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Giocattoli Futuristi   [Original Title]

Futurists Toys   [Assigned Title]
Country of Origin: Italy
Year of origin: 2005
Genre: Experimental Film
Locations of shooting: n/a

Credits
Director: Claudio Castelli
Set design: Claudio Castelli
Producer: Claudio Castelli


Keywords: Expressionism
The storytelling [in Futuristic Toys]] aims to be a reprise of a certain futuristic representation, a grotesque tale of the lack of psychology in this type of dramatic scenes, and which would spark a sense of loss and amazement in the viewer, still remaining in a dreamlike vision. On the other side it is an expressionist "drama" which contextualize the human being ruled by the mechanicity built by himself and it wants to awake his asleep coscience. The drama, actually pretty ironic, actually, touches also issues raised by classic Italian literature as " La Divina Commedia" and "I Promessi Sposi" ,making them extremely synthetics - as Futurist theatre was.

The film can be considered in a certain sense autobiographical, but can also represent we all (if we are able to see ourselves like the "impersonal protagonist"), walking without astonishment in the time and the space , trying to find “that something different”, been entangled by those derisory and inconsistants values created “ad hoc” to maintain the society alive... and everytime we get irreparably trapped, for then waking up and falling again , but ,at least, having something more inside and being a bit less "mechanics". I wanted to provoke thinking for young people , till they have the chance to still decide about their lifes, to take it in a "more primitive direction" After an incubus overwhelming(or reality?), happened mechanically inside of the alarm clock, the protagonist suddenly wake up, throwing himself against the alarm clock and then making to stop the other noise, this time not mechanic: the rooster. After having a very quick breakfast, he goes down to the bewitched nature of his little town, where, after a first moment of idyll , are all revealed the grotesque facets, ridicules and horribles that also this fairy-tale landscape offers. After a short movement, made by the meeting of mechanical personages, all carrying out their function in “automatic” way, the apex of the “grotesque” is in the SUICIDE: an automaton, maybe the most mechanic one in the narration, perhaps overwhelmed from his own mechanicism , thrown himself in the vacuum, getting immediately swallowed from the earth. Rain, wind, devils cancel his traces, but when the suicide is already sinked the “Benediction” intervenes : perhaps the action (or simply the rain) extinguishes the flames of the hell, the earth closes up and the world is safe: the protagonist, with some other creatures, stops himself to contemplate the mysticism of the existing. But this ecstatic moment is upsotten from the entrance in the scene of two threatening automatons, “bravi manzoniani” (citation of “promessi sposi”, classic Italian novel from Alessandro Manzoni: two mercenaries are sent from the local boss (Don Rodrigo) to the local priest asking to not celebrate the marriage of Renzo and Lucia, two humbles persons, and the priest, “Don Abbondio” ,pretty easy to get scared, agree with them). Seeing them, the ?placid executor of the blessing? Escapes screaming, and the ecstasy ends. Bar and brawl of drunkards: the protagonist gulp down a glass (of CAMPARI, obviously), before getting the ticket and to enter in the “peripheral station” (stazione periferica): place of transit, portal for the rest of the world, last outpost of dailyness (I hope this word exists). Quick jump on the train, grinding divinity mechanically moved by flames, gears and bolts. The landscape quickly runs away, the campaign get eagerly devoured by the metallic monster, in a violent whirling of shapes and of colors that are mading up in mechanisms the CITY-METROPOLIS get announced. The impersonal protagonist reaches the central station , turmoil of working mechanisms, workers automatons, fleeting trains, passenger automatons that go and come from all over, and chooses, confused by the swarming crowd ,a secondary exit, absolutely deserted. Little steps gropingly in the dusk of the underground tunnel, and then the fall, the Portal for HELL. Not upsotten at all from the atrocious suffering of the damned and from the threatening sneers of the devils, he haves a quick snack and quickly moves to the way-out, but instead of “seeing again the stars” (uscir a riveder le stelle) keep staying underground, in the SUBWAY. Gained the exit, the menacing shadows that dull in the secondary alleys pushes him to diving itself in the void, landing in a trash-can of an old council houses complex. This place, microcosm of naturalness in the impersonal city, takes him to the primitive instinctiveness: he chases a CAT in roquambolesques vicissitudes, until he bumps into the ASIAN HUNTER. After the forced return to normality, he contemplates the rise of the city: skyscrapers, palaces, swarming construction machinery, Divinity matrix and mother also of men, expelled in fastest sequence from the bowels of the GREAT WILD WOMAN (la grande selvaggia). Absorbed By now in the generative seriality , it slips inside to a funnel, with other objects, trash, automatonmen: he will succeed catching a glimpse of a love, synthetized in a fairy segregated in a tower, in order then “to be milled” from “the social” machine and to be HOMOGENISED in the social structure, somewhat MECHANICAL, that dominates to the mechanism in which he lives. To become one that small PROPULSIVE force for one of the MILLIONS of gears, constituent one of the MILLIONS mechanisms that move the existing.

Version 1
Language: n/a
Sound: Sound film
Aspect: 1:1,33
Duration: 00:10:50

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Version 2
Language: n/a
Sound: Sound film
Aspect: 1:1,33
Duration: 00:10:50

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Version 3
Language: n/a
Sound: Sound film
Aspect: 1:1,33
Duration: 00:10:50

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License Information Film can be licensed