Ecce Mole (2025)

Two Turin landmarks by neoclassical architect Alessandro Antonelli anchor the latest chapter in Heinz Emigholz’s ongoing cinematic study of space. The slender Casa Scaccabarozzi and the soaring Mole Antonelliana—now the National Cinema Museum—are set against each other through Emigholz’s precise, rhythmic editing and off-kilter compositions. Their contrasting scales and purposes, from intimate domesticity to grand civic monument, become a lens for examining cinema’s own spatial language and symbolic weight.