Handovers often inscribe within themselves a double movement, both linking and separating the giver and the receiver. In Sangue, the theme is expressed in the sharing of the common sorrow between Pippo Delbono and Giovanni Senzani, between those who remain and those have been taken away by the disease. The Ugly One opens with the voice of director Masao Adachi, who has been banned from filming. The director imagines a story for his French friend, he imagines a country (Lebanon) where he has spent years living illegally, he imagines characters suspended between past and present. Out of his words, Eric Baudelaire has made a film in which the sense of time not passed becomes a metaphor that can be used to interpret a region. Finally, The Stone deals with the relationship between teacher and pupil, between those who know the rules of a game and those who passes on the rules of life and ethics. With, as the backdrop, the figure of the sacrifice, perhaps the extreme model of transmission.
By now weary, Casanova is being “transported” (perhaps deported) towards the edge of Europe, in the Carpathians. The elegance of the rings on his hand contrast with the simplicity of the cart. In front of him, two young women are smiling. Perhaps remembering the years of glory. The story is about pass from the hand of the greatest libertine to a character who symbolizes the gothic nature of the century to come. The great Venetian traveller, who met Mozart and Voltaire, Catherine the Great and the French nobility, is on his way towards Count Dracula, who for centuries has been living as a recluse on his lands. The refined court of the late 18th century is transported into a rural context, populated by shepherds and butchered animals, the site of a seduction which has something atavistic, noctural and indecipherable about it. A reminder that the evolution of history is never linear.