Filmnero‘s anthological review includes the following filmic works by the artist: Dust, Petróleo México, Elegia italiana, Atlas of Emotion Stream, Ye Shanghai, Fronti, 1915 The Armenian Files.
Dust is a complex reflection on blindness where Emily Dikinson’s texts dialogue and clash with Heiner Müller’s voice. On stage Natalie Cristiani and Paola Monzini.

Petróleo México is a visual and sound meditation on the relationship between pre-Columbian Mexico and post-columbian Mexico. The film highlights the similarities between the faces of today’s populations and those of Mexican antiquity.

Elegia italiana focuses on the theme of the roots of Fascism in Italy. In particular, it reflects about how Italians were pre-fascists, as well as fascists and post-fascists, through the texts of Giacomo Leopardi, Antonio Gramsci and Pier Paolo Pasolini.

Atlas of Emotion Stream is an homage by the artist to the city of Naples, and in particular to what he says is “its most sacred place”, the bar, “which acts as a counterpoint to its most profane place”, which is in instead of the church.

Ye Shanghai explores the Jewish ghetto of Shanghai through original filmic materials found by the artist at the British Film Institute in London. The images, of extraordinary intensity, reveal the life of the Jews in an area of Shanghai that in the 30s and 40s was occupied by the Japanese.

Fronti, created from rare images shot on the front during the First World War, stages the feeling of waiting for the trench conflict. The original score by Roberto Paci Dalò is the counterpoint that voice and color to the images.

1915 The Armenian Files, released in the year of the centenary of the Armenian Genocide, reflects on how despite the drama of extermination, life continues to be explosive in Beirut, Bourj Hammoud “the Armenian city”.

In his work process, Roberto Paci Dalò also produces a Moleskine notebook. Moleskine is a company with which he regularly collaborates as “Moleskine testimonial”. This is how Filmnero, the anastatic of the Moleskine notebook published by Marsèll and edited by Mirko Rizzo, was born.

The drawings in the notebook retrace the genesis and history of the films on display.

In addition, Roberto Paci Dalò and the Neapolitan publisher Ilfilodipartenope select thirty-four of the “exploratory drawings” of the exhibition, to create an artist’s book to witness the anthological Al Blu di Prussia in Naples.