2155 - Cinema d’essai: il lato B del grande schermo
April 10, 2026·9 min
The episode begins with Gianpiero Kesten addressing a patron's question about the meaning of 'film de sé,' a French term. He clarifies that it translates to 'art cinema' in English and refers to non-mainstream films focused on quality and artistic value rather than commercial success. Kesten explains that these films often feature experimental techniques, innovative forms, and are typically produced by small independent houses for festivals. The term originated in 1940s France, where it was used for halls programming avant-garde, non-commercial films. In Italy, it was adopted post-war through cine-clubs, cultural associations that screened such films in places like parish halls. From the 1950s to 1980s, cinema de sé experienced a golden age with the rise of author cinema, emphasizing directors like Fellini, Antonioni, Bergman, Truffaut, Godard, and Tarkovsky. This period saw films as laboratories for new languages, dealing with themes like politics, sex, and social criticism, often discovered at festivals like Venice, Berlin, and Cannes. By the late 1980s, technological changes such as commercial TV, VHS, DVDs, and multiplexes began to marginalize author cinema, moving it from theaters to niche channels like streaming. Kesten notes that while festivals still support it, cinema de sé has become harder to stumble upon accidentally. He discusses the role of streaming platforms, which offer access to niche films but make discovery difficult due to algorithm-driven visibility. The episode mentions surviving bastions of cinema de sé in big cities, such as Cinemino in Milan, and similar examples in Rome and Turin. Kesten reflects on how culture evolves, with mainstream often overshadowing experimental forms, and ends with a personal note about his participation at the TIC festival in Terni, where he will host live episodes and talks.
