Cinematography: Sebastian Arlamovsky



Penissimo is a cheerful and light-hearted, but also particularly meaningful documentary. Interviews, photographs of artworks, but also excerpts from the first erotic films made back in the silent era compose a lively and colourful fresco of “one of the two halves of the sky”.


Future Baby doesn’t aim to give precise answers on the subject. Likewise, the difficult moral questions that might be raised following its screening are only vaguely addressed, but never really deepened. A choice, this one, more than appreciable, since it is immediately clear that director Maria Arlamovsky wanted to foreground, above all, the inner self of the characters each time introduced, in addition, of course, to the advances that, nowadays, have been achieved through research.



Robolove, by Maria Arlamovsky, essentially stands out for its stylistic elegance, devoid of unnecessary frills, but with a camera that is able to focus, time after time, on every smallest but significant detail of the robots, without being afraid to take its time to show us everything, and ensuring that we too, in turn, can feel part of that future that is still so far away, but, in reality, much closer than we can imagine. At the Viennale 2019.