The MULTIFILM is a newly conceived serial audiovisual product capable of potentially endless entertainment because it generates a film in which, with each new vision, the subject, screenplay, acting and editing change, automatically and randomly, always maintaining logical consistency between a scene and the other. This means that any vision of the work, although different and partially randomly assembled, holds its logical sense with no errors, like for example showing a still living character who died in one of the previous scenes.

Let’s imagine a normal movie that could be represented on a line in which the scenes are following one another, from first to last.

MULTIFILM arranges its “events” (also called “clips”; meaning a single or more scenes together) not on a single line of narration, but on a tree structure of possibilities.

Every line represents a different development of the movie. 
At this point, to create many (almost infinite) different paths (epidoses), it is not necessary to create many different clips, but only many variations of the same scenes, so that, even if viewed several times, they always propose alternative versions of themselves.

In this way the different combinations and therefore possible visions of the same film increase exponentially. 
The variants of the scenes can be of different nature:
            •           of subject: scene in which what happens in the sequence radically changes. For example, in a scene the protagonist is walking alone on the street. In the first variant of subject he meets an acquaintance. In the second he gets run over by a car. Those are the most expensive for the involvement of a greater number of actors, locations, stage props and different situations to work on.
            •           of script: every dialogue and/or narrating voice can advantageously be described and recorded in more versions, allowing to produce low cost diversity.
            •           of editing: it allows to dilute the contents creating different variants of a scene where each could unveil a different point of view or a particular content. Furthermore it allows different esthetic solutions for the same scene.
            •           of acting: numerous interpretations of the actor can be used alternatively instead of being forced to choose a single one. Diversity will be then created using material that in normal productive processes would be discarded.
            •           of soundtrack: different artists would be able to create different musical atmospheres for the same scenes, contributing in making every audiovisual experience unique.

Every vision of the product will allow to gain general understanding of the story that, in addition to be configured every time in a different way, will leave many questions unanswered. For example the story’s prequel, or the motives behind a certain character’s behavior, can be understood only through more viewings of the same MULTIFILM. This kind of audiovisual mechanism was already known to the art; but the MULTIFILM overcomes its predecessors because it not only maintains coherence within the same vision, but also between one vision and another, allowing the story to “evolve” in a particular direction instead of changing in a completely random way.     

For example, in a story based on vengeance, in which the weak protagonist is forced to clash against a stronger opponent, systematically losing, in subsequent visions the protagonist could learn from his past errors and become gradually stronger (or more conscious) and succeed in his/her intent. In fact there are many endings, but only one “Grand Finale”, in which everything is explained and in which the narrative process culminates; but also this will be realized in different versions so that the entire work could be watched over again from the beginning to the end and still present itself in ways never seen before. 

It will be appreciated that on a narrative level it is undoubtedly advantageous to present first "doubt" and then "resolve", first "shame" and then "redemption", first "defeats" and then, only after, "victories". To see these elements in a different order (which could happen with a completely random algorythm) would not be equally enjoyable for the viewer. Therefore the MULTIFILM, maintaining the possibility to “arrange” the fruition of some elements, offers a story capable not only to randomly change, but also raises a linear evolution (typical of the traditional TV series in which one episode after the other the protagonist “grows” increasing his or her capabilities) that will stimulate further views (at least until the “Grand Finale”, that as previously explained, states the end of the narrative path, but not to the dissimilarities of the MULTIFILM, which could be seen many more times from the beginning to the end to present new ways that have not been shown yet, until coming to different and always new versions of the “Grand Finale” itself).    

Therefore, not only the MULTIFILM will impose its innovative narrative formula but also its incredible production optimization capacity. 
In fact using the same locations and the same set up to produce different variants of the same scenes extending the post-production phase (producing different versions of editing, voice-over, acting, soundtrack etc.) a relationship between cost and quantity of entertainment never seen in the audiovisual field will be achieved. Thousands of different episodes can be created at the cost of a few episodes done in the traditional way.    

The multifilm is based on an extremely simple but at the same time innovative software for the characteristics of the film that it allows to create.    

