Sibyls

The references to the Renaissance of the great painters, to figures who left their mark on the 20th century (Samuel Beckett, Man Ray, Luis Buñuel, Sergei Eisenstein) to architectural models (Hadrian’s Villa, Villa d’Este, Capitol, Vatican, EUR) form an ensemble in the film that pertains to a “Sibylline discourse” through the use of the double image. А discourse unpredictable, internal, mystical, and most of all silent, that foresees the end of innocence (part I), of indecipherable love (part II), of death (part III), of despair (part IV). And with the masses, for centuries now, being dispersed by the brutality of the powers that be, which drives the individual toward isolation or madness. And, at the end, the silent, despairing song of the Sibyl, in the shadow of the buildings of the fascist perioр (EUR), signals her return as prophecy.