Luigi Zanuso

In this definitive work, the author distills a radical and deeply personal vision of reality and human madness, crafting a film without a linear plot, composed instead of a sequence of autonomous and powerful visual scenes. In a continuous and hallucinatory flow, extreme grotesque and baroque pornography, mysticism, art, and desire merge into a single sensory and symbolic experience. Accompanied by the music of S. Lummi and M. Capitanio, the film takes the form of a contemporary infernal circle, where the viewer is dragged through images that reflect human obsessions, deviations, and ecstasies. A visionary and unsettling journey, where each fragment represents a piece of the eternal tension between the sublime and the perverse.

Like the previous works, Beyond Madness has no real plot: everything unfolds through a series of visual scenes, each introduced by Zanuso himself while reading one of his book of aphorisms (in life he is also a writer); preceded by his own phrases or those of famous philosophers, impressive tableaux vivants follow one another, dreamlike glimpses which, as in dreams, proceed by accumulation and without a precise apparent meaning. Zanuso, who at the beginning appears in the role of Diogenes with the lantern while "looking for man", peppers them with psychoanalytic metaphors, but more than the meaning, what matters is the signifier, the visible, which here reaches the zenith of that "sublime and perverse” has always been sought after in his poetics.

Luigi Atomico Zanuso, in the role of the Greek philosopher Diogenes, searches for man in a world of robots and dehumanized people.

Don’t miss Federica Tommasi as she takes all of the dicks she can find. She sucks and swallows like you can’t believe!

Short film by Luigi Zanuso.

Short film by Luigi Zanuso.

Short film by Luigi Zanuso.

Short film by Luigi Zanuso.

Short horror film by Luigi Atomico.

Short horror film by Luigi Atomico.

In this definitive work, the author distills a radical and deeply personal vision of reality and human madness, crafting a film without a linear plot, composed instead of a sequence of autonomous and powerful visual scenes. In a continuous and hallucinatory flow, extreme grotesque and baroque pornography, mysticism, art, and desire merge into a single sensory and symbolic experience. Accompanied by the music of S. Lummi and M. Capitanio, the film takes the form of a contemporary infernal circle, where the viewer is dragged through images that reflect human obsessions, deviations, and ecstasies. A visionary and unsettling journey, where each fragment represents a piece of the eternal tension between the sublime and the perverse.

In this definitive work, the author distills a radical and deeply personal vision of reality and human madness, crafting a film without a linear plot, composed instead of a sequence of autonomous and powerful visual scenes. In a continuous and hallucinatory flow, extreme grotesque and baroque pornography, mysticism, art, and desire merge into a single sensory and symbolic experience. Accompanied by the music of S. Lummi and M. Capitanio, the film takes the form of a contemporary infernal circle, where the viewer is dragged through images that reflect human obsessions, deviations, and ecstasies. A visionary and unsettling journey, where each fragment represents a piece of the eternal tension between the sublime and the perverse.

In this definitive work, the author distills a radical and deeply personal vision of reality and human madness, crafting a film without a linear plot, composed instead of a sequence of autonomous and powerful visual scenes. In a continuous and hallucinatory flow, extreme grotesque and baroque pornography, mysticism, art, and desire merge into a single sensory and symbolic experience. Accompanied by the music of S. Lummi and M. Capitanio, the film takes the form of a contemporary infernal circle, where the viewer is dragged through images that reflect human obsessions, deviations, and ecstasies. A visionary and unsettling journey, where each fragment represents a piece of the eternal tension between the sublime and the perverse.

In this definitive work, the author distills a radical and deeply personal vision of reality and human madness, crafting a film without a linear plot, composed instead of a sequence of autonomous and powerful visual scenes. In a continuous and hallucinatory flow, extreme grotesque and baroque pornography, mysticism, art, and desire merge into a single sensory and symbolic experience. Accompanied by the music of S. Lummi and M. Capitanio, the film takes the form of a contemporary infernal circle, where the viewer is dragged through images that reflect human obsessions, deviations, and ecstasies. A visionary and unsettling journey, where each fragment represents a piece of the eternal tension between the sublime and the perverse.

Short body horror film by master Dario Lussuria.

Short body horror film by master Dario Lussuria.

Surreal short film by director Luigi Zanuso.

Surreal short film by director Luigi Zanuso.

Like the previous works, Beyond Madness has no real plot: everything unfolds through a series of visual scenes, each introduced by Zanuso himself while reading one of his book of aphorisms (in life he is also a writer); preceded by his own phrases or those of famous philosophers, impressive tableaux vivants follow one another, dreamlike glimpses which, as in dreams, proceed by accumulation and without a precise apparent meaning. Zanuso, who at the beginning appears in the role of Diogenes with the lantern while "looking for man", peppers them with psychoanalytic metaphors, but more than the meaning, what matters is the signifier, the visible, which here reaches the zenith of that "sublime and perverse” has always been sought after in his poetics.

Like the previous works, Beyond Madness has no real plot: everything unfolds through a series of visual scenes, each introduced by Zanuso himself while reading one of his book of aphorisms (in life he is also a writer); preceded by his own phrases or those of famous philosophers, impressive tableaux vivants follow one another, dreamlike glimpses which, as in dreams, proceed by accumulation and without a precise apparent meaning. Zanuso, who at the beginning appears in the role of Diogenes with the lantern while "looking for man", peppers them with psychoanalytic metaphors, but more than the meaning, what matters is the signifier, the visible, which here reaches the zenith of that "sublime and perverse” has always been sought after in his poetics.

First film of the Great Power trilogy

First film of the Great Power trilogy

Third film of the Great Power trilogy

Third film of the Great Power trilogy

Luigi Atomico Zanuso, in the role of the Greek philosopher Diogenes, searches for man in a world of robots and dehumanized people.

Luigi Atomico Zanuso, in the role of the Greek philosopher Diogenes, searches for man in a world of robots and dehumanized people.

Second film of the Great Power trilogy

Second film of the Great Power trilogy