Sara Ferro

Director / Filmmaker / Photo designer / Video artist

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Making of C.G. Jung on Alchemy

© Sara Ferro

Sara Ferro

Rocket girl

A film still from "The Rocket Girl", i.e. a maybe coming soon short film adapted from a short story from the serie "The Illustrated Girl" by Ray Bradbury?
One way or another, many would consider her to have extremely high ROCKITUDE.
© Sara Ferro

© Sara Ferro

Sara Ferro

Inner child

I have a direct connection with my inner child, I never betray it, on the contrary, I give it sap and nourishment so that it may be strengthened. A radical inner child, who became radical chic in the most stylish and at the same time genuine way, and then overcome itself without the danger of losing itself to develop into a radical champion with the aplomb like a member of a secret society, the elegance of a Vogue or even more a Casabella editor, the complexity of thinking like an American ghostwriter, gifted with sharpened wits like one who feels elective affinities in regards of Umberto Eco.
© Sara Ferro

Sara Ferro

Lady Dada

But one thing is clear: never ever la-di-da.
© Sara Ferro

Sara Ferro

Surrealistic woman

© Sara Ferro

Sara Ferro

Urban spirit

Art-Nouveau ft. Mannerism + a hint of Vienna Secession
Berri-Meregalli Palace by Giulio Ulisse Arata in the background of via Cappuccini, in the Quadrilateral of Silence, downtown in Milan, Risorgimento area. Inside in the entryway, the Vittoria Alata, the winged victory by Adolfo Wildt - back in times when that name was still decent.
A tribute to the Iñárritu's Birdman by a Birdgirl, simultaneously thinking about Scott's Blade Runner and its soundtrack by Vangelis.
© Sara Ferro


© Sara Ferro

Sara Ferro

Winegard

© Sara Ferro

Sara Ferro

De Stjil Dame

I am fond of the Dutch Neoplasticism also called De Stijl, their members sought something beyond the appearance of things. I came upon this artistic movement that aimed to convey the immutable nature of things, the immutable core of reality thanks to the namesake album of The White Stripes.
© Sara Ferro

Sara Ferro

Paramy

© Sara Ferro

Sara Ferro

Underdog - Private detective

© Sara Ferro

Sara Ferro

Underground - Secret agent

© Sara Ferro

Sara Ferro

Undercover - Agent Provocateur

© Sara Ferro


© Sara Ferro

Sara Ferro

Mercurial reader

Furiously reading Fury by Salman Rushdie I felt like one of the puppets in the puppet house built by Mr. Solanka, lost therein not in Manhattan but in an epicenter of old days, Venice.
“Life is fury. Fury–sexual, Oedipal, political, magical, brutal–drives us to our finest heights and coarsest depths.”
© Sara Ferro

Sara Ferro

Precog

“A mutant, a precog of some kind. She claims to know future history… (...) If she were really a precog, if she could really see a year ahead, she had anticipated this at the time…”
In the book from which these breviloquent aphoristic quotes are excerpted from, “she” is actually a “he”, and the word “precog” appears three times. Interestingly, I didn’t think about the novel “Minority report” as I visualized in my mind the caption of this photo, since I recalled another tale by Philip Dick, i.e. “The World Jones Made”.
© Sara Ferro

Sara Ferro

My Way

My way: via Macedonio Melloni in Milan, the street I was born in. Beyond the meeting point of the perspective is in fact located the Macedonio Melloni Hospital.
© Sara Ferro

Sara Ferro

Chris Weil & Sara Ferro

© Sara Ferro

Sara Ferro

Captivating captive

In 1298, in the aftermath of the Battle of Curzola, a major setback for Venice and a victory for Genoa, it has been reported that an illustrious prisoner was taken, Marco Polo. Allegedly, the notable traveler wrote in the impasse of being held in the gaol of Saint George Palace,The Million, i.e. The Book of the Marvels of the World.
Albeit I hope not to sound pretentious or worse vainglorious in comparing my lot in Genoa with Polo's, I feel the same to be a prisoner of this city. I behave as a prisoner, almost a recluse, but I am doing a lot, producing things that I want to see existent, products of myself.
© Sara Ferro

