16 June
Sunday 16-06-2024
time 00:00
Palazzo Gradari

Il mio film

Ernst Lubitsch


Germany 1919 , 66'


Paolo Spaccamonti & Ramon Moro perform the live soundtrack of Ernst Lubitsch’s DIE PUPPE, 1919

Paolo Spaccamonti: guitar, synth

Ramon Moro: trumpet, flugelhorn

After the very well-received live soundtrack of Vampyr (C. T. Dreyer) produced by the Pesaro Film Festival along with the Turin Museo del Cinema in 2018, Spaccamonti & Moro join once again on the crime scene to play the live soundtrack of one of the most brilliant  and grotesque films of 1919. The Doll is actually a true gem of black humour and anti-misogyny, helmed by an Ernst Lubitsch in a state of grace showing off his unbridled creativity between half-concealed eroticism and a pinch of anti-clericalism.


MILENA GIERKE crediti Martin Schoeller


Paolo Spaccamonti. A guitarist and composer from Turin, he has collaborated with the finest on the Italian and international music scene, such as Jochen Arbeit from Einstürzende Neubauten, Stefano Pilia, and Roberto “Tax” Farano from Negazione. Besides these records, he has performed for readings, stage plays, cinema, and live soundtracks of silent films. He has played live with Ben Chasny, Jim White, Julia Kent, Damo Suzuki, Emidio Clementi, and Enrico Gabrielli. In 2023, he worked in the successful tour of Lazarus, the musical written by Enda Walsh and David Bowie. Late April 2024 his new solo album, Nel torbido, was released.

Ramon Moro lives and works in Turin. A composer and musician who boasts several collaborations between film, theatre, contemporary ballet and art. Mention should be made of his live performances on the works of Richi Ferrero, the artists Botto and Bruno, Masbedo, and Alessandro Sciaraffa. He has collaborated with guitarist/composer Paolo Spaccamonti for over fifteen years, playing concerts in duo mode and working together on live soundtracks, including the latest, the film Vampyr. They also composed the music score for film director Fabio Bobbio’s The Cormorants.



A decade of bare, unvarnished Wall; of wild, but reasoned programming; of illustrious and essential proposals. A space for experimentation whose embryo hatched in 2015. But then images clung to the Wall like ivy does in Spring, and sounds were set free like outlandish fireflies giving off their flashes over nocturnal paths. Now the Wall has become a (mutant and mutable) meeting that can’t be missed. Senses are unchained in a space in which, nourished by vibrating gazes, foraged by precious imaginaries, suggestions are redeemed. Novel psycho-temporal premieres, unique experiences that, between improvisations, surgical synchronizations, and emotional experiments, have elevated the unreal and turned it into… a reality. Palazzo Gradari, the temple of imagination. The five events of this year, poised between light and abyss, will give voice to original impromptu, and therefore absolute, experiences. Past the 2015-2024 twilight, the Wall of Sound is ready to take off.

Anthony Ettorre


We have looked this decade of projecting images onto the Wall of Palazzo Gradari in the eyes. We have caressed the profile of musicians intertwined with film directors of the past and the present, between the calculated gestures of actors and actresses or immersed in pure pictures untethered from any story. We have put all our desires in a row. The result was these 5 evenings, made of 5 unique live soundtracks, several unexpected meetings, animals, soccer players, and little dolls. The common thread – do not touch bare-handed! – might be the sweet dissolution of identity, when it becomes too stiff and makes us cantankerous and  savage. It could also be the desire to discuss seriously about games and playing, discarding the fascist trivial assertion that it’s “stuff for children.” We’ll be waiting for critical analyses. We will never give up. 

Vittorio Ondedei


The Wall of Sound reversed the idea that this solid, vertical object, the wall, conveys the notion of blocking, filtering, pushing back, separating, defending, shutting. 
The images and sounds that have been played on that surface over the years made that wall crumble and collapse, every time. 
The miracle is repeated punctually with the same enthusiasm and the same desire.
The wall becomes liquid, and we can cross it. Beyond it, there is infinity. By Palazzo Gradari, the divisive function of walls was never given a chance to exist. Ever.

Giuliano Antinori



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