This 40-minute experimental film enters the operative core of iosonovulnerabile. It does not represent it. It stays inside it. There is no sequence. There is a field. A continuous flow of macro images where scale collapses and matter becomes landscape. Surfaces open. Thicken. Give way. Nothing holds still long enough to be named.
The works react. They absorb. Register. Shift. They function as “Artistic-Communicative Organisms.” Light, humidity, time, contact: not background, but active forces. They intervene. They inscribe. They alter the state. The work is not an outcome. It is an exposed process. A body under pressure. The camera does not observe. It enters. It stays close enough for vision to become almost tactile.
Detail does not describe-it implicates. What appears is not form, but formation. Not image, but emergence. As the film unfolds, something accumulates.
A tension that does not resolve: between control and loss, structure and erosion, presence and disappearance. The organisms attempt to stabilize, then slip away. Here vulnerability is not a theme. It is a condition that occurs. In matter. In time. Without return.
The sperimental film shifts the gaze. Not art as object, but as a living system. And the viewer is not outside: they are implicated. They must move closer. And remain within what continues to become.

DIRECTOR’S NOTES:
Corpus et Vulnus begins from a necessity: to remove the work from distance and bring it into a condition of contact. Not to film art, but to enter a system that reacts, that changes state as it is being traversed. The use of macro is not aesthetic. It is a position. It reduces the safety margin of vision, eliminates the overview, and forces immersion into matter. At that distance, every surface becomes unstable, every detail is already transformation.
The film rejects a traditional narrative structure. It does not build progression to explain, but allows real, continuous time to act upon the images. Editing does not organize: it exposes. It keeps variations, micro-mutations, and drifts open.
The “Artistic-Communicative Organisms” are not metaphors. They are real devices, sensitive to environmental conditions. Light, humidity, temperature, human contact: every variation alters their behavior. The film does not document this process; it is part of it. The presence of the camera is already an intervention. Sound operates in the same direction. It does not accompany or comment. It registers friction, density, interruption. It constructs a perceptual threshold that draws the viewer closer, into an almost tactile regime.
Vulnerability is not treated as a theme. It is not declared. It is something that occurs when a system can no longer maintain its initial balance—when it exposes itself, absorbs, allows itself to be altered. This film attempts to remain at that point: where form is not yet stabilized and can no longer return.