The house is crammed with objects of no great material value. Years after her father’s death, the director, her mother and brother clear the family home, once a promise of social advancement and now a place nobody wants to live in. The memories lie in the remains of everyday life and the junk of countless boxes of dusty entomological specimens. The mother tried to stop the passing of time by excessive collecting. And so the dialogues between the members of the family revolve around the big question of transience. Can memories be shared? What’s left of a life when the next generation attaches a different value to its objects? When memories disintegrate like the wings of the butterflies in their glass cases?
De Felice focuses on the process of remembrance and the question of what our memory retains. It’s not about the faces in the photographs, but the process of posing for the camera, filming and commenting. And the moments of silence while the camera is still running. And most of all the shape our memories assume. In this case, it’s the ink watercolours sketched by the director. Pared-down and delicate, sparingly animated from time to time, they do what only art can do: take us into the inner spaces where our families continue to live when all artefacts have long crumbled to dust.
Grit Lemke
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