Leonardo Carrano

Aeterna is an experimental animated film, which comes to life from the sensations it aroused in its author, Leonardo Carrano, listening to Mozart's Requiem. The parts of the famous Mass are interpreted through 14 films that create an organic and varied whole in terms of animation techniques and expressive languages.

The film explores the state of ‘atopia’ that afflicts Socrates in Plato’s *Symposium*. It is an aesthetic experience of stepping outside oneself, which the work conveys by depicting a musical improvisation by cellist Giovanni Sollima as he plays against a backdrop of abstract images created by directly manipulating 35mm film using acid etching, colour, scratches and abrasions. The secret relationship between the musician and his instrument is thus transposed onto the film medium, producing a synaesthetic perception.

Medea is made with a particularly complex procedure: encaustic painting on vitrified film. The result is an alchemical work that lives on matter and light, a cinematic-pictorial jam session that blends perfectly well with jazz improvisation, a work specifically created from evocative metaphorical compositions that deftly evoke a magmatic and crystallized reality.

Eight hundred and fifty images from the film Accattone by Pier Paolo Pasolini, repainted and redrawn, the requiem of Pasolini's film which ends up coinciding with the ninth movement of Mozart's Requiem

A figure hardly emerges from an undefined black space. Màcula has vague contours, lives in the darkness as best he can, his nervous system is unhooked, acrobatic toward the dissolution.

The film was created in relation to a musical improvisation project in which Antonello Salis, Sandro Satta, Mark Dresser, and Massimo Carrano participated. The work is based on abstract animations made with various techniques directly on 35mm cinema film that are interspersed with live action sections that creatively document the stages of the jam session.

Aeterna is an experimental animated film, which comes to life from the sensations it aroused in its author, Leonardo Carrano, listening to Mozart's Requiem. The parts of the famous Mass are interpreted through 14 films that create an organic and varied whole in terms of animation techniques and expressive languages.

The film explores the state of ‘atopia’ that afflicts Socrates in Plato’s *Symposium*. It is an aesthetic experience of stepping outside oneself, which the work conveys by depicting a musical improvisation by cellist Giovanni Sollima as he plays against a backdrop of abstract images created by directly manipulating 35mm film using acid etching, colour, scratches and abrasions. The secret relationship between the musician and his instrument is thus transposed onto the film medium, producing a synaesthetic perception.

Medea is made with a particularly complex procedure: encaustic painting on vitrified film. The result is an alchemical work that lives on matter and light, a cinematic-pictorial jam session that blends perfectly well with jazz improvisation, a work specifically created from evocative metaphorical compositions that deftly evoke a magmatic and crystallized reality.

Eight hundred and fifty images from the film Accattone by Pier Paolo Pasolini, repainted and redrawn, the requiem of Pasolini's film which ends up coinciding with the ninth movement of Mozart's Requiem

A figure hardly emerges from an undefined black space. Màcula has vague contours, lives in the darkness as best he can, his nervous system is unhooked, acrobatic toward the dissolution.

The film was created in relation to a musical improvisation project in which Antonello Salis, Sandro Satta, Mark Dresser, and Massimo Carrano participated. The work is based on abstract animations made with various techniques directly on 35mm cinema film that are interspersed with live action sections that creatively document the stages of the jam session.

The film was created in relation to a musical improvisation project in which Antonello Salis, Sandro Satta, Mark Dresser, and Massimo Carrano participated. The work is based on abstract animations made with various techniques directly on 35mm cinema film that are interspersed with live action sections that creatively document the stages of the jam session.

Jazz for a Massacre is a tribute to experimental artist and filmmaker Nato Frascà. A musical-pictorial jam-session where Noise of Trouble’s jazz improvisation combines with the abstract forms created by Leonardo Carrano directly and the editing of Giuseppe Spina. Made with 20000 painted, engraved and etched frames.

A plastic magma of abstract images, voices and sounds surprise the viewer in a dreamlike and poetic universe, making him the protagonist of his personal trance. Experimental animation on 35mm film.