FLUX – Flux Kinooo Night

Immersed in the atmosphere of the Isarco river, the program began at 8 pm on August 30, 2025, with the musical performance 25-string koto by Japanese musician Karin Nakagawa. At 9 pm, there was the city premiere of Nel tempo di Cesare, a film by Angelo Loy, who joined the audience for a post-screening conversation. Developed over two decades along the Tiber River, his cinematic project offered a profound and human portrayal of lives unfolding beside the water, and of the transformations of the river over time.

The night continued until midnight with a selection of short films. After that, it followed the screenings of Angeschwemmt and A River Runs, Turns, Erases, Replaces, films that powerfully evoked river landscapes in both poetic and political ways. At dawn, the program closed with a musical awakening by Stefano Bernardi, accompanied by a shared breakfast.

The event location was transformed by Urban Freestyle Objects (UFO), a series of site-specific interventions by the design collective OfficineVandale. Blending design and sustainability, the group explored the urban environment by bike, collecting discarded materials and reassembling them into functional objects for the nigh. Throughout the night, Crumb Collective curated snacks with Good Night Food, a sustainable food project that uses surplus ingredients to create shared meals. Their practice invites reflection on food waste and reuse, positioning cooking as a space for activism, care, and connection.

The visual design plays with the contrast between material signs and beams of light, emerging and fading like projections in the darkness. Light is not merely an aesthetic element, but a narrative tool that intertwines screen, landscape, and audience. The luminous beams evoke film projectors, cutting through the darkness and guiding the gaze to move, discover, and get lost among visual stories and immersive settings.

The event’s black typography behaves as a living visual element: it appears and disappears, standing out against the night or blending with the darkness as a sign that emerges from the void. It is never static: its presence is perceived as part of the light itself, a typographic movement that dialogues with space, projection beams, and moments of collective viewing.