It was into this chaos that director and composer (a pseudonym, as his true identity remains unconfirmed) supposedly emerged. According to the fragmented production notes—often circulated as photocopied PDF scans—Vialdi was a classically trained pianist who had abandoned the conservatory to study musica concreta and structural film. Funded by a small grant from the now-defunct Fondazione RAI per l’Arte Sperimentale , he began shooting Ostinato Destino in the abandoned industrial warehouses of Turin and the fog-laden alleys of Venice.
The film’s protagonist (Fabbri) is only identified as "L’Uomo dell’Orologio" (The Clock Man). We find him in a white, tiled room. On the wall, a single antique metronome ticks back and forth. The Clock Man attempts to perform a series of mundane tasks—folding a sheet of paper, lighting a candle, tying his shoes—but each time he nears completion, the film stock appears to skip or reverse. A low, cello ostinato (three descending notes: G, F, E-flat) plays on a relentless loop. Ostinato Destino 1992-
For those brave enough to search, the keyword is waiting. Type it carefully. Press play. And let the obstinate fate begin. Keywords integrated: Ostinato Destino 1992-, Ostinato Destino, 1992 film, Italian avant-garde, Leonardo Vialdi, musical ostinato, cult cinema, experimental film 1990s, Vialdi Entrainment. It was into this chaos that director and