La mano, il corpo, il reale

La scrittura documentaria

Abstract

Through the analysis of two films such as Naomi Kawase’s Katatsumori and Alberto Grifi’s Anna, the essay shows how documentary cinema is not limited to a reconstruction of the real but rather implies a construction of the real. Making possible the encounter between those who film and those who are filmed, the image continually brings into play the gestures and bodies of a story and goes beyond the filmic structure properly so-called.