In 1999, she wrote, with Momix's famous leader Moses Pendleton as co-writer, the volume of interviews Salto di gravità (Olivares), while, during the eighties, Elisabetta had already edited Ressurga de la tumba (1986), a work by Pietro Andrea de' Bassi, and Ennio Flaiano's Frasario esistenziale (per passare inosservati in società), with Vanni Scheiwiller, (1986).

“The Trembling Night– Gianfranco Ferroni” (2002). Presented at the 59° Mostra Internazionale d’Arte di Venezia, is a film aiming at taking the spectator through the reconstruction of the process of rarefaction of the glance, which is typical of the research of this artist: the empty rooms of his studio, the dust settled by the time, the views of light, the flashing of a hypothetical sense in the total absence, the break in the dark. A route along the seeming chaos that for Ferroni was a “perception of perfection.”

“Ghosts of Voice– Antonio Stagnoli” (2003). Commissioned by the art gallery manager Arialdo Ceribelli, a film that recreates the expressionist atmosphere of Stagnoli works, a deaf-mute painter from Bagolino: the sense of incurable labor and sufferance revealed by his Indian inks, his pencils, his pastels, his engravings is reintroduced by the camera, with an obsession about the metamorphosis of the substance. Stagnoli’s reign is dark, a darkness of the deep essence of things, and the painter seeks and finds this darkness in the limited horizons of the faces, gestures, positions of humble men and women, peasants of his homeland. Mythical peasants who, like the animals, belong to the Reign of the Mothers.

“The Light of Reason” (2004). The film, commissioned by the Istituto Regionale Ville Venete, is like a poetic transfiguration of the objective reality. The lethargic slowness of the camera brings back the deep mystery of the Palladian villas, and the object reflects itself in the lenses of a guide, Vittorio Sgarbi, to whom we owe the comment during the filmic experience itself, as if the image came out from his very voice. The red filter is dominant, and thanks to it the natural black and white of the villas emerge in its blinding power, like a new epiphany.

“Endless Night– Love Betrayal Incest” (2004). Featuring Anna Bonaiuto, Laura Morante, Galatea Ranzi, Toni Servillo, and distributed by Istituto Luce, is an example of “cinema/theater of words”. The words are taken from the texts by Tahar Ben Jelloun, Amin Maalouf and Hanif Kureishi. It is a work that through a system of calculated close-ups and a background in which the light is an emergence from a dark nearly primordial, let the voices/figures express the dramatic force of classical, infinite topics, like that of love facing death, obsessive jealousy, the relationship between a father and his daughter. An intentional filmic stillness leaves an opening for the thousand rivers of the human words.

“Tresigallo. Where the marble is Sugar” (2006). The film, based on a script by Diego Marani, is a rediscovery of the town where Marani spent his childhood. A masterpiece of the rationalistic architecture: straight roads, round squares, sunlit porticos, a geometry that seems unreal and maybe for this reason it welcomes the fascination of an ancient, folk sacredness reverberating on the faces of the inhabitants, as well as of the inanimate things. And riding a bicycle becomes full of mystery as well, immersed in the silence of a countryside which is too loud and maybe is losing its pure features.

“Appearances. Mathias Gruenewald” (2006). A film based on the famous altarpiece of Isenheim, currently in Unterlinden Museum in Colmar. The work, originally meant for stirring the faith and devotion of the monks and sufferers, re-emerges in its expressive splendor and aesthetic and conceptual force thanks to the flickering of a torch that gradually unveils the details and the composition of this masterpiece like it was the first time: the tortured Christ, the Madonna with closed eyes, protected by her very superhuman grief, the monsters tempting Saint Anthony. A polyptych of the faith and its paths for a total visual experience.

“The Hidden Marriage or the Spring by Sandro Botticelli” (2007). Inspired by an essay by Professor Giovanni Reale and enveloped in the lights by Elio Bisignani and the music by Roberto Cacciapaglia, the film is a lyrical-evocative reading of the symbols unveiled and at the same time concealed by the figures: Wisdom, Eloquence. A veil is laid over the painting, livening it up, and a whirl of white, yellow and red petals completes the vision, transforming it into an allegorical vision which goes so far as to create a painting, new forms within the starting painting, in fact: to tell the unyielding multiplicity of the levels of interpretation.

“The Weeping Statue” (2007). Commissioned by the region Emilia Romagna, the film, dedicated to the Pietas, sculptural masterpieces of the Renaissance art that gives voice and substance to the cinema based on the idea of metamorphosis, in which the statues by Niccolò dell'Arca, Guido Mazzoni and Antonio Begarelli, lit up by the camera, turn into water statues, living statues, actors of a night cinema, where the sacred grief is expressed by their liquidity, their changing and flowing like water, primordial symbol of tears and thus of grief itself. The texts of the film, resulted from the ability of identification of world-famous directors like Michael Cimino and George Romero, and various writers like Vittorio Sgarbi, Antonio Scurati, Diego Marani, Pino Roveredo and Lucrezia Lerro, establish the link between art, cinema and literature that the nervous, nearly broken voices of Anna Bonaiuto and Toni Servillo then retranslate and reconvert to pure living theatre.

“Belle di notte” (2008). A shower causes a suspension of electric light during a visit of Vittorio Sgarbi and director Luciano Emmer to the collection in Via dell’Anima, Rome. The film revolves entirely around the torch lighting up parts of the masterpieces of the collection, and around the voices of the couple of “pilgrims” penetrating the mysteries of the works by Jacopo da Valenza, Pietro Liberi, Ignazio Stern, Alessandro Tiarini. A night trip, a daydream, in the dark, which becomes an precious occasion to truly “see” art.

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