Sara Ferro

A film a day keeps the doctor away

© Sara Ferro

Sara Ferro

Metropolitane Milanesi, MM1 Amendola Fiera. Dal mezzanino illuminato con luce naturale le parti della struttura appaiono come tovagliolini piegati a triangolo, vele o acquiloni intrecciati tra loro che celestini, giocano con opalescenze bianche che smog seppia ha reso come fossili. Arrigo Arrighetti realizza nel 1964 il mirabolante lucernaio ad esagono di forma prismatica realizzato in resina poliestere rinforzata con fibra di vetro. È lui inoltre ad inventare il famoso pavimento nero a bolli – o il suo collega Franco Albini, altrettando geniale, a cui più spesso è stata attribuita la paternità - che fungerà da pavimentazione alle stilosissime e scurissime prime due linee della metrò milanese, almeno finché data dopo un po' l’inevitabile usura, nel rifacimento non fedele verrà rimpiazzato con del gres chiaro. A monte dell’idea collaborazioni più o meno dirette con la Pirelli – negli archivi della quale però non è mai stato rintracciato il progetto, per cui niente brevetto esclusivo - e spe imentazioni relative all’uso della gommapiuma nel design di interni.
© Sara Ferro

Sara Ferro

infinitely close - infinitely distant

1666, “The Continent of Europe” from Jan van Kessel’s series of composite pictures each containing 16 miniature oil paintings on copper plates depicting The Four Parts of the World Even this series is not a vanitas, Jan van Kessel has painted some. Here moreover DonDeLillo on vanitas: Vanity is a defensive quality. It contains an element of fear. It’s a look into the future, into wasting away and death.
I will not reveal the name of this book here, though in this very sentence - not in the quote - there is a precise hint extant.
© Sara Ferro

Sara Ferro

Born in Milan

Nata ma cresciuta a Milano se non dalla fine fine dell’asilo a fino poco dopo aver raggiunto la maggiore età solo un fine settimana al mese o durante le festività, ci sono tornata per l'università e perché mi era chiaro che lì volevo trascorrere i miei anni formativi da giovane adulta. ripartendo più volte per le città che non potevo mancare. Da allora l’ho lasciata molte volte, ma sempre e solo per altre città che non potevo perdermi. Georgia on my mind diceva quello, Milan on mine, e così per sempre. Al momento sto cercandovi un minuscolissimo pied-à-terre molto "tac", se avete da propormi qualcosa fatelo utilizzando il contact form qui – mica posso cercarmi le robe su airbb come una turista qualsiasi qualunque...
Born but raised in Milan after the end of the kindergarten and until shortly after I reached the age of majority only one weekend a month or during the bank holidays, my comeback there was officially due to the university, indeed it was clear that I wanted to spend my formative years as a young adult there. Since then I have left the city many times, although always only for other cities that I could not miss. Georgia on my mind Ray Charles said, Milan on mine, and so forever. At the moment I'm seeking there a very compact miniature of a pied-a-terre, a slick pad and if you have something to propose to me just do it using the contact form here ;-) you do not want to make me look for places on Airbnb like a tourist any...
© Sara Ferro

Wundersaar

Wundersam

“On one side I wanted to express myself as a human being, yet I didn't because I felt I was spirit” (Yogananda)
© Sara Ferro

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Shining Path

instead of Left Hand Path
© Sara Ferro


© Sara Ferro

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First Hermetic International Film Festival

