I once wrote that ‘the world of a man is his home and his plot of land’. In Rua Aperana 52, Bressane begins from a collection of family photos – taken by the director as real, lifelike material – in order to arrive at a selection of extracts from his own films made, over the years, in the same spot. Through this trajectory, we witness the way in which cinema can transform an intimate landscape into mythic terrain. It is another instance of an extreme walk in the name of art.
Cristina Álvarez López
March 01, 2012