Lo spazio interiore1980

The white wings of a dove seem to come out of the darkness of the infinite night of the soul. As if looking for an escape route, the dove plows through the space of a house, flies grazing over a house of cards, flies over a baroque table set ... The television screen, teeming with pixels, swallows the eye projecting it into an unknown deep space of nature technological.

Visions of medieval and contemporary battles, baroque allegories, Bosch and Dulle Griet and hedonistic paradises alternate with dazzling images: a sicilian performance by the Living Theater, faces that splash from the screen, overlap, suddenly emerge from the unconscious. Each moment of vision contains Time, which pulsates on the screen, compressed and flashing, at the speed of 24 frames per second.

Visual poem in which literary echoes converge:  Arthur Rimbaud's “Bateau Ivre”, Artaud's writings on cruelty, Lautréamont's obsessions, pictorial influences and Mazzoleni's personal experiences of poetic writing.  Going back to the concept of "visual music" developed by the historical avant-gardes (Germaine Dulac, Hans Richter, Fernand Leger, Walter Ruttmann), the film makes use of a composite structure obtained from the continuous flow of images relating to the mental, conceptual plane of pictorial images , and war images taken from the news. The narrative plane, however, is not the objective reality but that particular "internal space" of consciousness from which the external world receives its meaning.

The writer Alberto Moravia highlighted the strong link between the films The interior space and Aurélia, of which it constitutes a kind of introduction: "Now Arcangelo Mazzoleni and Mariella Buscemi, the first as a director, the second as an interpreter, propose us in two short films with significant titles: The interior space and Aurélia, a cinematic translation of Nerval's story. To tell the truth The interior space does not refer explicitly to Nerval's story; but the many elements it has in common with Aurélia make it a kind of introduction; as if the director, before introducing us to Aurélia's figure, wanted to show us in what kind of "space" he would have evoked her. "