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Some pannings of Rivalta and Mirafiori introduce the theme of endless and increasing problems in the automotive world, and all the research and innovations efforts to face them. But soon the official tone surrenders to the rhythm of images, more and more abstract and pressing, on the same wave–length as Vittorio Gelmetti’s score, going on with his researches in concrete music he had begun in 1964 with Antonioni’s Deserto rosso, which, again in 1969, led him to collaborate with the Taviani brothers (Sotto il segno dello scorpione) and Ansano Giannarelli (Sierra maestra).

Massimo Mida, cinematographer Gianni Puccini’s brother, is a very important cinema critic but he has also taken part to films like Paisà, Sciuscià, Europa ’51, Achtung Banditi. From 1949 to 1980 he has worked as documentary maker (Mafai, Di Vittorio, La Lucania di Levi, Cinegiornale della Pace, and so on) and TV director, making some episodes in I misteri di Roma (1963) and Amori in quattro dimensioni (1964) and three long feature films: Bianco, rosso, giallo, rosa (1965), LSD – Un’atomica nel cervello (1967) and, above all, Il fratello (1975), relying on Riccardo Cucciola and Gigi Ballista to think back the relationship, autobiographically structured, between the two brothers, both directors and politically committed.
Edizione 2003
Retrospettiva La celluloide e l'acciaio - Immagini del Cinefiat 1909-2003
DOCUMENTARY
Italy , 1969, 23'
REGIA/DIRECTOR
Massimo Mida
TAGS:
Industry, Car
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