1989, history changes its course. The Berlin Wall goes down. 1990, history is the protagonist at the Festival dell’Unità. There are forty minutes of battle films – from the Stone Age to the Middle Ages, from the French Revolution to Vietnam, from Kurosawa’s Seven Samurai to General Custer’s seventh cavalry. There are land, sea, and air battles. There are shots interrupted by peaceful images – the ocean and its fish. The space becomes an enormous aquarium. Then there are desert dunes and bird’s-eye views of green fields and the crumbling of the Berlin Wall. On the grass in Ruffini Park three gigantic screens are set up in a semicircle. These are enormous overlapping, asymmetrical sails. They form a geometry that leaves gaps where the projected image is cut, gets lost, and is broken into pieces. It is a gigantic unfinished puzzle. The overlapping and the displacement over different eras of the sequences determines new dramatic development. For example, the central screen is dark. On the right and left screens there are the mirror images of samurai horsemen from Kurosawa’s Ran. The horse’s head, and the torso and face of the samurai are in the foreground. The samurai’s expression is tense. He is afraid. The horse is nervous. They both end up looking at the dark middle screen. Then an image is projected: the helicopters in Apocalypse Now take off. The weapons have changed. The fear is the same.