When considering the origins of scientific films, France is often the first country mentioned, ranging from Étienne-Jules Marey’s chronophotography to the pioneering work of surgeon Eugène-Louis Doyen, and Jean Comandon. Although not as well-known, Italy also has a tradition of scientific cinematography, which is mostly connected to physiology, neurology, orthopaedics, and surgery: Osvaldo Polimanti, Camillo Negro and Vincenzo Neri; or Roberto Omegna, from his early work with the Ambrosio production company to his later contribution to the Scientific Section of the newborn Istituto Luce in the 1920s. How could early Italian scientific film be described as experimental? Following in Roberto Omegna’s footsteps, we will discover why it is included in film club screenings, intercepting the emerging theories of the 1920s. This will allow us to expand and provide a deeper understanding of the broader concept of “experimental”, by taking a look at issues related to techno-aesthetics and scientific and experimental filmmaking practices.