The Futurists’ exuberant affirmation of cinema as a “supremely Futurist” medium never led to a solid filmmaking program. An intimate relationship arises, nonetheless, from the associations that one may draw between cinema and Futurism as two separate, historically parallel, and inter-reflective phenomena. Despite the Futurists’ condemnation of the film industry for embracing cultural tradition and suppressing the medium’s innovative potential, Marinetti’s 1917 screenplay Velocità/Speed (never filmed) suggests a relationship of negotiation, rather than radical break, with the institution of cinema. The screenplay’s epic yet abstract vision of a world recreated in the image of Futurism displays a deep affinity with cinema as a subjectively perceived totality, a dynamic complex of fleeting and diverse images or story-fragments.