References to great Renaissance painters, to figures who defined the 20th century (Samuel Beckett, Man Ray, Luis Buñuel, Sergei Eisenstein) and to architectural models (Hadrian's Villa, Villa d'Este, the Capitol, the Vatican, the E.U.R. district) form a set of "sibylline sayings" in the film through the use of double images. A discourse that is unpredictable, internal, mystical, and above all silent, which predicts the end of innocence (Part I), of enigmatic and irrational love (Part II), of death (Part III), and of despair (Part IV). And with the masses now being dissolved by the violence of power, which leads the individual to isolation or madness. And in the end, the silent, desperate song of Sibyl, in the shadow of the buildings of the fascist period, signals her return as a prediction.
References to great Renaissance painters, to figures who defined the 20th century (Samuel Beckett, Man Ray, Luis Buñuel, Sergei Eisenstein) and to architectural models (Hadrian's Villa, Villa d'Este, the Capitol, the Vatican, the E.U.R. district) form a set of "sibylline sayings" in the film through the use of double images. A discourse that is unpredictable, internal, mystical, and above all silent, which predicts the end of innocence (Part I), of enigmatic and irrational love (Part II), of death (Part III), and of despair (Part IV). And with the masses now being dissolved by the violence of power, which leads the individual to isolation or madness. And in the end, the silent, desperate song of Sibyl, in the shadow of the buildings of the fascist period, signals her return as a prediction.
DirectorVouvoula Skoura
