Gianni Di Venanzo began his career during World War II as camera assistant to Aldo Tonti, Otello Martelli and others, working on the films of key neorealist directors such as Visconti, Rossellini, De Santis and De Sica. Given his training in the flat documentary style favored by these filmmakers, as well as the more somber approach of Tonti, it is all the more surprising that he developed in his work with Michelangelo Antonioni the bleached-out, shimmering whiteness that now so strongly evokes classic Italian black and white cinematography.
Working with Antonioni, particularly on ‘Le amiche’, he also developed a capacity for filming complex and changing groupings of actors, experience that proved useful when he worked with Fellini on ‘Otto e mezzo’. Fellini’s masterpiece can also be seen as Di Venanzo’s, with its subtle gradations of light and shadow essential in helping the viewer to navigate this complex assemblage of dream, memory, imagination and reality.
Di Venanzo… read more