Sendai City is a huge world city, in which the objective description of reality is replaced by a subjective perception, the result of which is a multi-vision of reality.
The film is divided into 3 episodes, it revolves around three main characters and their different vision of events that take place in the city.
Each glance is a parable on relativism and on the thousand facets of truth. Sendai is an urban agglomeration whose sole creator and master is the Great Brain, an ever-expanding being that feeds on the emotions of the slaves living beneath Sendai’s surface.
The watchwords that govern civil coexistence in the big city are three: Order, Wellness, Security. Everything that happens in Sendai reflects this belief. Even the elections in which two candidates, General Von Spieldorf and George Halles (aka “The Prince”) clash, seem like a formality to decide who will be the right hand of the eternal creator.
But something smoulders under the perennial pacification in which the citizens of Sendai live.
The Truth on Sendai City is for me the turning point of a long journey that began many years ago. I studied and worked in England for many years and this led me to mix contemporary art and science fiction. Using different media, from drawing to photography, my main interest has never been the object itself, but rather to give life to an over-work that contains all the others. Over the years, each of my photographic, pictorial or installation projects has become a piece of that world that, in 2014, became Sendai City. The characters were born first, then the spaceships, the views of the city and its gods. A “world” was composed that was just waiting to be animated, to tell stories and to come to life through the movement. To do this I needed cinema: I had to adapt the paintings to be backdrops, the sculptures to be scenography, the photographs to become actors.
Inspired by great artists, such as Peter Greenaway and Jan Švankmajer, my intention for The Truth on Sendai City is to make a cinematic product that encompasses various artistic dimensions. My intervention will not only be directorial, but also artisanal and pictorial: the physical construction of spaceships or robots, the manipulation of the scene through the painting of the characters, the design of urban spaces and environments.
The characterising aspect of the film is the mixture of different techniques that leads to an unusual mixed animation: the exterior scenes are shot in step one using the Sendai city mock-up, while the painted drawings are animated instep four.
The fascinating aspect of this technique is the continuous work of manipulating different languages. A pastiche that starts from the world of Italian cinema of the 1960s and reaches the comic universe.
Something new and different also arises from the mixture of the many races present in this city-world, whose diversity I have emphasised to underline the urgent need for our society to deal with integration.
The Truth on Sendai City uses the basic concept of science fiction and uses them as a pretext to talk about the great contemporary issues: genetic mutations, the man-machine relationship, but above all the political use of propaganda and the increasingly current tendency to consider war as the only means to bring peace.