Hauntology of the Retrodromomania

Hauntology of the Retrodromomania is an essayistic motion picture, a locomotory legwork, a deambulatory non-rural land survey, a casual journeying in a punctual dissertation around the phenomenon of the nostalgic feeling, discoursing on a late capitalistic landscape of social emotions, which are of yore, yet coloured of the postmodern tint of pixelated neo-noir, a socio-philosophical flâneur’s trip in critical theory escorted by the spirits of French post-structuralists. For a Sociology of Nostalgia revisited.

  • Sara Ferro
    Director
  • Chris Weil
    Director
  • Sara Ferro
    Writer
  • Chris Weil
    Cinematographer
  • Wundersaar
    Key Cast
    "Flâneureuse"
  • ARTOLDO pictures
    Production
  • Project Type:
    Documentary, Experimental, Feature
  • Genres:
    Avant-garde, Sociological
  • Runtime:
    2 hours 44 minutes
  • Country of Origin:
    Italy
  • Country of Filming:
    France
  • Language:
    English
  • Shooting Format:
    4K
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Castello d’Albertis – CODE WAR
    Genoa (2021)
    Special Screening
  • Star Cinema
    DECENTRALAND Metaverse (2022)
    Special Screening
  • The Lift-Off Sessions
    London (2022)
    Official Selection
  • WATCHING IN THE DARK
    Labocine July 2023 (#85) Issue
    Official Selection
Distribution Information
  • ARTOLDO media
    Country: Worldwide
    Rights: All Rights
Director Biography - Sara Ferro, Chris Weil

Established in 2015, ARTOLDO is a creative collective featuring the Film Directors and New Media Artists Sara Ferro and Chris Weil, with a focus on Arthouse Movies, Avant-garde Film, Expanded Cinema, Cinebitions, Feature Documentaries, Moving Images and Video Art installations.
Since 2021 the duo is a proud member of the Etherea Art Gallery by Virginia Monteverde.

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Director Statement

The messages sent out through their works deliberately have a tone between the semi-serious and the vaporous, to conceal the vitriol of an invective that they instead prearranged to arouse in a subconsciously, by virtue of a digital transformation of the grumbling into an accelerationist incipit. To this end, they undertake forays into synthetic worlds and the less visible new media territories, where they can imagine the means to cross new frontiers.