
- Date
- 29 JANUARY 2025
- Author
- GLORIA MARIA CAPPELLETTI
- Image by
- FONDAZIONE PRADA
- Categories
- News
Fondazione Prada's Analog Resistance: Storyboarding Before Algorithms
Fondazione Prada's "A Kind of Language: Storyboards and Other Renderings for Cinema" opened its doors today, and the RED-EYE team was on site to delve into this captivating exploration of cinematic creation. Curated by Melissa Harris, the exhibition unveils the often-hidden world of storyboards and other preparatory materials that shaped the films we love.
Stepping into the Osservatorio, we were immediately immersed in a storyboard artist's world, thanks to the unique exhibition design by Andrea Faraguna of the Berlin-based architecture office Sub. Drawing tables, reminiscent of artists' studios, invite visitors to examine intricate storyboards up close, revealing the meticulous work that goes into visualizing each scene.
The exhibition is a treasure trove of cinematic history, showcasing materials from iconic films across diverse genres and eras. We were captivated by the storyboards for Agnès Varda's "Salut les Cubains," a 1963 film composed of a sequence of 1,800 photographs taken by Varda. The storyboards showcase Varda's innovative editing technique, synchronizing her photographs with the rhythms of popular Cuban music. We were also drawn to the storyboards for Alejandro Jodorowsky's ambitious but ultimately unrealized adaptation of "Dune." These detailed drawings by Max Douy offer a glimpse into Jodorowsky's imaginative vision and the film that might have been.


As generative AI rapidly transforms creative industries—automating scripts, conjuring hyper-realistic visuals, and even editing films—Fondazione Prada’s “A Kind of Language: Storyboards and Other Renderings for Cinema” arrives as a timely meditation on what it means to create. In an era where algorithms can simulate artistry, this exhibition champions the irreplaceable humanity of tactile, handcrafted processes. By showcasing over 800 physical artifacts—sketches, notebooks, and storyboards—it sparks a provocative question: In a world racing toward digital omnipotence, what do we lose when we abandon the human hands?
AI’s encroachment into filmmaking is undeniable. Tools like Midjourney and Runway ML can generate storyboards in seconds; ChatGPT drafts dialogue; neural networks edit footage. Yet for all their efficiency, these technologies lack the fingerprints of intention—the smudged pencil lines, coffee-stained margins, and frantic erasures that reveal an artist’s struggle to feel their way into a story.
The exhibition’s curator, Melissa Harris, emphasizes that storyboards are “a language of intuition” and not just technical diagrams. A hastily scribbled note in the margin of a storyboard betrays an emotional calculus no AI can replicate. These artifacts are diaries of doubt and discovery, mapping how filmmakers almost think through their hands.



Other highlights include the storyboards for Bernardo Bertolucci's "Little Buddha," which capture the complexity and majesty of Siddhartha's enlightenment, and Matthew Barney's "Cremaster 1: Choreographie Suite," with its evocative depiction of dancers in Bronco Stadium. The exhibition also features Wim Wenders' notes and storyboards for "Wings of Desire," revealing his exploration of different perspectives in a divided Berlin, and Sally Potter's storyboards for "Orlando," which trace the evolution of the titular character across centuries.
"A Kind of Language" is really a visual feast, as it highlights how storyboards serve as a vital communication tool, facilitating a shared understanding and a cohesive vision. It demonstrates that filmmaking, at its core, is a human endeavor, driven by imagination, passion, and the intricate interplay of individual talents. Annotations and notes on many storyboards reveal the dynamic exchange between directors, cinematographers, and artists.
For aspiring filmmakers, "A Kind of Language" is an invaluable resource. By studying the storyboards and other preparatory materials, students and young artists can gain a deeper understanding of visual storytelling techniques. The exhibition demystifies the creative process, revealing how renowned filmmakers translate their ideas into compelling cinematic narratives.


Proponents might argue that AI will democratize filmmaking, but “A Kind of Language” offers a cautionary rebuttal: efficiency is not artistry. So we might say that the future of art lies not in rejecting technology but in remembering what makes us human: our capacity to hesitate, to obsess, to leave traces of ourselves on the page.
As visitors exit into Milan’s Galleria Vittorio Emanuele II—a 19th-century marvel of human ambition—they carry a renewed appreciation for the “kind of language” that begins with a pencil, a blank page, and an idea too fragile to entrust to machines.

Text by Gloria Maria Cappelletti
Cover Image: Exhibition view of “A Kind of Language: Storyboards and Other Renderings for Cinema”, Curated by Melissa Harris, Osservatorio Fondazione Prada, Milan, Photo: Piercarlo Quecchia – DSL Studio / @piercarloquecchia - @dsl__studio
All images Courtesy: Fondazione Prada https://www.fondazioneprada.org/