Bomarzo Tremor (2026)

In the Sacro Bosco of Bomarzo, a 16th-century Italian garden populated by grotesque stone monsters, filmmaker Pablo Agma applies analog film techniques — scratching, chemical treatment, frame manipulation — to make the sculptures appear to move. As the celluloid tremors intensify, the boundary between documentary observation and fantasy eruption dissolves, suggesting the park's seismic awakening might extend beyond its walls into the surrounding town.

Blending archival texture with deliberate image degradation, the film explores how cinema's physical material can animate the inanimate, turning a Renaissance curiosity into a site of uncanny resurrection.