Robin Guarino

It’s a busy day in the manor house as the staff prepare for the marriage of the wily valet Figaro and his quick-witted fiancée, the maid Susanna. But the head of the house, Count Almaviva, wants Susanna for himself—and he’s used to getting his way. With the help of the slighted Countess, Figaro and Susanna work to turn the manor upside down in order to exchange their holy vows of matrimony.

This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.

A Saint Rosalia in an Italian ghetto in New York. Staged sequences and private Super 8 footage left to the filmmaker by her grandfather, who emigrated from Sicily to the USA, come together to form an experimental reconstruction of a crossing.

It’s a busy day in the manor house as the staff prepare for the marriage of the wily valet Figaro and his quick-witted fiancée, the maid Susanna. But the head of the house, Count Almaviva, wants Susanna for himself—and he’s used to getting his way. With the help of the slighted Countess, Figaro and Susanna work to turn the manor upside down in order to exchange their holy vows of matrimony.

A Saint Rosalia in an Italian ghetto in New York. Staged sequences and private Super 8 footage left to the filmmaker by her grandfather, who emigrated from Sicily to the USA, come together to form an experimental reconstruction of a crossing.