The monsters and the monstrances in cinema are our own eyes.
A few weeks before we started shooting, one of us asked the other: But what are we actually going to film? Our project had started a couple of months prior, sparked by a brief encounter with one phrase: “taxonomies of monsters.” This combination of words was attributed to a name neither of us knew: Ulisse Aldrovandi. Coming across this term, we wondered how monsters could possibly be subjected to taxonomical categorization. Weren’t taxonomies those modes of classification that whittle down the excesses of imagination in order to produce quantifiable objects of knowledge? And aren’t monsters, conversely, the unruly forms that emerge when imagination spills over the bounds of reason? To insert a living being into a taxonomic logic is to conceptually arrest the fluidity that animates life. Yet monsters would seem to resist this, as they are