“I like starting from something I’ve seen, thus simply watching in order to see, but within, it must hold the possibility for transformation, for existence, because vitality of imagination is what continues reality.

Thus La casa del fuoco is a film about reclaiming: a real situation turns into a more human condition. The film is made of missing, inexistent images”. (Sirio Luginbühl, in Lo schermo negato. Cronache del cinema italiano non ufficiale, a.c. di Sirio Luginbühl e Raffaele Perrotta, Shakespeare & Co., 1976)