Andrea Caccia, a director who has always worked on questioning reality, openly confesses his personal crisis after many films, and many years of research carried by using cinema as a tool for understanding the world. It’s not just about his career: in a world where real and virtual blur together, and creative expression is subjected to exposure and approval, everyone’s gaze has become clouded—and reality isn’t doing any better. What now?
Perhaps it’s time to stage one’s own end. A vertiginous leap that demands an unexpected identity—and above all, new paths. This is how A.C. Sauvage begins searching for a young and talented band to create his next film in the form of an album: Death Agenda. Eighteen tracks, as diverse as possible, yet all tied together by the same thread: the story of a gaze that has reached the end of the line, in need of dying in order to be reborn in a new form. Or perhaps, simply, to rediscover its foundation.
A diary or an archive? Both, or neither? A look to the past or to the future? I’ve been asking myself what this film is for too long – now it’s time to write it, or better: to make it. Starting with the gaze, both the origin and the end. After so many years working on the depth of reality, I’ve been sucked into it – like into a black hole. Exhausted and fragmented, that gaze seeks new meaning through a dialogue with the younger generation, towards new evolving forms, open to self-criticism or controversy, rebirth or surrender. A film of fragments, or fragments of a film – this is, or should be, Death Agenda: an album of songs, a puzzle without a picture, a divertissement or perhaps a stratagem to stop time.