It is about placing video material (produced according to traditional and therefore consolidated technical standards) in a “tree structure”, so that each event has a series of “children”, that is events that can be displayed immediately after the aforementioned "event- father "maintaining narrative coherence and a list of the so called “unwanted nephews” (always related to the aforementioned event), that are not displayable events for the full duration of the same vision (further mechanism that allows to prevent the production of nonsense movies with narrative errors). The software just goes through the tree “randomly”, following the connections father-child (and avoiding each “unwanted nephew” event ) for the sake of not losing coherence, sorting out various scenes and connecting them, from time to time, in a vision with no interruption neither cuts.    

There are 2 further simple but fundamentally important functions:
                 •           each event, once sorted out and and offered to the viewer, is inserted into a memory archive and from that moment it halves (or reduces of one tenth, depending on the author discretion) the probability of being drawn in succeeding visions. This allows to not meet  “variants” already seen by the viewer, avoiding premature views. It makes more unlikely, also, that certain scenes would never be drawn and therefore never showed despite the many visions (thing that could easily happen if the probability of drawing out the same scene would stay unvaried during the various fruition of the work).
                 •           some events are locked from the start (not available for random draw) until particular “unlocking” events are being collected by the viewer. This allows to sort the fruition of certain contents instead of leaving it random. In this way it becomes possible to show the “fear” of the protagonist and subsequently his “courage” ; first the “doubt” then “resolution”; first “shame” then “redemption”; first “defeat” then “victory”. Therefore it allows to sort the fruition of elements whose vision in inverted order wouldn’t be equally rewarding for the viewer.    

This architecture involves a further benefit that has a substantial significance because it enables to create without additional production costs (excluding costs related to a greater editing work of the same scenes, usually, however, insignificant compared to the result obtained) a substantial amount of "extra" audiovisual entertainment. From each realized event it is possible to create several ones in the form of different portions of the same, the sum of which being considerably longer than the original, and presenting them to the user such that he views contents already seen but always with the addition of something new. For example, from an event lasting five minutes, it is possible to create an event (a) within the first minute, an event (b) within the first two minutes, an event (c) within the first three minutes, an event (d) within the first four minutes and finally an event (e) within the totality of the five minutes originally available. Therefore by means of an event lasting five minutes it is possible to achieve a total of fifteen minutes of entertainment (it is also feasible employing editing solutions such that within the variations b, c, d and e, portions already seen are made different and/or faster). 
This multiplication is only possible if the viewer sees the portions exactly in the order a, b​​, c, d, e; if, in fact, this were regulated by chance, the viewer could immediately see the full scene, but then viewing subsequently all its parts would not make any sense because the contents would have been already fully revealed. To this aim it is required that, at the first viewing of the MULTIFILM, only versions "a" of each portion are accessible, that is reproducible, each of which, if selected, will unblock its own version "b" in subsequent viewings, which in turn will unblock version “c” and so on until the complete event is shown. By applying this mechanism to virtually all the scenes of a MULTIFILM, the benefit in terms of content optimization becomes extremely advantageous. The normal TV series often resort to flashbacks in an attempt to create entertainment with things already used. The MULTIFILM instead takes advantage of "decomposing" potentially any event from the start which is available in several portions (the sum of which exceeds in length the original) and proposing these portions to the viewer in a certain order during subsequent viewings, ensuring a significant increase in the total duration of the narrative experience (and thus also of possible economic returns associated with it - the greater the "duration" or the number of episodes of a serial work, the greater the income that it will guarantee) while still preserving a correct balance between restituting to the viewer contents already experienced and contents never experienced before, during the course of different viewings. 
In this way it is possible to continuously push back – and in an evolved way - the full enjoyment of the narrative contents in subsequent viewings without which they would never be fully enjoyed by the viewer. This is a further incentive to watch several viewings: if the contents were entirely available from the beginning, viewer's interest may run out quickly.    

The realization of the software is within the reach of any programmer. The other aspects of the invention concern the realization of normal video clips with the traditional methods (apart from the fact that for each scene many “variants” of itself could have to be made). 
For a more detailed and exhaustive explanation it is possible to examine the description of the patent n. WO2014174359A3