Festival internazionale Segni della Notte - Urbino
International Festival Signs of the Night - Urbino

18° Festival internazionale Segni della Notte - Urbino (4° Editione) - March 24th - 28th, 2021



March 24th - 26th, 2021



The Lost Shoes

Tomaso Aramini, Rafiqfuad Yarahmadi
Italy / 2020 / 1:44:00

The story of a man from Verona countryside who devoted his life and political experience to his communist ideals until he took on NATO. Together with him, thousands of other people who tried to radically change Italy and the world during the 70s.










We wanted to tell a submerged part of Italian history from the perspective of the toiling masses and the working class using historical materialism as a framework. Our goal was to shed a new, unbiased light on the avant-garde communist movement in Italy as it developed across the 60s and the 70s from mass strikes to guerrilla outfits. In doing so we focused on the revolutionary life of Armando Lanza whose story allowed us to reflect on this trajectory. What was the political context, the objective conditions that allow this political phenomenon to grow and what were the causes that determined its end? What were Armando's subjective motivations that made him join Red Brigades during their anti-Imperialist turn after a life of political agitator? We answered these questions in a film that is not afraid to be political and potentially controversial. We combined Armando's story and the communist movement's history in a dialectical synthesis, using Marxism and ethnography as methods of inquiry to create a rigorous piece. It had some risks, like the deep political conversations, but this was the only way to achieve clarity so to allow any spectator to comprehend a complex history. Above all, though, our final aim was to make the audience reflect on the destiny of class struggle in Western countries and where change can come from: is history truly over? We believe not because the quest for socialism is still here, steadily growing among the new generations through
contradictions and movements that should be carefully looked at.


Tomaso Aramini. Producer, director, director of photography, researcher. At the age of 19 he produced and directed his first film ”Urlo Monco" presented at the "Yellow Fever Film Festival" in Belfast. He graduated from ACT Multimedia in Rome in filmmaking and studied History of Art at Sapienza Di Roma. In 2011 he moved to Leeds where he graduated (MA) with distinction in cinematography. He later won a scholarship for a Ph.D. by practice in cinematography proposing a research project on how painting can help filmmakers to criticize and reformulate elements of film language. As part of his Ph.D. he made three short films, "Impressions" selected at the TIFF on Tour 2016 (Tirana International Film Festival). He was awarded his Ph.D. in 2018. His short films (Dissolving Mind, The City Within, A Home History) have been screened in prestigious experimental film festivals such as The San Francisco Frozen Film Festival, Suburbinale-Vienna, Dea Open Air International Film Festival. They have also won awards at multiple festivals such as the Bucharest ShortCut CineFest, at the Los Angeles Experimental Film Forum and in India, in Kolkata. As director of photography, he was nominated for the Bill Vinten University Award in 2013 as best director of photography.


Rafiqfuad Yarahmadi. Kurdish-British filmmaker, currently living in the UK. Before becoming a filmmaker, he was working as a journalist and TV presenter in Kurdistan forup to ten years. He also has passion for photography and had two exhibitions in Iran and Iraq. He has currently graduated from the Northern Film School in Leeds with an MA in DocumentaryFilmmaking, where he directed and produced his own film (Evan-a survivor's story). His main specialism is Directing. He is a fluent Kurdish, Persian (Farsi) and Dari speaker. Rafiqfuad recently finished directing and producing of his new short documentary; Evan, a survivor's story, which is a project born out of his personal experience as a refugee and working with asylum seekers as an interpreter in theUK. Rafiqfuad is prize winner director. He has got 14 prizes from different countries for hisdocumentary Evan, a Survivor’s Story.

TOMASO ARAMINIi (author of the film):

In my opinion, to make cinema can be divided in two approaches: the first one is to make cinema to entertain and to entertain means to put the spectator's consciousness to sleep, to contribute to his oppression; the second one is to make cinema to make the audience think, and to think means to awake and shape the social consciousness of the spectator up, to contribute to his potential emancipation. Since my first short films I chose the second approach. In this film more consciously than ever before I followed this approach, marrying my practice, my quest for another aesthetic to political struggle.

This film born from a suggestion from my mother: one of my fellow countryman wrote a book about my generation: the hopes of a different world, the struggles, the defeats, life that start all over again, you must read it: “The Lost Shoes- Holy Water and Red Brigades"". I read it in one breath, and few months later, I met Armando Lanza. An exquisite and profound person. It took the time of a coffee for me to understand that I wanted to tell his story, to realise that his story was in line with my idea of filmmaking practice. Armando was looking for a director to make a documentary about his story after two unfortunate attempts. He liked and trust me. We shook hands and started working.

I had to be faithful to the spirit of his book. To be faithful meant not simply to be true to his particular political experience, but in gen eral to the unaccounted memories and to the lost political heritage of that part of the Italian working class that in twenty years of history tried to bring a real change in Italian society via a socialist revolution.

I refused as much as possible writing and direction documentary techniques which seek to normalize the stories of their protagonists into spectacular narrative codes. Instead, I wrote and implemented an action plan, which consisted to collect and record footage containing testimony as it was lived, remembered, thought by my protagonist. The approach to achieve this plan was divided into three tactics of writing, shooting and editing: the first was to bring Armando back to the places decisive for his existential development, recording, through the shock of my eye, his reclamation of those places via his movements, gestures and words as they spontaneously arose. The second was to bring Armando together with former comrades who were decisive for his political development: that was made to research the general laws and trends that determined Italian history from the 60s to the 80s, in particular the different strategies for a socialist revolution that were theorised and practised in Italy at that time. I can summarise this process as the qualitative jump from the particular to the universal.

In this part of the action plan I gave to the contributors the following direction: to free oneself as much as possible from the simple description of one's own particular political experience; instead to reflect with distance on it so to bring the clean process of class struggle out, free from useless details, free from references that the spectator cannot understand. I identify the third part of the plan as the identity of the opposites: if I saw, I noticed that for today's viewer (as an average, hypothetical reference) there may have been difficulties of any sorts to follow the story I used and repurposed some mainstream narrative techniques in order to make the film more familiar. These techniques are well known: a referent of the story (the daughter), the use of voice over, the integration of archive material to contextualize the story, simple re-enactments (Lanza's general stalking), animations and illustrations created by Leonardo Carrano.

To conclude I would like to bring forward a general consideration I drew out from making this film. Revolutionary artistic practice is not simply political content enveloped in aesthetic form; it is, instead, the union of political content with an emotional experience, an aesthetic research for the truth of the film that creates the correct form. The junction point, in this film, was the shock of my eye during filming. I define shock of my eye that point of view where the emotion saturates to a point in which the truth of the moment experienced becomes visible and “frame-able”, establishing a sentimental connection between me and the filmed subjects, generating fragments of filmed experience; those fragments were edited so to seek the truth of the experience and the objectivity of a political process; the beauty of an encounter between me and the protagonists of the story and between me and history itself: Those who struggled for socialism demanded me so! "