PardoLive 69° Festival del film Locarno
Wednesday · Mercoledì 3 | 8 | 2016
PardoLive Partner:
Which movie is it? A: Psycho I B: Scary Movie I C: Jagged Edge Send your answer (A, B or C) to 963 with the keyword #momentiswisscom to win a stay at the Kempinski Grand Hotel.
On the final day of the Festival del film Locarno, a draw will be held with the main prize of two nights for two people at the 5-star Kempinski Grand Hotel des Bains in St. Moritz (worth CHF 1500.–). The competition ends at midnight tonight. It’s free to enter by SMS. The main prize winner will be notified directly on 14 August 2016. The judge’s decision is final. No cash alternative prize available.
Carlo Chatrian • Artistic Director
Highlights Day1 Locarno69 starts with a shiver, as the adrenaline-filled The Girl With All The Gifts brings a zombie invasion to Piazza Grande and explores the contagious aspect of a nightmare where feelings serve as an antidote to the fear of the other.
The journey starts and immediately we are accompanied by important actors. Preceded by an afternoon spent in the company of Bruno Ganz, the evening features Gemma Arterton, known for roles defined by beauty and a fighting spirit, and Bill Pullman, winner of the Excellence Award Moët & Chandon 2016, able to elevate both blockbusters and art films.
The international competitions start off with laughter. Icy in the case of the Bulgarian Slava (Glory), the tragicomic odyssey of a worker who refuses contemporary fashions. Filled with nostalgy in the case of Donald Cried from the USA, a businessman’s touching return to his hometown. While in the Portuguese Correspondências, poetry becomes a matter of exile.
Divided by 44 years but united by boldness and a desire to experiment, Douglas Gordon and Jonas Mekas are the protagonists of I Had Nowhere to Go, in which the power of memory that emerges from the dark is more than the images. More than a film, a unique experience.
Let’s not forget that memory can move at the pace of a dance, even when disease is stealing it away. Valeria Bruni Tedeschi’s return to directing brings us a documentary both tender and rough.
3
PardoLive 3 | 8 | 2016
Viviamo insieme
momenti indimenticabili.
La Posta è ovunque vi troviate. Sosteniamo il Festival del film Locarno. Lasciatevi entusiasmare dal grande cinema sotto le stelle in Piazza Grande. posta.ch/sponsoring Official Sponsor
Piazza Grande, The Girl With All The Gifts, 3 | 8 | 2016 – 21.30
Melanie non deve morire carlo chatrian
Le prime immagini di The Girl With All The Gifts ci proiettano in una prigione di massima sicurezza. I reclusi vestono gli abiti arancioni tristemente noti da Guantanamo in poi. Sono legati mani e piedi a sedie mobili. Sono bambini… Tratto dall’omonimo romanzo di Mike Carey, il film di Colm McCarthy ne conserva l’impianto di base, utilizzandone il genere per leggere una serie di inquietudini che abitano il presente. La forza della pellicola sta infatti nel conservare un prezioso quanto difficile equilibrio tra le esigenze del suo filone di riferimento (lo zombie movie con incursioni nel film di guerra) e la volontà di parlare di altro (la questione di come convivere con il diverso). Siamo in un universo distopico dove l’umanità è confinata in poche isole resistenti circondate da moltitudini di zombie che si risvegliano non appena sentono l’odore della carne. Un pugno di uomini, unici sopravvissuti all’assalto d’una base militare, si mette alla ricerca di un luogo sicuro. La tensione che nelle prime inquadrature grava tutta sui bambini reclusi tocca ora i membri della brigata, che per sopravvivere devono affidarsi alla piccola Melanie. A dare spessore a personaggi costruiti su modelli tradizionali ci pensano gli attori che la produzione ha avuto la bravura e la capacità di coinvolgere: Paddy Considine, nei panni del capo spedizione, Glenn Close, nel ruolo di una scienziata che antepone la sperimentazione alla vita umana, e soprattutto il duo composto da Gemma Arterton e dall’esordiente Sennia Nanua, nei panni di Melanie, davvero convincente nel passare dalla dolcezza dei suoi dieci anni a una violenza esplosiva. A loro spetta il compito di declinare una storia di affetto, antidoto alla visione di un mondo dove l’umanità pare soccombere.
