrations of an neapolitan visual artist and graphics designer Rinedda.
How long do you usually work on one project?
It’ depend s on project. It’s difficult to quantify the work time. For this film, it took me a few months.
Do you carefully plan the production process or do you work more intuitive?
I start with a clear idea and then I leave a lot of space to intuition.
How does the title relate to the work, and how do you find a fitting title?
I try to return the essence of the work.
Where do you get your ideas or inspiration from?
It’s just my personal perception of life.
How important is sound in film, and if you use sounds, do you create your own or use existing?
It"s an important part of my work. For LIQUID PATH, the author is Paolo Barone, an neapolitan sound designer and film editor.
How important is the reaction to your film by the audience?
Using a non verbal language, it’s a great satisfaction when the audience catch the meaning
What is your next project about?
I just finished a new video dance work, entitled TRACCE NASCOSTE (Hidden Tracks):
Let fingerprints silent, emerge on the surface of the body to form an image map; an echo of past emotional. Weaving gesture reveals the physical permeability and seeks suspended traces that cloaks the everyday life.
Imperceptible noise sedimented Let fingerprints silent, emerge on the surface of the body to form an image map; an echo of past emotional. Weaving gesture reveals the physical permeability and seeks suspended traces that cloaks the everyday life.
Imperceptible noise sedimented
< overview
CountryitalyLanguagemuteSubtitlesnoEdition2014 PurpleBudgetNo budgetScreeningsFESTIVAL INTERNATIONAL DE VIDÉO DANSE DE BOURGOGNE 2014 (France), A CORTO DI DONNE 2014 (Italy), CINEDANS - ONE MINUTE DANCE FILM CONTEST 2014 (Amsterdam, NL), DANÇA EM FOCO - Festival Internacional de Vídeo & Dança 2014 (Brazil), SINEMA DANS ANKARA 2014 (Ankara, Turkey), INVIDEO 2014 (Milan, Italy)AwardsWinner BEST VIDEO-DANCE: BANG - VII FESTIVAL INTERNATIONAL DE VIDEOARTE DE BARCELONA 2014(SPAIN), RUNNER_UP: 60SECONDSDANCE.DK 2014 (Copenaghen, DENMARK), • RUNNER_UP and Special Prize to Production: DANZA IN UN MINUTO 2013 (Torino, Italy)
< overview
Interview
It’s the perception of an migrant’ journey in the Mediterranean sea between hopes and uncertainties
How did you start with film? And do you have an educational background in art or film?
I have an educational background in contemporary dance and dance theater not in film.
this is my first approach to film-making
Could you explain how you work, what themes or concepts you use and what is important to you?
I always use a non verbal language. I never work in narrative way, but in emotional and intuitive. The body is my main tool. I like the dialogue with other art forms. In LIQUID PATH are present the illustrations of an neapolitan visual artist and graphics designer Rinedda.
How long do you usually work on one project?
It’ depend s on project. It’s difficult to quantify the work time. For this film, it took me a few months.
Do you carefully plan the production process or do you work more intuitive?
I start with a clear idea and then I leave a lot of space to intuition.
How does the title relate to the work, and how do you find a fitting title?
I try to return the essence of the work.
Where do you get your ideas or inspiration from?
It’s just my personal perception of life.
How important is sound in film, and if you use sounds, do you create your own or use existing?
It"s an important part of my work. For LIQUID PATH, the author is Paolo Barone, an neapolitan sound designer and film editor.
How important is the reaction to your film by the audience?
Using a non verbal language, it’s a great satisfaction when the audience catch the meaning
What is your next project about?
I just finished a new video dance work, entitled TRACCE NASCOSTE (Hidden Tracks):
Let fingerprints silent, emerge on the surface of the body to form an image map; an echo of past emotional. Weaving gesture reveals the physical permeability and seeks suspended traces that cloaks the everyday life.
Imperceptible noise sedimented Let fingerprints silent, emerge on the surface of the body to form an image map; an echo of past emotional. Weaving gesture reveals the physical permeability and seeks suspended traces that cloaks the everyday life.
Imperceptible noise sedimented
< overview
