“The short springs from the meanders of my imagination and a personal and artistic meditation on humankind and art. Art is not just entertainment; it’s also a mental reworking of reality. There is art in madness. We wanted to reflect on the nature of art, humanity, and the current state of the world, including the war. I wondered who could really pull it off, sincerely, and make it relevant, and the answer came to me: the puppets. Precisely because they have no soul, they know nothing and understand nothing, yet continue to exist because we ourselves breathe life into them. In La fornace, the puppets are destroyed in order to construct a great and powerful man – a magnificent metaphor for what is happening today, as we abandon art as our model for genuinely rethinking the world.”
Daniele Ciprì (Palermo, 1962) made a name for himself as an Italian cinematographer working alongside the director Franco Maresco on the series Cinico TV and then on numerous short films. In 1995, they made their first feature, Lo zio di Brooklyn, followed by the episodic film Toto Who Lived Twice in 1998. In 2003, they directed The Return of Cagliostro. For his work as a DOP, Ciprì has won two David di Donatello awards (Vincere, The First King), three Golden Ciaks (Tano da morire, Vincere, The First King), a Globo d’Oro (Vincere), and four Silver Ribbons (Vincere, Salvo, The First King, The Bad Poet). In 2012 and 2014, respectively, he solo-directed It Was the Son and La Buca.