“My approach to the set remains that of a photojournalist ready to catch a gesture, an expression”. The Neapolitan photographer describes his work on the set, a microcosm where reality meets the imaginary, fantasy flows into reality and innumerable stories of photography, echoes of the cinematographic tale, are generated.
A journey through the sets of pornographic movies, behind the scenes of a parallel world that reveals itself in its paradoxical, everyday life. De Luigi moves on the edge of cinematographic representation, unveiling the complicated reality of the staging and dwelling on unusual personal aspects of the protagonists.
Woven with familiar and archival footage as well as images shot by the author in Venice, the film shows a sensitivity to the image close to photography. To photography as an introspective practice, as self-knowledge through the places that led the director to investigate both his father and the city.
Andrei A. Tarkovsky, son of the great Russian director, talks about his father’s intense relationship with Polaroid, which he used on set and in his private life. An irreplaceable travel companion, a visual notebook, a tool to freeze a fragment of reality, to stop time and project it into an infinite and absolute space.