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Abstract
The article focuses on Michelangelo Frammartino's Le Quattro Volte (2011), a film that experiments with how an animist mode of perception might unfold 'live', within the confines of a particular darkened theatre i.e. the cinema.
Set in the South of Italy, the film is structured around the four turns of its title: one at a time, human, animal, vegetal and mineral entities take turns in becoming the main subject. The article is an attempt to think (and to find ways of writing) the particular affective modalities of a film work that opens towards non-anthropocentric sensibilities, and to map how these take shape in the 'here and now' of cinematic projection.