The desert is not a place; it’s a concept. In mainstream cinema, that of large Hollywood productions, the desert is almost always an exotic and
Italy is the cinematic setting par excellence. An ideal set, perhaps the most recognizable in the world, capable of instantly evoking history, beauty, passion, and
Sicily is not an island. It is a cinematic continent. It is a common, lazy mistake to consider it a simple location, a picturesque backdrop
The forest, in our collective imagination, is never just a collection of trees. It is an idea. It is the “other” place, the liminal space
When one thinks of movies set in space, the mind inevitably leaps to the great star-faring sagas, the epic battles produced by major studios, and
When we think of the 1950s, the collective imagination, forged by decades of Hollywood cultural propaganda, evokes a specific image. It’s a pastel-colored picture, made
Forget the Shinjuku neon seen from a luxury hotel. Forget the zen postcards, the honorable samurai, and the “wa” (harmony) that mainstream Western cinema projects
When we think of “films set in Scotland,” the mind inevitably leaps to two extremes: Hollywood epic and gritty realism. On one hand, we have
Introduction: Beyond Technique, Towards Consciousness In cinema, the first question is never “what to show,” but “how close to get.” Every choice of shot is
There is a silent art, an invisible trick in the heart of cinema that everyone recognizes but few think about. It is a dance of
When I’m asked what mise-en-scène is, I rarely answer with a textbook definition. I prefer to think of it as an almost primordial act, a
Introduction: The Gaze that Writes History A camera movement is never just a technical action. It is an act of writing, the director’s calligraphy imprinted
In this video I explain our vision