© Sara Ferro

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Innuendoll

MANIFESTO The Innuendo International Film Festival is made with love from filmmakers for filmmakers! We love cinema and we would like to promote and push your film through our festival by giving your film the chance to be screened in front of an open-minded audience and offering the creators the possibility to talk directly with the spectators in a friendly familiar atmosphere with several meet and greet areas to get connected with other filmmakers and professionals to build up your network.
Innuendo is an interesting English word, stemming from Latin but curiously not existing in modern Italian. The baroque neologism has been created in the legal environment for referring to parenthetic explanatory material introduced in a lawsuit. The very original context of the word “innuendo” is that of political trials around the crown of England in the 17th century. Innuendos were rhetorical means used at once by political activists to formulate concealed attacks against absolute monarchy and tyrants as well as by the machinery of the courts to accuse system opponents for being guilty of treason and other capital offences. In the legal kind of framework innuendos are either “true” or “false”. In an epoch where social realities are more than ever constructed on the basis of allegations that are all but covert, we are keen to spot in films every attempt to let drop a hint, insinuate, allude to and use every figurative instrument (as double-meanings, allusions, insinuations, apparently innocent words, allegations, rumors, suggestive remarks, etc.) in order to support by any means the own particular and interested narrative.

Through the sorrow all through our splendour
Don’t take offence at my innuendo (Queen)


Visual culture, being a bearer of instantaneous communication, is then often the most suitable vehicle to directly convey indirect suggestions, oblique allusions, tortuous insinuations, duplicitous allegations, e.g. different forms of figurative language with influential power. Motion pictures, per se moving pictures – and moved pictures de facto -, convey emotions and reactions, that in their turn let take a stance towards what happens in that particular movie film, that is, towards behaviour and personality patterns, values, ideologies, philosophies of life, commons sense and social or political situations at large. Lying the expressivity of cinema intrinsically in the images themselves, one can wonder what these images get the viewer image and what they leave to the imagination. Cinema is capable of constructing social reality and can through its powerful imagery influence the process and the content of imaging, by suggesting ideas, associations, and connections, giving certain explanations for the development of the story we learn about. Mostly the associations are directly and explicitly stated, but sometimes they are indirectly implied. Either way, it is left to the audience to make the suggested connections. Narrative cinema, due to its teleological nature, makes use only of logic explanations for providing clarity, not giving much space to parenthetical ones as arthouse cinema does, because accepting the fragmentation of time. Some space in-between is therefore missed in modernist cinema, the liminal space which gives the chance to break boundaries of linear storytelling and land to the shores of postmodernist imaginativeness.

Our lives dictated by tradition, superstition, false religion
Through the aeons, and on and on (Queen)


As innuendos exist and are over and over again at work, we feel committed to unmask, uncover and lay them bare through the medium of cinematography.

MANIFESTO (it) Partecipanti all’ Innunedo International Film Festival sono opere cinematografiche e documentaristiche in cui emergono alcune tematiche riferibili a tutto un territorio di provocazioni sociali più o meno scoperte perché troppo o troppo poco socialmente accettate. Nella fattispecie ci interessa mostrare sottili giochi di natura comunicativa e simbolica sostenuti dall’ampia fenomenologia riconducibili alle allusioni, alle insinuazioni, alle intimazioni via “detto-non-detto”, al gossip sottilmente diffamatorio, ai rumors , agli sguardi di soppiatto, allo sguardo sgomento davanti a provocazioni sociali anche del tutto naif e pudiche, alle occhiatacce retrograde, al disprezzo sociale che nasconde invidie indicibili, alle pruderie borghesi e non, nonché a tutta quella variegata varietà di modi espressivi in cui anche per reverenza e rispetto le cose non vengono chiamate con il proprio nome. In epoca di #Me Too e #Not Me crediamo che Milano sia la città giusta a dar sfondo al display di ubiqui/obliqui doppi giochi, dove il labelled si confonde con il label. Innuendo è infatti un’interessante parola inglese, derivante dal latino ma inesistente in italiano. Il neologismo barocco è stato creato in ambiente giuridico per riferirsi al materiale esplicativo parentetico introdotto nelle cause legali. Propriamente, il contesto originale della parola è quello dei processi politici attorno alla corona d’Inghilterra nel XVII secolo. Gli innuendo erano mezzi retorici utilizzati al contempo da attivisti politici per formulare celati attacchi contro la monarchia assoluta e i tiranni, così come dalla macchina cortigiana per accusare gli oppositori del sistema di essere colpevoli di tradimento ed altre offese capitali. Nella cornice legale gli innuendo possono essere sia “veri” sia “falsi”. In un epoca in cui le realtà sociali sono più che mai costruite sulla base di accuse tutt’altro che coperte, siamo interessati ad individuare nei film ogni tentativo di sottointendere, dare ad intendere, insinuare, alludere e usare qual sivoglia elemento retorico espresso (come doppi-sensi, allusioni, parole apparentemente innocenti, accuse, pettegolezzi, chiacchere, commenti sfacciati, osservazioni allusive, etc.) in forma visual figurativa, utilizzati allo scopo di supportare con ogni mezzo la propria particolare versione di un certo racconto, una narrativa interessata.

