Yuri Ancarani, one of the most interesting eyes at work on the moving image, acts in that liminal area between video art and documentary cinema, between exhibition and international festival, between museum and multiplex. He does not consider himself a non-fiction director, even if with a clear and impartial eye, he tries to bring to light the most authentic aspects of the reality in which he enters, revealing evident contradictions and little-known social codes. Its actors are ordinary men and women who move autonomously in their context; Ancarani is their silent guest who observes and records with meticulous precision: he does not direct because any interference could distort the truth of the image. [...]
