Getting ready is a simple, sometimes daily act. This 16mm pink coloured black and white film is a portrait of a beautiful woman putting on things and taking off. Of glamour, of resignation of the self to the world for the day or evening; of objects strewn about, of stuff full of sparkles, gold, jewels and powder.

First in a 22 part series of montages by German artist Peter Roehr

Second in a 22 part series of montages by german artist Peter Roehr

Third in a 22 part series of montages by german artist Peter Roehr

That of the Gran Sasso and Laga mountains, in the heart of the Abruzzo Apennines, is a particular story. Exploited beyond all limits for grazing, they have now returned to repopulate with plants and animals, thanks to the National Park and its care for the territory. Let's go and discover their new life.

An old wooden house, surrounded by walls and guarded by angry soldiers, and a director, Micol Roubini, who tries to enter this place. It's not just any place for her. That house looks a lot like one he saw in an old photo from 1919: the one built by his grandfather, and then abandoned by him to escape persecution against Jews during World War II. We are in Jamna, a small country in the west of Ukraine that is now independent. The guards prevent anyone from passing, and no one knows why. And the inhabitants of the country are of almost no help.

Making of the cinematographic shooting of "Premier de Cordée" directed by Louis Daquin in the Mont-Blanc massif. In 1943. Alain Pol films the risky adventure of filming in the high mountains with a team of seventy people. The images of the making-of reveal the technical constraints encountered by the actors and technicians: falling rocks, crossing glaciers and long approach walks at altitude to the filming locations. Six actors and technicians will also be injured and the main role - that of Pierre - will be reassigned to André Le Gall following a bad fall by Roger Pigaut.

Fanny and Simon, two young people of hardly twenty years, flee an industrial park and sink into the mountain. An unfortunate incident, arisen on their workplace, binds them in a common adventure. Along the way, they seduce and learn to know each other. The discovery, in the middle of nowhere, of a mysterious object, is going to tip over their fate.

Terrible mountains is what Leonardo da Vinci called the peaks that surround the Valtellina. They take the leading role in this story, which is rendered with the help of spectacular film footage and the stories of local inhabitants. With its dry stone walls – a masterpiece that has been declared a World Heritage Site by UNESCO – Valtellina is a land of traditions, contrasts and breathtaking landscapes. From the Stelvio National Park, with its imposing Forni glacier, to the peat bog of Pian Gembro, and from the mysterious crotti of Chiavenna to the terraced vineyards on the Rhaetian slope. In an attentive and intimate way, the film takes the audience on a journey along the river Adda that crosses the entire valley. It begins in winter until the following autumn according to the infinite cycle of nature, which is a stern but honest friend of the people living in this land located in the far north of Italy.

MONTAGE 11 FAST FORWARD REWIND is a palindrome video. The streets of the city of São Paulo mix with the streets of Rome and the past of my ancestors: Italians immigrants in Brazil. The camera goes around the ancient "House of the Immigrants" in the borough of Bras and mix with photos, memories, people, suggestions of the past and the present reality of São Paulo. The peculiar thing about this video was that the music was composed at the same time that the editing was made seeking for a perfect balance between sound and image. It has not been released in public yet.

Long ago, there were no roads to the chalets in the high mountain pastures. All the material for a new chalet had to be carried up by man or mule, so the peasants who built and cared for these chalets used the nearest rocks available and found a way to extract the sand needed for cement right on the spot. They used to burn clods of earth for three days until all vegetable residue was burned away and only the minerals remained as pink sand. This custom slowly disappeared at the beginning of the 21st century. However, 83-year-old Henri Chillez remembers seeing his father doing this when he was ten. Thanks to him, we were able, in 1987, to reconstruct the operation and film each step needed to change earth into pink sand.

In this interesting little drama we are brought in contact with a man who is one of the highly respected citizens of a little mountain village, while in reality he is living a Dr. Jekyll and Mr. Hyde existence. We see him leave his home and go on his way up into the mountain to hunt. When he reaches a remote part in the forest he takes a black cape and mask from under a rock and puts them on, thus concealing his identity.

Video essay that explores the relations between montage and music in Sergei Parajanov’s film Shadows of our forgotten ancestors (1965). Parajanov seems to perceive montage as an organic form, in this case, linked to death and grieving. The audiovisual perception is layered in a sensorial sequence that is associated through rhythms (visual and sound). The montage is shown as a dialectical thought. Every shot, sequence and montage is expressed as ancestors.

When the wolf returns to the forests of my childhood, I grab my camera. On the summits, I meet Alphonse, a shepherd nearing retirement. And this encounter captivates me. I follow him as he passes the baton to a couple of young shepherds, for the last season of his last mountain.