5
PardoLive 3 | 8 | 2016
Focus on Gemma Arterton
PardoLive 3 | 8 | 2016
6
Gemma, Our Precious lorenzo buccella
Gemma Arterton, your characters stand out not only for being beautiful and seductive, but also for having a strong and combative character. And this is confirmed by your role in The Girl With All The Gifts... What stood out for me in the film, is that there is no romantic love story with any of the characters. Typically in cinema, a character like Helen would fall for one of her comrades, but here she doesn’t. All of the characters have a mission, and that is just to survive. Naturally, I see my character as a nurturing, sensitive and humane woman, the fact that she has to use combat is just a result of her situation. But, yes of course, I am always attracted to strong characters. What did you like the most of your role and how did you prepare for it? I love Helen’s sense of humanity. I believe she sees the bigger picture, much more than the other characters who are desperately trying to save themselves. She realises she needs to sacrifice herself in order for life to continue. She is a very loving and considerate woman, in a world full of horror and pain. I think this is what makes her incredibly gallant and strong. I was in the middle of shooting a completely different film in which I had done a lot of preparation and a challenging accent, so when I started this movie I was thrilled to just jump into it. There wasn’t much preparation to do, which I think suited the shoot. We all just got stuck in and got on with it. The cast is a mix of experienced actors, like Glenn Close and Paddy Considine, and newcomers, such as the young protagonist. How did the filming go? The filming was really collaborative. I loved how the fact that our lead actor was a newcomer which meant that the rest of us were supporting her. There was a great energy on set, with everyone playing in between takes and joking with each other. It was a physically challenging shoot for everyone, so these moments of lightness were so important. Really, it was all thanks to Colm McCarthy that things went so well. He was a brilliant captain of the ship and kept us all positive and focused.
7
Legend has it that you were chosen among 1500 actresses for the role of Bond girl in Quantum of Solace. What memories do you have of that experience? It feels like like a long time ago now, almost ten years! But my memories are all good ones. I remember feeling like part of a family. Barbara Broccoli and Michael G. Wilson created a very welcoming film set, which was really appreciated at the time as I was very inexperienced. It felt great to be part of something so inherently British and iconic. It seems like a paradox, but in the star system perhaps it is not: sometimes great beauty can turn into a trap. Is there a risk to be locked into more stereotyped roles? I guess for those great, great beauties out there, they can perhaps find it frustrating that people cannot see past their aesthetic appearance. I can imagine that they therefore may search for roles that divert that judgement, in which they can let loose and show that they can play any character. You are part of a large group of British actors who started on the stage and then moved to cinema and to Hollywood, without many problems. One of the greatest remaining things about the UK is our theatre tradition. I think that most actors in the UK train primarily for the stage and end up falling into film, almost by accident. I think the benefit of this means that, as an actor, you have more scope and ability to play characters from any period and style of writing. The training is so important if you want a long and varied acting career. We saw you in a variety of film, ranging from drama to romance to science fiction. Is there a genre you prefer? I don’t have any preferred genres. One of the great pleasures of my work is that it is always changing and I am always surprised by what I am offered. I never go out there with a set objective of what I want to do, and I suppose that is why my work so far has been so varied.
