ANALOGICA SELECTION 15 /// PR 3
/// 58'
14 NOV h 17.00
> ZeLIG
REMIXING INDUSTRIAL PASTS
by Chiara Ligi, Mauro Macella
found footage / 2022 / Italy, Luxemburg / 21’ 40’’

Remixing Industrial Pasts is a collage film about the Minett region, once the core of Luxembourg’s steel industry. It traces the transformation from 19th-century rural land to an industrial hub shaped by migration, expansion, and hidden hierarchies. The collapse of the steel industry in the 1970s–80s left ruins, tensions, and unresolved scars. Through fragmented visuals and sound, the film weaves industry, people, and landscapes into a poetic mosaic. Archival films, documentaries, and photographs form a shifting montage without a single voiceover. Viewers are invited to reimagine industrial heritage as a space of memory, conflict, and possibility.
Mauro Macella, visual designer and media artist, trained in Architecture at Politecnico di Milano and in Video Production in Florence. From 2006 to 2015 he collaborated with Studio Azzurro on international multimedia projects. Since 2017 he co-founded Tokonoma with Chiara Ligi, creating immersive and interactive installations, while also teaching at Civica Scuola di Cinema Luchino Visconti. Chiara Ligi, media artist and creative producer, studied Cinema in Bologna, documentary in Lisbon, and screenwriting with Tonino Guerra. After years with Studio Azzurro, she pursued personal projects across film and multimedia, including works presented at the Venice Film Festival. Today she is part of Imagis Lab and teaches at Civica Scuola di Cinema in Milan.
HOW TO WRITE, AN AI GUIDE IN 4 STEPS
by Nicola Eddy
found footage / 2025 / Italy / 8’ 38’’

In a future without imagination, storytelling means recycling the past. A vintage tutorial, narrated by an AI, guides creators in combining fragments of old narratives, revealing that creation is construction, not invention.
Nicola Eddy was born in Venice in 1993. In 2019, he began his journey as an editor and creator in the field of cultural communication, eventually evolving into a screenwriter and director. His career explores themes related to memory and shifting identities over time, with an intimate and independent style. His experience as a stand-up comedy writer deeply influences his approach to directing. He collaborates on independent film projects, and his artistic exploration is marked by a balance between editing, writing, and visual experimentation. 
DAYS OF WAITING. DAYS OF ARCHIVES
By Agustina Arrillaga Vodanovich
found footage / 2025 / Croatia / 1’ 30’’

A poetry visual journey through Super 8 found footage.
Agustina Arrillaga Vodanovich, also known as Arinovic (Montevideo, 1997). Visual artist and filmmaker, she works mainly with analog methods. She has a technical degree in Audiovisual and is a former student of Archival Science. She has performed and screened her films in Uruguay, Peru, Mexico, Croatia, Italy, Slovenia, Spain, the United States and China.

UN MODO DI SORRIDERE INSOLITO
by Veronica Orrù
foound footage, 8mm, VHS / 2024 / Italy / 21’ 26’’

A diary film built from home movies shot by a father in Sardinia during the 1950s and ’60s, capturing playful and affectionate family moments before his early death. Paired with Kafka’s “Letter to His Father,” the film reflects on absence, memory, and the filmmaker’s own father, exploring how those lost continue to live through the images
we watch.
Veronica Orrù is a filmmaker whose work focuses on diary films and found footage. She was born in Sardinia and currently resides in Milan. After graduating in cinema from the Brera Academy of Fine Arts, she began working as an assistant director, editor, and archive researcher. She is the co-founder of the association Re-framing home movies, which aims to enhance and preserve family films and private audiovisual memories.
FRAGMENTS OF
by Elena Calvo Polo
found footage / 2024 / Spain / 4’ 26’’

The film integrates into a new audiovisual piece a set of images discarded after the digitisation of the original films. These fragments have been discarded due to a lack of exposure or veiled, because the material was damaged, or they have been discarded when glues were placed on the reels. The film made without a camera shows the support itself, shows the splices, works the declared montage, reveals the lateral perforations and does not limit itself to showing only the space of the frame, as well as intervening manually on the emulsion. 
The sound accentuates the material condition of the support as it is the result of the film passing through the optical sound head. All these elements emphasise the materiality of the film itself.
Filmmaker, programmer and researcher Elena Calvo combines her professional and academic activity with the cultural management of events and activities through the Algarabía Cultural Association, which she founded. She has taken part in several festivals as a jury member, collaborates with Casa Árabe in Córdoba and participated in the 16th edition of S8 in A Coruña. She recently organised and coordinated a week of activities around Memory and Domestic Cinema.