Through the sorrow all through our splendour
Don’t take offence at my innuendo (Queen)


La cultura visuale, essendo trasmettitrice di comunicazione istantanea, è quindi il veicolo più adatto a trasportare suggerimenti indiretti, allusioni oblique, insinuazioni tortuose, accuse a doppio senso, ossia tutte forme differenti di linguaggio figurativo con potere discrezionale e grande capacità d’influenza sociale. “Motion pictures”, per se “moving pictures” – e “moved pictures” de facto, trasmettono emozioni e suscitano reazioni a loro volta capaci di far prendere posizione riguardo quello che succede in particolare in quel film ma anche società allargata, cioè nei confronti di comportamenti sociali e modelli personali, valori, ideologie, filosofie di vita, il senso comune, criticità e situazioni socio-politiche. Essendo l’espressività del cinema in nuce nelle immagini stesse, ci si può chiedere che cosa facciano immaginare quelle stesse immagini e cosa lascino all’immaginazione. Il cinema è capace di costruire realtà sociali e può influenzare il processo immaginativo e il contenuto dell’immaginazione attraverso la sua portentosa immaginatività, suggerendo idee, associazioni e connessioni, dando certe spiegazioni per lo sviluppo della storia di cui stiamo venendo a sapere. Per la maggior parte le associazioni sono dirrettamente ed estrinsecamente date, ma a volte sono suggerite indirettamente. Il cinema narrativo, a causa della sua natura teleologica fa uso di sole spiegazioni logiche per offrire chiarezza, non dando molto spazio a quelle parentetiche come fa invece il cinema indipendente, che accetta la frammentazione del tempo. Molti degli spazi tra le righe mancano nel cinema modernista, lo spazio liminale che da la possibilità di rompere i confini del lo storytelling lineare ed approdare sui lidi dell’immaginatività prostmodernista.

Our lives dictated by tradition, superstition, false religion
Through the aeons, and on and on (Queen)


Siccome gli innuendo esistono e sono al lavoro di continuo, sentiamo di voler contribuire a smascherarli, scoprirli e metterli a nudo per mezzo del mezzo cinematografico. L’ Innuendo International Film Festival è creato con amore da filmmaker per filmmaker! Amiamo il cinema e vogliamo promuovere e supportare nuove opere attraverso il nostro film festival dando la possibilità a queste di essere proiettate di fronte ad un pubblico di vedute aperte e offrendo ai realizzatori la possibilità di parlare direttamente con gli spettatori o altri filmmaker e professionisti in un’atmosfera amichevole in modo da entrare in contatto con e costruire il proprio network.
© Sara Ferro