PardoLive 3 | 8 | 2016
Focus on Bill Pullman
PardoLive 3 | 8 | 2016
8
The Bill of Rights lorenzo buccella
Mr Pullman Locarno is celebrating you with an award dedicated to your acting skills, but it is also a way to cover your career. Which criteria characterised your choice to act (or not to act) in a movie? I was a late-bloomer, I did various theater acting-directing jobs before dedicating myself to acting in movies in 1985. I was cast in several studio movies before I was able to chose to participate in the independent movie world. I have always been aware that working with directors of independent movies have been connected to my participation in successful studio movies. A balance between the two has always made the most ideal to me. And I have been lucky to work in both systems, though the independent movies I’ve done are the most similar to those movies I like to go to see for the last bunch of years. In 1971 I saw Zabriskie Point: for me watching the last scenes of meant discovering the power of directors and actors who have a unique vision. I have been lucky to work with many authors with unique perspectives, focusing on stories that challenge our conception of normal. But I also continue to enjoy acting in wide-release movies of various genres because they remind me of the ones I saw in my youth, movies that sparked my first impulses to act. You have crossed the path of some great directors. Is there one with whom you feel to have established a significant relationship?
Enjoy responsibly - www.moet.com
I feel very fortunate to have worked with compelling directors and then to work with their offspring. These times have felt very significant. I did Lost Highway with David Lynch and then I did Surveillance with his daughter Jennifer Lynch and David produced it. I did The Accidental Tourist and Wyatt Earp with Larry Kasdan and then I did Zero Effect with his son Jake Kasdan. The richness of those experiences brought a unique ‘lens’ to the work that helped me to develop some characters that otherwise I might not have discovered inside myself.
9
To honor your presence in Locarno the Festival is going to screen a masterpiece like Lost Highway. What do you remember of that film, joining (as protagonist) that great universe of visions and mystery which distinguishes David Lynch’s works? I met David for the first time when he was considering me for Fred Madison and I felt a strong sensation that I was ‘home’. He used seductively opaque language to describe to actors the moments where the characters were living. The words he used reminded me of how my siblings would frame perspectives on moments in life that would make me always want more of it. I have continued to appreciate David’s bemusement with aspects of irony and paradox in our lives. He can put a character into a jeopardy with himself, immerse him into a pool of fear and never allow him to have any normal psychological revelations. The revelations emerge and still can’t be comfortably boxed up in an explanation. How has comedy changed from Nineties to now? I occasionally have been happily stealing some attitudes toward comedy from the younger actors I have been working with. There seems to me a subtler level of awkwardness, greater pain of embarrassment, and fuller stubborn contentment with personal choices that are out of whack with the norm. The permission actors can have to improve in a repetition of short takes is common now. I think it has come with the rise of comedy web series, short-form social media and digital filmmaking. That approach can yield some moments that are rapid-fire surprising yet real and can push the boundaries that a character might live within. The director of a commercial I did recently with Martin Sheen used this style and it gave the spots a welcome edge. There is a risk in some of the ideas of comedy now. Maybe it can become a bit self-conscious, or be funny to only the creators, but that has always happened through the decades. Except maybe to people like Mel Brooks.
CELEBRATE THE NOW #OPENTHENOW
PardoLive 3 | 8 | 2016
lucasdesign.ch | Foto: © Festival del film Locarno
Insieme, l’energia diventa emozione.
Azienda Elettrica Ticinese Anche quest’anno, AET e il Festival del film Locarno uniscono la loro energia per illuminare la Piazza Grande d’emozione. Buona visione!
