The original shots, made by the same operators of the front and generative materials of Fronti, are an unprecedented historical testimony of the First World War.
The faces of the soldiers, the usual displacements of weapons and goods, the animal-like movement of the tanks and, above all, the typical wartime inaction of the trench warfare emerge. Roberto Paci Dalò emphasizes this aspect by revealing a paradox of the First World War: the painful permanence of the trench soldiers.
This is how sounds and images are slowed down to evoke the long times and stagnation of the conflict.
Fronti decomposes and readapts Guerra Nostra: it uses the same filmic materials, the shared matrix of the two films, but it assembles them in a different way. He also adds the original score for clarinet, alpine choir and live electronics, used for the play for Il grande bianco. Transcendence of the Great War.

In Fronti everything is suspended and tense, precarious and unstable.
The original score for clarinet, alpine choir and live electronics creates an abstract and immersive sound environment, completely opposite to the one that represents the war imaginary, made instead of strong sounds and impetuous explosions.
Fronti is a “metaphysical moment” where what happens is above all on the psychic level. The apparent external inactivity of the conflict corresponds to the inner emotional dynamism that the soldiers in the trenches conceal and oppress.