ALFREDO COVELLI

MEPRODUCODASOLO

We love Alfredo Covelli‘s work because it is never “based on” or “in response to”.
Covelli does not shy away from current issues; he’s not a solipsist, but at the same time he depends on nothing: he has his own elusive, self-sufficient grace, and is the sole maker of his work and imaginary. His characters are close to his heart, and he talks about them in earnest, with urgency, but with a language he’s invented on the spot. Is there any compassion in the gaze that captures the stream of Orthodox Jews in Salmon‘s funeral procession? Are the free associations and extremely crude montage in Missing Parts the mark of a report from a warzone or the approximation of a dream? How do Love Letter‘s drag queens relate to the Israeli – Palestinian conflict, and how do they seemingly not trivialise it? And who could have expected the change of course of With real stars above my head, its vulnerability made suddenly unequivocal? Covelli’s work is an enigma that inspires an intuitive trust in us, a Rorshach test that is not devoid of empathy, someone we don’t quite know yet, but on whose good intentions we’d be ready to bet. Bon voyage.

THE SELECTION

SALMON

Israele / 6′ / 2012

A journey upstream.

MISSING PARTS

Palestina / 5′ / 2012

If Palestine were a movie, it’d be a movie with missing parts.

LOVE LETTER, EVEN IF YOU TREAT ME BAD

Israele-Palestina / 4′ / 2012

A love letter, full of contradictions.

WITH REAL STARS ABOVE MY HEAD

Italia-India / 61′ / 2014

My personal history, in a retirement home for buddhist nuns.