www.aet.ch Sponsor principale del Festival del film Locarno
Concorso internazionale, Slava, Auditorium FEVI, 4 | 8 | 2016 – 14.00
Dalla storia di un uomo che trovò molti soldi, li restituì alla polizia e se ne pentì, abbiamo immaginato una tragicommedia dell'assurdo petar valchanov
The Fool of the Nation mark peranson Kristina Grozeva and Petar Valchanov’s third film is a social parable cum chess game about a pawn who gets unwillingly promoted, then tries to take out a queen and ends up sacrificed. Living alone with only his rabbits as companions, bearded railway linesman Tsanko Petrov (Stefan Denolyubov) discovers millions of lev on the train tracks. When he decides to report the money rather than pocketing it, his coworkers label him the “fool of the nation”, but the Ministry of Transport – currently embroiled in their own scandal regarding a carriage resell scam – take the opportunity to parade about their new hero on TV and at an award ceremony. Little do they know that Tsanko, however, is a loser who suffers from a debilitating stutter and might not be the best exemplar of Bulgarian honesty and responsibility on TV. But compared to the intense and driven Julia Staikova (Margita Gosheva), the ministry’s head of PR, who treats him like used piece
11
of tissue paper and sees herself as surrounded by retards, he’s an outright angel sent from heaven. When Julia removes his watch – the titular Slava (Glory), Tsanko’s Rosebud, inscribed and presented to him by his father – for the ceremony in order to present him with a new and improved digital model, it sets off a frequently hilarious chain of events that threatens to bring down the ministry thanks to a combination of corruption, irresponsibility and arrogance. All of this transpires while Julia is undergoing embryonic fertilization treatment which, to the annoyance of her husband, she treats as yet another irritation. Grozeva and Valchanov stage and film these outlandish, yet entirely probable events with an accomplished fluidity, creating a pointed work that illustrates the complete separation of a government and the citizens it’s engaged to serve.
PardoLive 3 | 8 | 2016
Concorso internazionale, Correspondências, Auditorium FEVI, 4 | 8 | 2016 – 16.30
lorenzo esposito
Lettere dall’esilio When I shoot a documentary, I immediately feel to do fiction. And when I am doing fiction, I feel I have to go back to reality rita azevedo gomes
Si dice che il mondo abbia perso la capacità di parlare attraverso la lingua della poesia. Che la poesia stessa non sia più in grado di accordare il proprio ritmo al mondo. Ma forse, ci dice invece la cineasta portoghese Rita Azevedo Gomes, il dialogo è ancora vivo, fragilmente custodito in un reticolo di corrispondenze segrete. Non nuova a questo tipo di riflessione (Frágil Como o Mundo, si intitolava il suo bellissimo film del 2002), Azevedo Gomes riattiva con Correspondências questa conversazione ininterrotta cogliendola in una sorta di intensità massima. Due poli sensibili, due poeti, producono il contatto: Jorge de Sena e Sophia de Mello Breyner Andresen. Il primo in esilio per motivi politici (in Brasile e poi negli Usa) e mai più rientrato in Portogallo; la seconda, per gli stessi motivi, letteral-
mente esiliata in patria. Per vent’anni (1959-1978) si scrivono lettere, parlano della distanza che li divide, discutono di vita, di politica, si scambiano poemi. Danno vita a un carteggio che lentamente scopre nell’esilio un’attitudine poetica prima ancora che uno stato politico, trasformano lo spaesamento interiore in nuova connessione col mondo, tramutano solitudine e malinconia in libertà e rivolta. Per tale dialogo transoceanico Azevedo Gomes inventa una forma filmica di peculiare bellezza, una tessitura infuocata di grane e formati, una trama sonora di echi, silenzi, grida, visioni, accecamenti, trasparenze che custodiscono altre e più misteriose corrispondenze (anche con l’epoca presente). Se si è in grado di connettere le proprie parole al mondo, le parole verranno parlate dal mondo stesso.
