With the final movement of the Frankenstein project, we extend the “mapping of horror” conceived by the young Mary Shelley, shifting the focus to the moment when the creature begins to perceive itself as irrevocably excluded from the apparent bliss of humanity—a humanity that rejects it solely for its non-conforming appearance.

We’ve called it a “performed film”—where narrative layers interweave kaleidoscopically, and everything stands in sharp, discordant relation to the present.
Captain Walton and his ghostly sister Margaret/Mary—Walton/Wollstonecraft—Seville/Shelley—do not inhabit the polar ice but an arid, apocalyptic planet, in the final days of our battered humanity: amid forest fires, echoes of genocidal wars, and lethal drones.
An extreme, dramatic, and feverish film set among the “eco-monsters” of Calabria and sun-blinded beaches.

A central character in this work is also the sea—glimmering at dawn, darkening at dusk—swallowing and spitting out the exhausted bodies of the creature and Dr. Frankenstein in their desperate pursuit of one another.
A composition that further amplifies the nested, hall-of-mirrors structure Mary W. Shelley used to tell the story of the creature’s hate—and radical tenderness—a creature that

“will continue to exist because it has never lived.”

Through the flames of the Promethean fire that burns across this second movement, the creature’s voice overlaps with other voices / testimonies / “confessions” from young people encountered during interviews for [ÒDIO], a film/documentary that won the Italian Council 2024, and will premiere in March 2026 at MAMbo – Museum of Modern Art of Bologna.

𝘞𝘩𝘦𝘯 𝘸𝘦 𝘵𝘢𝘭𝘬 𝘢𝘣𝘰𝘶𝘵 𝘩𝘢𝘵𝘦, 𝘸𝘦 𝘮𝘶𝘴𝘵 𝘢𝘴𝘬 𝘰𝘶𝘳𝘴𝘦𝘭𝘷𝘦𝘴:
“𝘞𝘩𝘰 𝘩𝘢𝘵𝘦𝘴, 𝘢𝘯𝘥 𝘸𝘩𝘺 𝘥𝘰 𝘵𝘩𝘦𝘺 𝘩𝘢𝘵𝘦?
𝘞𝘩𝘢𝘵 𝘱𝘰𝘸𝘦𝘳 𝘢𝘯𝘥 𝘥𝘰𝘮𝘪𝘯𝘢𝘵𝘪𝘰𝘯 𝘥𝘺𝘯𝘢𝘮𝘪𝘤𝘴 𝘭𝘪𝘦 𝘸𝘪𝘵𝘩𝘪𝘯 𝘵𝘩𝘰𝘴𝘦 𝘱𝘦𝘰𝘱𝘭𝘦?”*
— [Òdio, Şeida Kurt]