Wundersaar

Lumen naturae

The light of the world is the light of nature and the celestial sulphur, whose substrate is the aetheric moisture and the heat of the firmament, namely Sol and Luna. (Gerhard Dorn, Theatrum Chemicum; requoted from C. G. Jung, vol. XIV, p.114, who explains: “Sulphur has here attained cosmic significance and is equated with the light of nature, the supreme source of knowledge for the natural philosophers. But his light does not shine unhindered, says Dorn. It is obscured by the darkness of the elements in the human body.”)
© Sara Ferro

Sara Ferro

a(MUSE)d

From 2010 to 2015 my career problem has been "how can I infiltrate the art trade? What should be my strategy to become a lateral entry/later entrant/ or in that branch? How can I make my academic background in Sociology together with my crossover talents and other accomplishments distinguishable in order to work as an art appraiser without recommencing from a bachelor in fine arts and apprenticing somewhere? Then, I suddenly got enlightened. Discover what I designed to go out of that impasse - the answer is hidden a commentary in one of pics here... (Here, at Städel in Frankfurt)
© Sara Ferro

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Neo-Noir in Blu-Ray

© Sara Ferro

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Insurrektionalismus

Anti-G7 march, Garmisch© Sara Ferro

Wundersaar

Steam punk vs. Esteem Punk

More vintage was yesterday, now is more montage: I discovered the possibility of the vintage look in the middle of the '90, it already existed at the horizon, though the phenomenon wasn't yet a cultural mark of the late modernity, nevertheless it was already extant as such at large. Not only I regularly visited some long well-established shops in Milan - that sold American Apparel and Appealing ;-) Besides, even in Genoa, the little big city where I was attending high school, and moreover in my very neighborhood there was one of those havens for rummaging the piece of wonder you could just not image before the discover; the owner, a girl with the dream of London, was running her business at the cutting edge, offering a pretty good selection of clothing from the '60 and '70, even some never worn pieces with the old once brand-new label still hanging by. Thus, I have been “experienced” very soon in my adolescence with the love for dressing vintage - last but not least thanks to the imprinting due to my mother, a fashion stylist with an exquisitely refined eye and the habit for revisiting the past as rather a deep feature of her personality.
Now moving on, bit more away from my memories, I guess I developed a strong interest in the modernism/postmodernism debate because of the encounter with vintage fashion that I deciphered to be the quintessential trait of the contemporary Zeitgeist.
© Sara Ferro

Wundersaar

Beyond The Unheimlich

(The Weird and The Eerie, Mark Fisher, 2015)

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© Sara Ferro

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Apotropaically

conjuring for an apotropaic cinema © Sara Ferro

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© Sara Ferro

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Summer on a solitary beach

Né più cinema all’aperto né spiaggia solitaria
Senza soluzione di continuità la rivalità unitaria
Stabilimenti balneari solidali all’establishment
L’image di Alassio mai al ribasso
Per quella finezza di sabbia non c’è rabbia
Che tenga blu oltremare oltremoda oltretempo
Al contempo là ho sempre otto anni
In quei sottili panni sottilmente pendant
Un luogo da fine viaggio da mistica glamour
Qualche esoterica esclusività da emigrée d’altro secolo
Mi spiaggio meglio nel mare d’inverno ma Alassio
È anche una bretella di seta rossa cinese e sprazzi verde pisello
Aloni di un tempo in cui distrarsi cercando zoccoletti
Inghiottendo baci al cioccolato che sembra salato
E non lo è o lo è come tutto quel che piace al budello
Boutique portafogli waterproof e tantissime monete gialle
Come gli ombrelloni denaro sonante che non sembra denaro
Guadagnato a vendere penne e giornaletti
Mai letti a letto tardi almeno qui si sente il mare
© Sara Ferro

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© Sara Ferro

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© Sara Ferro

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© Sara Ferro

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© Sara Ferro

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© Sara Ferro

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La Casa del Cinema

The venue of the First Edition (2018) of the First Hermetic International Film Festival
© Sara Ferro

