10 minutes 1999
Yesterday’s Wine is a found-footage film that explores the nature of filmmaking by deconstructing the violence common to commercial, narrative cinema. Constructed from old regular and Super 8mm films, with a dialogue created from language tapes, the film also examines the self-referential nature of filmmaking. Inspired by surrealism and Dadaism, disparate material is brought together through intuitive associations to create an absurd homage to old and obscure cinema.
“What André Bazin called “the myth of total cinema” is a popular fallacy that Ariganello explores in all of his works, but arguably most astutely in Yesterday’s Wine. This 1999 film, like Shelter later on, is made up of appropriated images (in this case, from crime and
horror B-movies from the mid-20th century) and incorporates a soundtrack built from instructional language tapes. The theme of (mis)communication pervades the piece, as over the course of ten minutes an allegory regarding the inadequacies of words and images unfolds, creating an absurdist narrative that investigates the very nature of cinema as a medium of life. And, ultimately with life comes death as well, for the film has an uncanny moment where the image of a werewolf slowly returns to a more human state of being; all the while, the two disjointed language tape narrators posit: “We are going to live a long time/our days are numbered.” Long Live the films of Roberto Arigenello by James Missen, CFMDC Study Guide
“Yesterday’s Wine creates a labyrinth of unresolved framing narratives, drawing on found footages from old monster and science fiction films, and absurd language tapes.” Cinematheque Ontario
“A smart and jarring blend of second rate sci-fi images and reconstructed language tape instructions, Yesterday’s Wine pulls no punches and leaves you breathless.” Alex MacKenzie, Blinding Light
“Ariganello uses found footage from old film archives and found language tapes, which he remixes to create a fragmentary and surreal narrative where speech and images combine in surprising and delightful ways. This act of combining images in surprising ways is key to the Surrealist act.” New Surrealist Cinema by Melanie Wilmink