Edition I


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BLUE-PLATE. FOOD | ART | ACTIVISM | 23 November 2019 > Videocittà

Blue-Plate. Food | Art | Activism riunisce così una selezione di opere video di artisti per ragionare sulla storia, la politica, l’economia e l’etica connesse al concetto di cibo: estetica, produzione, distribuzione, consumo, memoria culturale, diventano protagonisti e materia prima per linee di pensiero, formalizzazioni, approfondimenti su un argomento a tutti familiari. 

Gianfranco Baruchello | Will Benedict | Will Benedict & Steffen Jorgensen | Elina Brotherus |

Melissa Durbin | Fischli & Weiss | Maryam Jafri | Gordon Matta-Clark | Pino Pascali | Marco Raparelli | Dan Rees | Martha Rosler | Zina Saro-Wiwa | Shimabuku | Jan Svankmajer | Ryan Trecartin | Jud Yalkut

THE NOVUM | 26-27 JUNE 2019

Sci-fi film is a genre that uses speculative, fictional science-based depictions of phenomena that are not fully accepted by mainstream science, such as extraterrestrial lifeforms, alien worlds, extrasensory perception and time travel, along with futuristic elements such as spacecraft, robots, cyborgs, interstellar travel or other technologies.


Science fiction films have often been used to focus on political or social issues, and to explore philosophical issues like the human condition. In many cases, tropes derived from written science fiction may be used by filmmakers ignorant of or at best indifferent to the standards of scientific plausibility and plot logic to which written science fiction is traditionally held.

Chris Marker | Larissa Sansour | Neil Beloufa | Yuri Ancarani | Nathaniel Mellors | Carola Bonfili | George Kuchar |  Rosa Barba | Jeremy Shaw | ohn Akomfrah

CHRISTMAS SPECIAL | 17 December 2018

Pattini d'argento [Silver Skates], a collaborative video made by PAD (Federico Chiari, Anna Franceschini and Diego Marcon), is a portrait of the Hot Shivers, a synchronized ice skating group and official team of Precision Skating Milan. The artists filmed the skaters during their summer retreat at the ice stadium in Bormio, in the Italian Alps.


During the gracefully choreographed exercise routines, the athletes seem to transform into pure image, light and movement. Yet the gracefulness of the silhouettes that glide on the icy surface is just one aspect of a life that also includes endless training, fatigue and clashes on the ice rink. The arena that welcomes the athletes with all their hopes and fears is not always a friend, but a stage on which to fight, albeit elegantly, under the scrutiny of friends and relatives, often equipped with digital eyes. In the video, material shot with amateur cameras becomes the visual counterpart of the protagonists themselves. The skaters of Pattini d’argento, apparitions in perennial movement and tension, become a whirling vision, transfiguring into a metaphor of the cinematographic medium itself, and of the perceptual dynamics it initiates.

READY STEADY PLAY | 26 October 2018 > Videocittà

Roger Ballen – Die Antwoord | Will Benedict – Wolf Eyes | Johanna Billing | Bruce Conner – Toni Basil / Brian Eno & David Byrne | Martin Creed | Matthew Day Jackson – Manhigh | Rä di Martino – Porcelain Raft | Iain Forsyth & Jane Pollard – Nick Cave & The Bad Seeds | Ron Hays – Earth, Wind & Fire | Derek Jarman – Pet Shop Boys / The Smiths / Wang Chung | Marie Losier – April March & Julien Gasc / PTV3-Genesis P-Orridge | Carsten Nicolai | Luigi Ontani | Eddie Peake – Gwilym Gold | Pipilotti Rist | Mathew Sawyer & The Ghosts | William Wegman & Robert Breer – New Order

DO RE MI | 21-23 May 2018

Hollywood film genre par excellence, the musical perhaps exploits more than any other genre the two basic elements of cinema: moving image and sound. Its morphology has often been studied and borrowed by the visual arts, often upending the essential norms, including narrative and a dramaturgical development traditionally structured on music and choreography. Song and dance, activated by the characters in the story, become a lexicon to rethink both formally and conceptually.


Product of the early 1980s and the fruit of postmodernism, the music video has attempted to create recognizable codes and stylistic characteristics. Presenting different expressive forms - from the live studio recording session, to the construction of short narrative films, to free styling editing and quotation - the music videos in DO RE MI trace the way in which a language and its codes have been utilised, expanded or revolutionised by the artist’s gaze.

WONDERLAND | 26-28 September 2017

The works of the selected artists and directors undermine aesthetic semiotics and the iconic realm of childhood, instead suggesting a darker flip-side to the more traditional, reassuring, infantile characteristics. Naivety, grace, humour and beauty are cast off and re-envisioned in more political, conceptual, and grotesque nuances. Wonderland shows surprising and unknown terrains, where fairy tale imagery reveals its infinite potential. Transposed to dark and enigmatic dimensions, childhood’s visual language, considered in its interpretive complexity, offers to the spectator the full value of its hidden power.


REALLY | 21-23 March 2017

The festival’s second edition, Really, focuses on the biopic, perhaps the most ambiguous and malleable of cinematic genres. If the aim of the biopic is to explore the real life stories of significant individuals, the famous and the non-famous, the enigmatic to the well documented, the dead and the living, the difficulty in trying to define the genre stems not only from the blurring of generic boundaries, but also because these films often lie somewhere between fiction and history. What the biopic genre does typically do is comply with iconographic conventions of structure – usually following a simply and highly defined narrative arc –, incorporate devices that aid the compression of time – montage, flashback, voiceover –, and use codified film aesthetics that try to convey a sense of truth.

PHANTASMAGORIA | 26-28 October 2016

Magic Lantern Film Festival launches its programming with Phantasmagoria, a small collection of films that demonstrate how noir and horror have been adopted and adapted by the visual arts, creating narratives imbued with current socio-political implications. The films’ protagonists move in a context characterised by uncertainty, in a perpetually misleading, sometimes desperate and corrupt world, where tension and fear – laced by dark humour – prevails.

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