L'uomo raccoglitore

Demetrio Giacomelli

“L’uomo raccoglitore” is a film about loneliness and what good can come from it. It happens in life that you find yourself with your back to the wall and have to arrange with what you have in order not to go backwards and, with a little luck, regain the lost meters.
Sometimes it is our past as a specie that comes to our aid, with its baggage of behaviors and meanings scattered over time. Then it may happen that the Gatherer comes back to visit us, to walk alongside us to the next camp.
Loneliness is told first of all to oneself. It is the old story of the tree that doesn’t fall if no one has heard it. When there is no other to testify our existence, we try to do what we can with the means we have. Cinema begins before the screen, in the memory projected inside our mind.
Over time, something is lost and something else is added, in the hope of meeting someone for whom all this has value. And when, and if, someone meets, the words of loneliness die in our mouth and those of the company arrive. Some vague images scattered among our ravines and it happens, often without realizing it, that we meet their gaze in the hope of not being judged.

“L’Uomo Raccoglitore” è un film sulla solitudine e su quello che di buono può venire da essa. Accade nella vita di trovarsi con le spalle al muro e di doversi arrangiare con quello che si ha per non retrocedere e, con un po’ di fortuna, riguadagnare i metri persi.
Talvolta è il nostro passato di specie a venirci in aiuto, con il suo bagaglio di comportamenti e significati disseminati nel tempo. Allora può succedere che l’Uomo Raccoglitore torni a farci visita per camminare al nostro fianco sino al prossimo accampamento.
La solitudine viene raccontata prima di tutto a sé stessi. È la vecchia storia dell’albero che non cade se nessuno lo ha sentito. Quando non c’è l’altro a testimoniare della nostra esistenza, cerchiamo di fare quello che possiamo con i mezzi che abbiamo. Il cinema inizia prima dello schermo, nella memoria proiettata all’interno della nostra mente. Col tempo qualcosa si perde e qualcos’altro si aggiunge, nella speranza d’incontrare qualcuno per cui tutto questo abbia valore. E quando, e se, qualcuno s’incontra, le parole della solitudine ci muoiono in bocca e arrivano quelle della compagnia. Qualche immagine vaga spersa tra i nostri anfratti e capita, spesso senza accorgersene, che incrociamo il loro sguardo nella speranza di non essere giudicati.

Demetrio Giacomelli was born in Genova in 1986. Painting degree at Academy of fine arts in Genova.
He moved to Milan in 2013 where he started working as assistant director to Paolo Caredda for the documentaries “Gli italiani e il fumetto” and “Andrea Pazienza, fino all’estremo” produced by SkyArte. In 2014 he founded Progetto Aves, together with Matteo Gatti and Matteo Sigorelli. The artistic research group investigates about the interactions between citizen and animals. Together with Progetto Aves they took part in many artistic events as “La Biennale di Venezia”, “CCCB” in Barcelona, “Careof” in Milan. In 2015 the video “Km/18” won the Tent Academy Awards in Rotterdam.
In 2016 he presented “Mal d’Archivio” at Pesaro Film Festival and in 2017 he parteciped at the same festival with “Il Secondino Innamorato”. In 2017 he made the documentary “Diorama” that won the “Best Italian Documentary” award at the Torino Film Festival and the “Best Italian Documentary” award at MAXXI in Rome. In 2017 he made the science-fiction movie “L’Estinzione Rende Liberi” that won the “Best Movie” award in the section “Prospettive” at Filmmaker Film Festival in Milan.
At the moment Demetrio Giacomelli is working on his own projects after winning the development prize “Premio Solinas per il Cinema” for the best screenplay, and the participation of “InProgress” launched by Filmmaker

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