Paolo Cherchi Usai

Travelogue of two film historians Nikolay Izvolov and Sergey Kapterev who visit world film archives around the globe in search of a lost sound version of one famous Soviet cartoon. It's "The Post" made by Mikhail Tsekhanovsky in 1929 and based on a poem by Samuil Marshak. At first "The Post" has been released in a silent form and later Tsekhanovsky remade it with experimental music and narration by Daniil Kharms. At that moment it was the first Soviet sound cartoon and it was a success all over the world. Russian film studies consider "The Post" to be of great importance and artistic value but unfortunately it's still lost. Only the silent version and the 1964 remake are still known and available.

The extraordinary life of Orson Welles (1915-85), an enigma of Hollywood, an irreducible independent creator: a musical prodigy, an excellent painter, a master of theater and radio, a modern Shakespeare, a magician who was always searching for a new trick to surprise his audience, a romantic and legendary figure who lived only for cinema.

Pendant plus de trente ans, de l’arrivée des photogrammes animés réservés à des machines individuelles jusqu’aux grandes productions de studios projetées dans des salles immenses, le cinéma ne s’est défini que par son travail sur l’image. C’est vite oublier que durant la même période, des « Géo Trouvetou » de toutes origines et de tous pays, soutenus ou non par de grandes compagnies de production, n’ont eu de cesse de chercher le moyen d’adjoindre le son à cette image pour atteindre un niveau supérieur de réalisme. Le film A la recherche du son permet de suivre cette lente évolution vers le cinéma parlant en nous présentant succinctement mais avec suffisamment de détails les différentes approches techniques choisies.

Documentary recounting the life story of Louise Brooks in 5 sections: "Lulu in Toe Shoes"; "Lulu in Hollywood"; "Lulu in Berlin"; "Lulu in Hell"; and "Resurrection".

Paolo Cherchi Usai's experimental film mixes music, religious imagery and more.

In early 2010 the Alloy Orchestra was commissioned an original score, based on a musical setting drawn on a 3-foot long sheet of squared notebook paper. Its operating principle was a fixed tempo - 60 beats per minute - to be strictly followed by the musicians throughout the piece. Within this grid, the performers were given complete freedom to determine the timbre, the volume and the sequence of themes to be chosen for their work. Two artists - a drummer and a draughtsman - listened to the recording of the music without any knowledge of the instructions provided for its creation. Unbeknownst to each other, both were given the task of playing along with their respective instruments: one with a drum in front of a camera, the other with pen, brushes, ink and colored pigments on 35mm film strips. The footage was assembled and edited in strict adherence to the criteria adopted for the music. The Alloy Orchestra was then asked to accompany the film with their own score

In early 2010 the Alloy Orchestra was commissioned an original score, based on a musical setting drawn on a 3-foot long sheet of squared notebook paper. Its operating principle was a fixed tempo - 60 beats per minute - to be strictly followed by the musicians throughout the piece. Within this grid, the performers were given complete freedom to determine the timbre, the volume and the sequence of themes to be chosen for their work. Two artists - a drummer and a draughtsman - listened to the recording of the music without any knowledge of the instructions provided for its creation. Unbeknownst to each other, both were given the task of playing along with their respective instruments: one with a drum in front of a camera, the other with pen, brushes, ink and colored pigments on 35mm film strips. The footage was assembled and edited in strict adherence to the criteria adopted for the music. The Alloy Orchestra was then asked to accompany the film with their own score