Tuesday, February 7, 2017



Alessandro Fantini directed the mystery movie "New York, a venture" (the third chapter of his "The Hidden Cities Mind trilogy") between New Jersey and Manhattan during the summer of 2014 so it's quite meaningful and riveting that it will be premiered close to its locations at the Dobbs Ferry public library, 21.6 miles away from the Bryant park library and 17.0 miles away from The Cathedral Church of St. John the Divine. Don't miss the opportunity to watch it for the first time on the big screen of the first edition of "Movies4movies" film festival.


"New York, a venture" will screen at the Dobbs Ferry public library on February 25 at 11:30 after the short-movie The Tell-Tale Heart – Sisters by Christine Parker.


Movies4movies is a film festival founded by filmmaker Natalie Sena Murray committed to providing opportunities for filmmakers to show their work and to supporting independent film by providing grants to filmmakers. The first installment of movies4movies will be held on Saturday, February 25 at the Dobbs Ferry Public Library. This one day festival will feature programming that includes feature films, short films, and documentaries as well as networking opportunities.

More info on



Thursday, February 2, 2017

"New York, a venture" will premiere in...New York (obviously)

The fateful event has arrived.

The next February 25 at the Dobbs Ferry public library, New York, the first edition of  "Movies4movies" film festival will premiere my indie movie "New York, a venture" filmed in New Jersey and Manhattan. 

More news to come very soon.


Tuesday, January 24, 2017

Deeps of Gorgonia


Alessandro Fantini

"Deep of Gorgonia" from the upcoming album Gorgonia (2017)

 Into and beyond the deep of pleasure. 

 After exploring the deeps of pain and sorrow with "Antalgica", I think it's quite time to get deep into the neverending chasms of pleasure.
This is an excerpt of "Deeps of Gorgonia" one of the tracks from my new concept
album "Gorgonia".

A new album conceived and composed by Alessandro Fantini. Cover art: detail from "The nights of Alcandia", oil on canvas, AFAN(2015)

Friday, January 20, 2017

Tuesday, January 3, 2017

Saturday, December 31, 2016

Los Angeles - 30 after Roy, 34 after Ridley

Opening scene from the "Blade Runner 2049" teaser trailer 

Since the first time I watched it on a tv channel in the mid nineties, I've used to pay a periodic visit to that rusty and gloomy Los Angeles set in the imaginary vintage future conceived by Ridley Scott, Jordan Cronenweth, Syd Mead and Philip K. Dick. 

 I got so accustomed to its hazy and cyber-gothic mood that I've often transposed and filtered it into my artworks, tales and movies, specially "EDOnism", filmed 6 years ago in some Tokyo locations dramatically reminiscent of Animoid Row, some of them enriched by a night snow that now seems to have replaced the rain in the upcoming installment.


Up and down: stills from "EDOnism" directed by Alessandro Fantini and produced by Lorenzo Fantini in 2010.

Honestly I never expected to see an "updated" version of "Blade Runner" 34 years after its (initially unsuccessful) release.  As many other admirers of that vision, I still consider it a contained (thin) story whose strenght relies mostly on its swarming congeries of visual details, plot holes and paranoid ambiguities that don't need to be clarified at all. Actually I find quite hard to define it a traditional movie, as I prefer to think about it as an emotive sandbox or a sparkling acquarium where I can see my irrational thoughts swimming like weird fishes of the deep (a proof of the spiritual poignancy of this metaphor, again, can be appreciated in the love sequence of "EDOnism").

Nevertheless, my first reaction to the teaser of 19th December was warily optimistic. Its unsettling and enigmatic tone was quite close to what I've imagined keeping in mind all the news and behind-the-scene info, concept art and photos released over the last 6 months. Highly commendable is the way the Canadian director Denis Villeneuve and famed DOP Roger Deakins have homaged the slow pace of the scene of Deckard exploring the Bradbury building and the orange stillness of the first "Tyrell sequence" of the '82 movie (even though I suspect this new scene isn't set on Earth, or probably is a "memory" inserted in someone's brain related to the "desert" mentioned during the VK test of Holden) as well as the music sounds like a fitting Trent Reznor's rearrangement of some elements excerpted from the original Vangelis sonic dome. Despite I hoped this wasn't  just a remix conceived for the trailer but a little taste of the overall style of the final soundtrack, a couple days later the composer Johann Johannsson (who already collaborated with Villeneuve for "Sicario", "Prisoners" and "Arrival") stated that none of that belongs to his new score in progress.

 Ryan Gosling, aka "LAPD officer K", enters the deserted temple-casino that has become the new shelter of Deckard (and his four-legged companion).

Admittedly, so far the only element of the trailer that didn't really convinced me is the new scruffy and "Han Solo-esque" look of Deckard, but this appearence could find a "raison d'ĂȘtre" in the  more "low-profile" life style adopted by the retired replicant hunter. Even the new photos featured on the last Entertainment Weekly, clearly taken on set during the pauses between shooting (and probably not really representative of the final aesthetic), show a different, less grit and dark mood compared to the '82 movie.  It's all up to Villeneuve and who will decide the final cut to make sure this tonal shift will pay off on the big screen on the next 6th October, inheriting and enriching (not replicating) the poetic soul of the first masterwork. Otherwise, he knows its fate will be to get lost in time "like tears in snow".

Wednesday, November 30, 2016


I managed to meet Jean-Michel Jarre for the first time last summer, while my brother Nicola was in serious lack of oxygene, since he was dying of pulmonary adenocarcinoma at 49. I told him how much my brother loved his music and used to play it to me when I was a child, introducing me to the musical realm that inspired most of my visual artworks. He had a special attachment to the Oxygene tape he played over and over on his car stereo. Jarre asked me what his name was and signed the cover of an Oxygene lp for him.
It was one of the most intense and symbolic moment of my life, since the art book I gave him contained also my painting dedicated to the 30th anniversary of “Oxygene” depicting two lungs filled with the liquid oxygene dripping from the Antarctic of a dying earth.
My brother died few hours after watching the photos of my meeting with Jarre. A vital cycle was ending, as well as a long season of my life. Another Life was going to breath again through Art and Memory.

That's what Oxygene has meant to me and my brother.

My photos of the meeting and some artworks inspired by his music are currently featured on Jarre's official website:http://jeanmicheljarre.com/oxygeneseries