Bio – English

Italian – English

Manuele Cecconello (1969) started taking pictures when he was 13 in his father’s painting atelier.

As a solitary and intransigent researcher he comes soon into contact with auteur and avant-garde movies which are to direct him towards liberal arts, poetry, contemporary music.

He plays with the film stock, the super 8, the weird lenses, the elaborations. He has been dedicating himself to cinema and video since the end of the Eighties, discovering how a moving image is made through the realization of about a hundred of experimental films.

By the early Two Thousands he has been mixing direct cinema and expressive research, producing and directing with his company Prospettiva Nevskij various historic, lyric, anthropological documentaries, which earn him several international rewards.

He continues managing simultaneously didactic, photographic and cinematographic projects, which have been recently converted on the communication digital platforms.

Cecconello’s aesthetic unites the strength of cinematic reproduction with a peculiar stylistic vocabulary that borrows from the painterly aesthetic and exploits the potential of digital technology. The filmmaker’s gaze is participatory and perspicacious when it takes in the things of the world – streets, houses, landscapes, residual humanity – and the natural elements. It aims to rediscover the sense of the objects themselves, to penetrate their secrets. The dominant conventions of Italian cinema pale in comparison to Cecconello’s films; extraordinarily innovative experiences marked by redolent locations, cinematographic faculty, sound mixing and the rhythms impressed by editing.

Luca Bandirali

It concerns therefore, in every film or photographic sequence, to combine a sharing care for things, an endless curiosity towards the world with a deep surge of transcendence, stylish and spiritual at the same time. The world is received in the consistency of its creatures, of its lights and of its sounds, but it is transfigured as well as for the wise framing composition, the most calibrated combination between stasis and dynamism, the painting, colour shade and cadence strength. In Cecconello’s works the cinematographic discourse elaborates reality surface just as time do act upon space: it fractures its solidity and it wears out its consistency, but it defines its direction and seizes its meaning as well.

Enrico Terrone

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