<wm>10CAsNsjY0MDAy0bU0MjUwMAUAcvjYvg8AAAA=</wm>
<wm>10CFWKrQ6AMAwGn6jL167dD5VkbkEQ_AxB8_4KhiO5S05c724Bn2vbjrY7A6JUxQBz4xKSerGg6sjIAk4LQwUWY_rNBJYZYz6E_DIYpEyWR7UU7vN6AKDEw_pvAAAA</wm>
via Marcacci 7 - 6600 Locarno 13
PardoLive 3 | 8 | 2016
Concorso Cineasti del presente, I Had Nowhere to Go, La Sala, 4 | 8 | 2016 – 11.00
From the darkness of History carlo chatrian
Make a clean cut of images. Maybe this is indeed the only way to give back its role to Cinema. Because it’s not the images that parade on the screen, but those that form in our mind that are the most important. A collaboration between two artists united by the same unstoppable energy and desire to experiment, I Had Nowhere to Go matches the charm of a tale that moves forward by flashes of inspiration with a theoretical structure as solid as Swiss rock. By meeting Jonas Mekas, Douglas Gordon brings forward the dialectic quality of the Lithuanian director. The story of his exile from Europe mixes with his reflections in a New York that he slowly learns to know. Mekas’ words are always special, inspired, and carried by rethorics which are never heavy. He gives the impression that every fragment of life is precious. A poet of memory of the Great History that interacts with the memory of small facts, Mekas is a man of the 20th Century that with his fragmentary style has predated the post- concept. His narration in accompanied only by absolute darkness. Douglas Gordon relies on the summoning power of sound and makes the film, like all his works, a unique experience. Almost a countershot of his portrayal of Zidane, which he codirected with Parreno, this film highlights the role of memory. Much like his previous work was a reflection on the coexistance of images, this new one flickers, like dreamed flashes, a few frames charging them of an ultra-real value, dreamlike and ghostly like at the origins of Cinema.
PardoLive 3 | 8 | 2016
14
Focus on Jonas Mekas
Jonas' Way lorenzo buccella Mr Jonas Mekas, where does your collaboration with Douglas Gordon come from? Did you know his works, before meeting him? And what did you think about him, as soon as you started working together? Long before I met Douglas I met his films and they were exciting. I like them because they are so different from what I or anyone else is doing. His films open a totally new invisible window full of visual excitement. And I like Douglas himself, because he’s always 200% himself, and is always unpredictable, like his films. Between you and Douglas Gordon there are 44 years of difference, but your desire to experiment is certainly something you have in common. You did it in a world that was still related to 35mm film, Gordon in a universe dominated by digital machines. What is your relationship with digital? Yes, I grew up in the world of 35mm. But I made an escape from it into the world of 16mm and 8mm, and this other world is very close to the digital world. Actually, it gave birth to the digital world. The 8mm world is almost as personal, as intimate as the digital world. So it was very easy for me to make the jump – it was a very small ditch to jump over. What do you think of current artistic tendencies, from this point of view? Is there still space for avant-garde expressions? Another word for the avant-garde is the “front line”, and there will always be front lines in every area of our work and play. And, as in the contemporary wars that we play, the avant-gardes have become multi-dimentional, no longer linear, they are happening at the same time in many places, and in many different media simultaneously. We live in very exciting times!
You listen to a voice and that voice is telling a beautiful story of survival. He had nowhere to go but he went somewhere douglas gordon
15
What were your feelings in passing in front of the camera, becoming the star of somebody else’s art project and telling the audience the hardest moments of your existence? For a diaristic film-maker and writer, which I am, being personal, being open is the material of one’s work. But what I permit others to see of myself, is only what can be pried open with the tools of one’s art. The deepest recesses of myself remain sealed even to myself.
