As a versatile artist, D’Errico is tied to the aesthetic theories of Futurism, while at the same time being involved with the coeval international avant-garde film production. The first two scenarios feature moving “views” describing the dynamic life of Milan and the coming and going of travellers at the Central Station in Rome (the city’s main station before Termini); both are inspired by the experimental documentary Berlin – Die Sinfonie der Großstadt (1927) by Walter Ruttmann, whereas La Gazza Ladra becomes part of a tendency that, starting from Futurist ideas, acknowledges film as free and impulsive abstraction. The proposed analysis aims at reconstructing the historiographical, productive and aesthetics aspects about the three aforementioned films, by comparing them with coeval international experiences. On a methodological basis, we chose to analyze primary sources, documents and film materials held in archives and cinematheques, in particular in the archive of Istituto Luce.