Experimental video-essay that remixes footage from the Audiovisual Archive of the Workers' and Democratic Movement of Rome, the Mario Mieli LGTBIQ+ Movement Archive, and internet images from the 1970s to the present day, including porn movies from the 70s—mainly by Italian pioneer Lasse Braun—the 80s, 90s, and early 2000s. This work provides a non-fictional reflection on the relationship between explicit sexual representations and the political and labour contexts that generate them, as well as an overview of the last 50 years of Italian history.
María Ruido
Filmmaker, visual artist and researcher born in Orense in 1967. She lives and works in Madrid and Barcelona, and is a lecturer in the Department of Art and Visual Culture at the University of Barcelona. Since 1998, she has been developing interdisciplinary projects on the social construction of the body and identity, the imaginaries of work in post-Fordist capitalism, and the construction of memory and its relationship with narrative forms of history. Her films and visual essays include ‘La memoria interior’ (2002), ‘Tiempo real’ (2003),’ Ficciones anfibias’ (2005), ‘Plan Rosebud 1’ (2008), ‘Plan Rosebud 2’ (2008), ‘Zona Franca’ (2009), ‘Lo que no puede ser visto debe ser mostrado’ (2010), ‘ElectroClass’ (2011), ‘Le rêve est fini’ (2014), ‘El ojo imperativo’ (2015), ‘Mater amatísima’ (2017), ‘Estado de malestar’ (2019), ‘La revolución (es) probable’ (2022), ‘Las reglas del juego’ (2022) y ‘La fábrica y el sexo’ (2025).
DIRECTOR
María Ruido
SCREENPLAY
María Ruido
CINEMATOGRAPHY
Pablo Martínez
EDITOR
Enrique Piñuel
SOUND
Astu Pavesi
MUSIC
Fucksia Band
PRODUCTION
María Ruido
PRODUCTION COMPANY
Academia de España en Roma
FEATURING
Mario Mieli, Ilona Staller, Moana Pozzi, Giorgia Meloni
