This new instalment of Angela's Diaries concludes the trilogy dedicated to the late Angela Ricci Lucchi, with whom Yervant Gianikian made all his films, which recount man's violence against nature, animals and humanity itself. Lucrezia Lerro sensitively reads Angela's diary about her illness, giving voice to her intimate writing and to the dense poetics of the painful passages that seem to be paced at the rate of her heartbeats, word after word, as she desperately tries to overcome her illness. Themes include the war, Angela's political work and the promise made to her to continue working.

"Les images touristiques des années 1970, passées par la caméra analytique, dévoilent la gêne ds habitant vis-à-vis d'un viseur qui les traque. "(Brochure du Centre Pompidou, septembre 2015)

Found footage anti-war film comprising film documents of the Austro-Hungarian and Italian army on the Alpine front, and from first generation picture material by war-film pioneer Luca Comerio.

Comprised of images shot by amateur photographers and German soldiers in the Balkans from the twenties through the forties, BALKAN INVENTORY was begun by Gianikian and Ricci Lucchi in response to the tragedy unfolding in the former Yugoslavia.

The title Dal polo all'equatore was first used by the pioneering documentary maker, Luca Comerio, for a compilation film of 1925; it was used again by Yervant Gianikian and Angela Ricci Lucchi for their film of 1985. Much of the original has been re-worked: the 'found footage' has been re-shot, slowed down, tinted, and re-edited with a sound track of minimalist composition. As a result, the exotica of colonial travel and sport take on new and sinister meanings. The acts of violence, especially those of hunting, recur in patterns that suggest visually that war is a logical development. A close examination of the work, starting with the opening sequence of a railway journey, explores the centrality of questions of memory and history to this remarkable and influential film.

This haunting film comprises of footage shot during WWI from opposite sides of the conflict: Czarist Russia and the Austro-Hungarian empire. The filmmakers tinted the material with sensual colors from sepia to red, blue, and purple and slowed the footage to analyze the material. The total absence of commentary renders the material eloquent and disturbing. - MoMA