The Sublime

The sublime doesn’t persuade, it strikes.

― Anonymous of the Sublime

Might the Sublime be held tight!

― Friedrich Nietzsche

The driving fire of the second edition of Ultracinema Art Festival is a oxymoronic cinema ergo sublime cinema: terrible wonderful.

Cinema that reveals the beastly face of beauty.

Cinema of the horrid, radiating places: cinema-desert, cinema-volcano.

Cinema of the abysses: it bathes its feet and washes its hair in marine and sidereal depths.

Cinema where the sublime transcends the limit (limen) and is unafraid to soil in the mud (limus).

Cinema where the sublime is to esthetic as the sacred is to religion: a terrible mystery and a fascination.

Frontier cinema, armory cinema: trespassers will blow up like a charm.

Cinema of shipwreck and pinball, cinema of ecstasy and enstasis, ocular and auroral cinema, phosphorescent and dreamlike cinema, blues and free-form cinema.

Cinema of friction, like Giuseppe Ungaretti: like the wretched little boat, like the libidinous ocean.

A vertiginous, metric cinema of the immeasurable.

Cinema like a brazen reflection of my blossoming face.

Cinema that lays bare a salvific zone of uncertainty between author and audience.

Cinema that splits open where the tragic cracks to secrete the comic.

Ultratragic and ultracomic cinema.

Cinema like a puddle reflecting the sky, cinema like a sky pouring tears, frogs, diamonds, cherubs, shit…

Cinema like the origin of the world in the crow’s feet on our lover’s face.

Cinema as consensual kidnapping: cine-Stockholm syndrome.

Cinema like men according to Nicanor Parra: a sausage of angel and beast.

Cinema as a counter-poison for strong stomachs and delicate souls.

Cinema of dazzling light.