No community ratings yet on FilmStash · 0 membersOne score per member · Verified member ratings
Casa d’altri // Fujenti was conceived as a diptych, two variations on the same religious theme, the paradoxical meaning of prayer and devotion. If, as Sergio Quinzio suggests, prayer is a negative moment marked by God’s constant lack of response, the first part, freely inspired by Silvio D’Arzo’s Casa d’altri, explores this question through a single figure. A wanderer moves among saints, churches and books, posing a scandalous question to theology. The second part shifts the same question from the individual to the multitude. Through archival materials connected to rites, processions and popular pilgrimages, the film observes bodies that pray, walk, wait, and offer fatigue, voice, tears and presence. Following Quinzio’s intuition, the praying figures do not appear as pacified images of devotion, but as needy creatures, beggars before the invisible, bodies asking for the fulfilment of a concrete lack.Read moreLess
Casa d’altri // Fujenti was conceived as a diptych, two variations on the same religious theme, the paradoxical meaning of prayer and devotion. If, as Sergio Quinzio suggests, prayer is a negative moment marked by God’s constant lack of response, the first part, freely inspired by Silvio D’Arzo’s Casa d’altri, explores this question through a single figure. A wanderer moves among saints, churches and books, posing a scandalous question to theology. The second part shifts the same question from the individual to the multitude. Through archival materials connected to rites, processions and popular pilgrimages, the film observes bodies that pray, walk, wait, and offer fatigue, voice, tears and presence. Following Quinzio’s intuition, the praying figures do not appear as pacified images of devotion, but as needy creatures, beggars before the invisible, bodies asking for the fulfilment of a concrete lack.
The story
Casa d’altri // Fujenti was conceived as a diptych, two variations on the same religious theme, the paradoxical meaning of prayer and devotion. If, as Sergio Quinzio suggests, prayer is a negative moment marked by God’s constant lack of response, the first part, freely inspired by Silvio D’Arzo’s Casa d’altri, explores this question through a single figure. A wanderer moves among saints, churches and books, posing a scandalous question to theology. The second part shifts the same question from the individual to the multitude. Through archival materials connected to rites, processions and popular pilgrimages, the film observes bodies that pray, walk, wait, and offer fatigue, voice, tears and presence. Following Quinzio’s intuition, the praying figures do not appear as pacified images of devotion, but as needy creatures, beggars before the invisible, bodies asking for the fulfilment of a concrete lack.
Cast & crew
Explore the crew
- Director
- Carmine Lo Regio