OPEN LAND


Written and Directed by: Felix B.Q.

Director of Photography: Ariel Salati.

Movement Director: Manuela Bernasconi.

Assistant Director: Diego Induni.

Actors and performers include: Camilla Parini, Mathias Britos,

Anita Faconti, Francesca Sproccati, Manuela Bernasconi,

Salvatore Lietone, Fabio degli Antoni, and Felix B.Q.

Producers: Manuela Bernasconi, Felix B.Q, Luca Congedo,

Marco Viale, Jean Pierre Schoch.

Production: Masnàda Associazione.

Associate Producer: Led Films.

In collaboration wth: MotoPerpetuo, CISA, Polivideo.

Duration: 38’’35’’’

Sound: 5.1 mix. or stereo.

Aspect ratio: 2.39:1

Genre: Experimental narrative through dance and music.

An inquiry into the details of a crime projects the Narrator into disclosing his own responsibility to acts committed.

The death of a young woman in Room 306 opens an investigation. Crime and passion mingle in the mind of the Narrator. As the story unfolds the crime materializes to resolve the answer is strictly in front of our own eyes.

Open Land is a film worked towards an immersive narrative experience. Dramatic tension is generated through a threefold relationship: narration, music, and dance. Its visual impact concentrates the volume of information and its availability. The image attracts, is expressive and erotic; it relates to hollow pockets of narration opening archetypical spaces.

Dance sequences find relation to scenes and storytelling, and liberate the narrative structure allowing for the audience’s thought process to reach into the film.

Open Land is a psychological thriller, in a refined way, for we are always expecting to be lifted from the veil and clarify the motion of crime. An enclosed tension brings about imagination and unfolds as a game of seeking out what is real and discerning from what is not to ultimately depart from the rational and into an emotional personal solution.

Driven by the Narrator, imagination turns to reality as we realise that what seem thoughts are actually actions. Characters breathe life into the crime and appear to transcend that of being fictional manifestations.

All of these issues allows for a film language which is available and universal. All experimentation serves storytelling. We are not merely peeking into the room of crime, we are inside.

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