Ingrid Thulin, 1972

Perhaps because his passion for portraiture emerged around the film personalities of Cinecittà and the magic of the big screen, Becchetti’s photographs often contain elements that convey the truth of the body, but also phantasmatic, evanescent features, made more of spirit than flesh.

The images dedicated to Vincenzo Agnetti, Hitchcock and Pasolini have overwhelming physicality and presence: Hitchcock yawns with the intensity of a lion; Agnetti approaches the lens, almost arrogant, with a challenging air; and Pasolini seems sculpted in chiaroscuro. In one shot he even possesses a disturbing physicality that illness can sometimes convey, the body pushed forward so it can be abstracted in the glance. [...]