Il mio unico crimine è vedere chiaro nella notte

Il mio unico crimine è vedere chiaro nella notte addresses the issues of censorship in Italian cinema and psychological removal in art. The work’s title—my only crime is seeing clearly in the night—incisively highlights the conflict at the basis of creation and censorship. The film, with its re-imagining of film fragments, cut out and eliminated with bureaucratic scrupulousness, doggedly retraces the cuts inflicted on the productions of past masters and thinks them through once again as the signs of a cinema yearning to be completed. The cut, which aims to interrupt the relationship between the gaze and the possible, instead becomes a place to be repopulated with… ghosts. Il mio unico crimine è vedere chiaro nella notte addresses the issues of censorship in Italian cinema and psychological removal in art. The work’s title—my only crime is seeing clearly in the night—incisively highlights the conflict at the basis of creation and censorship. The film, with its re-imagining of film fragments, cut out and eliminated with bureaucratic scrupulousness, doggedly retraces the cuts inflicted on the productions of past masters and thinks them through once again as the signs of a cinema yearning to be completed. The cut, which aims to interrupt the relationship between the gaze and the possible, instead becomes a place to be repopulated with… ghosts. Il mio unico crimine è vedere chiaro nella notte addresses the issues of censorship in Italian cinema and psychological removal in art. The work’s title—my only crime is seeing clearly in the night—incisively highlights the conflict at the basis of creation and censorship. The film, with its re-imagining of film fragments, cut out and eliminated with bureaucratic scrupulousness, doggedly retraces the cuts inflicted on the productions of past masters and thinks them through once again as the signs of a cinema yearning to be completed. The cut, which aims to interrupt the relationship between the gaze and the possible, instead becomes a place to be repopulated with… ghosts. Il mio unico crimine è vedere chiaro nella notte addresses the issues of censorship in Italian cinema and psychological removal in art. The work’s title—my only crime is seeing clearly in the night—incisively highlights the conflict at the basis of creation and censorship. The film, with its re-imagining of film fragments, cut out and eliminated with bureaucratic scrupulousness, doggedly retraces the cuts inflicted on the productions of past masters and thinks them through once again as the signs of a cinema yearning to be completed. The cut, which aims to interrupt the relationship between the gaze and the possible, instead becomes a place to be repopulated with… ghosts.