Monelle

Around the sleeping bodies, some presences occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself under the flashlight. Monelle is a circular film without any narrative or hierarchy, without a beginning or an end, and it circumscribes a place of promiscuity and ambiguity between the different formats used—35mm and CGI animation—and the approaches of two opposites film attitudes—the structural cinema and the horror genre. Around the sleeping bodies, some presences occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself under the flashlight. Monelle is a circular film without any narrative or hierarchy, without a beginning or an end, and it circumscribes a place of promiscuity and ambiguity between the different formats used—35mm and CGI animation—and the approaches of two opposites film attitudes—the structural cinema and the horror genre. Around the sleeping bodies, some presences occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself under the flashlight. Monelle is a circular film without any narrative or hierarchy, without a beginning or an end, and it circumscribes a place of promiscuity and ambiguity between the different formats used—35mm and CGI animation—and the approaches of two opposites film attitudes—the structural cinema and the horror genre. Around the sleeping bodies, some presences occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself under the flashlight. Monelle is a circular film without any narrative or hierarchy, without a beginning or an end, and it circumscribes a place of promiscuity and ambiguity between the different formats used—35mm and CGI animation—and the approaches of two opposites film attitudes—the structural cinema and the horror genre.