From April 15 to 19, the Sala Radici at M9 – Museum of the 20th Century will host the puppet exhibition of Playing God (2024), a stop-motion short film directed by Matteo Burani, President of the International Shorts Jury. The film, winner of the Special Jury Prize in the Italian Shorts section at the first edition of Stop e-Motion Days, stages, in a laboratory immersed in darkness, the restless birth of a clay creature under the gaze of its creator: a visual parable about creation, control, imperfection, and the desire to be recognized.
Playing God
Puppet Exhibition
Sala Radici - M9 Museum of the 20th Century
The exhibition offers visitors the opportunity to encounter up close the puppets that inhabit this dark and powerful universe. Outside the screen, these figures reveal the full complexity of stop-motion craftsmanship: sculpture, mechanics, texture, manual gesture, and stage presence coexist in objects that are at once physical bodies and cinematic characters. Observing them up close means entering the very heart of a film that has transformed matter into vision—and that continues to preserve its strength within that very materiality
From April 15 to 19, the Sala Radici at M9 – Museum of the 20th Century will host the puppet exhibition of Playing God (2024), a stop-motion short film directed by Matteo Burani, President of the International Shorts Jury. The film, winner of the Special Jury Prize in the Italian Shorts section at the first edition of Stop e-Motion Days, stages, in a laboratory immersed in darkness, the restless birth of a clay creature under the gaze of its creator: a visual parable about creation, control, imperfection, and the desire to be recognized.
Playing God
Puppet Exhibition
Sala Radici - M9 Museum of the 20th Century
The exhibition offers visitors the opportunity to encounter up close the puppets that inhabit this dark and powerful universe. Outside the screen, these figures reveal the full complexity of stop-motion craftsmanship: sculpture, mechanics, texture, manual gesture, and stage presence coexist in objects that are at once physical bodies and cinematic characters. Observing them up close means entering the very heart of a film that has transformed matter into vision—and that continues to preserve its strength within that very materiality.