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© Sara Ferro

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Hardship makes the world obscure

(The Names, Don DeLillo, 1982)
© Sara Ferro

Wundersaar

acclivio scenotecnico lungolario - upstaging on the lakefront

(it) In scenotecnica, nome dato in passato al piano scenico
(en) English theatre stages in the Middles Ages and early Modern era were slanting up a certain grade - that slope still exists in Broadway. Lake Como offers a perfect scenery for fantasizing about stagecraft.
© Sara Ferro

Wundersaar

The world with a self

“The world has become self-referring (...) The world for thousand years was our escape, was our refuge. Men hid from themselves in the world. We hid from God or death. The world was where we lived, the self was where we went mad and died. But now the world has made a self of its own. Wh, how, never mind. What happens to us now that the world has a self? How do we say the simplest thing without falling into a trap? Where do we go, how do we live, who do we believe? This is my own vision, a self-referring world, a world in which there is no escape”. Statements by Owen Brademas, the hidden thread behind “The Names”. Which book of Don De Lillo am I speaking of? As elsewhere in the notes to the photos here, the key to know is in one of the sentences of my short comment ;-)
© Sara Ferro

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La nuit américaine

Or effetto notte or day for night
A cinematic technique, note precisely as "day for night", which consists in making "night" in a shot taken in full daylight, thanks to the insertion of a blue filter in front of the lens or underexposing in-camera or in post-production.
© Sara Ferro

Wundersaar

Arm the armoured rhinoceros

Like the Dürer’s rhinoceros - that died in a shipwreck in the Tyrrhenian Sea, precisely in the Spezia Gulf, transported from Portugal to Italy, this is instead very much alive, facing the Adria Sea in the Venetian Lagoon – he shares the same destiny of a sightseening animal, a wondreous. But better days are coming, days of revenge, better days for wondrous transformer rinoscheroses...
“Un rinoceronte cammina la notte sull'acqua della Laguna torrendo parole al vento, in cerca di miglior fortuna si sfoga con la luna. La sua sagoma è fatta di lucido metallo, un giorno, presto capirà di aver preso un abbaglio, cosa sarà mai una recinzione, cosa sarà mai una nazione per l’animale più pesante del mondo, transformer di metallo per di più, quindi armato, darà seguito al suo destino già segnato, sì, di grandi viaggi, che non si scoraggi, armerà una flotta e inizierà la sua vera lotta, lo porterà lontano, molti gli daranno una mano, armata, che tremino già i codardi le cui retine verran trafitti dai dardi riflessi sulle lamine lucenti di questo rinoceronte transformer diretto discendente di quello detto del Dürer.”
© Sara Ferro

Sara Ferro

Get in touch

SARA Wundersaar FERRO was born in Milan at the end of a turbulent decade. Secrecy of the world she sensed made her character secrete, underflows she detected let her opt for underground life, she acts as she would be undercover, yet she cannot seriously pass unnoticed.
One day she will become a ghostwriter. But before hermitage, she wants to develop a personal filmmaking hallmark.
Her filmmaking is experimental at its core, visually, in spirit and in terms of substance.
Inspirations come from the counterculture, pop occulture, psychedelic rock, cultural studies, antique trade, and rare books as well as highbrow culture; foremost yet, directly from the multiverse. She has translated German literature from the Golden Twenties. Almost unpredictable in her movements, she is anyway almost serial in her places choices: one month a year she walks in Venice, Milan keeps her on the leash, Genoa is her harbor, the Lake Como district her haven. Otherwise, Europe is her living space and she is there on the move. She has flipped off social media, not at all prone to mainstream and vote-buying.

The Ritman Library - Amsterdam

Ugo Dossi - Art and Space

WhimSeaCall - Nocturnal Sea

Timor Panicus

Super Sauber

MicroGnosing

© Sara Ferro   alias   Wundersaar