PardoLive 3 | 8 | 2016
<wm>10CAsNsjY0MDAy0bU0MrA0NgYAOcWZRA8AAAA=</wm>
<wm>10CFXKoQ7DMAxF0S9y9J7dxPEMq7BoYCoPqYb3_6jd2MC96MyZteDXPp7HeCUB3SQUYZatsWjPgJceCUdVsD3oBGmOPy2gagXW1whcUBfvh5gv71Y-5_sCIREDWXAAAAA=</wm>
Concorso Cineasti del presente, Donald Cried, La Sala, 4 | 8 | 2016 – 18.30
That's My Hometown mark peranson
Credo che al centro di questo film ci sia un'emozione che tutti noi abbiamo provato e alla quale ci sentiamo legati... o almeno lo spero kris avedisian
Peter Latang (Jesse Wakeman) managed to escape the smalltown Rhode Island life, and now mucks it up as a mover and shaker on Wall Street. When his grandmother dies, Peter has to return home for the first time in 15 years to tend to of her affairs. Arriving in the dead of winter, Peter knows he’s in for a bad day once he realizes he’s left his wallet on the bus, and, well, the rest just snowballs downhill from there. Broke and hopeless, Peter is forced to knock on the door of his childhood metalhead amigo, Donald Treebeck (writer-director Kris Avedisian, all oversized glasses and mullet), for help, only to discover that the somewhat slow and unpredictable Donald hasn’t changed an iota since high school time, a truly nightmarish scenario for anyone who’s tried to leave the past behind. An expansion of Avedisian’s short of the same name from 2013,
Proudly presents the latest arrivals swiss.com
17
Valeria Bruni Tedeschi, attrice e regista Emmanuelle Devos, attrice Dario Argento, regista Eva Truffaut, attrice
and partially based on the Rhode Islander Avedisian’s own guilt at the horrible way he treated his old friends, Donald Cried presents a game of shifting sympathies, obviously leaning at first to the more adjusted Peter, but the more information that is revealed about what their relationship really was like when they were kids, the more Donald comes across as sympathetic rather than merely pathetic. Of course, that doesn’t mean that the mad man with the mullet can’t go off the rails at any time; as a comic creation Donald has few forebears in recent American independent cinema. Wakeman and Avedisian are pitch perfect in what essentially amounts to a 24-hour two-hander, playing off each other as if they were actually old buddies, making Donald Cried much more than just another film about wounded, stunted masculinity.
Rita Azevedo Gomes, regista Roger Corman, regista e produttore Kate Moran, attrice Jean-Stéphane Bron, regista Bruno Ganz, attore
Frédéric Mermoud, regista Mario Adorf, attore Edgar Reitz, regista Made of Switzerland.
PardoLive 3 | 8 | 2016
Pardi di domani
Short Circuits
It's the Festival section dedicated to discovering new talents: Pardi di domani presents forty shorts made by young directors in two separate competitions, Swiss and international. sara groisman
PardoLive 3 | 8 | 2016
18
Waits and absences, massive bodies and tiny baby hands, figures lost in the undergrowth, hopeful followers of Napoleon, mysterious women and seal-women, dancing artists and aspiring beauty queens: it’s a varied world, that of the Pardi di domani, the Festival section dedicated to shorts by young directors. «We don’t start by looking for specific themes or styles», explains Alessandro Marcionni, in charge of the section since 2009 and head of the selection committee. «We want to be 100% open and to let ourselves be surprised. And when making our choices, we try to be as representative as possible of what we have received, in all its diversity. Basically we don’t want to decide what cinema is for us, but rather represent what is happening around the world». With this approach, the four selectors sifted through over 3,000 shorts, some submitted by their directors, others tracked down during research and trips, in order to select the 12 Swiss titles and 28 international titles in competition. «We discover what we were looking for only after we’ve found it. There is however an essential starting point, which is identifying potential: a very personal way of looking, thanks to which the director can continue to tell their stories». Indeed, after presenting their films among the Pardini, plenty of filmmakers return to Locarno, often with features. Marcionni gives an example: «Milagros Mumenthaler started with us with his first short, then he presented the film Abrir puertas y ventanas, winning the Pardo d’oro, and this year he’s back in the Concorso». But it’s worth remembering that shorts shouldn’t just be seen as a necessary step along the way to making a featurelength film. Instead the two formats have a relationship that’s similar to the one between short stories and novels: «It’s a narrative form first, before being a visiting card for the feature film industry. For many directors, making shorts is a choice», said Marcionni. This is clear from the collection Filmando en Cuba con Abbas Kiarostami, in which a nine-minute work by the great director is flanked by the work of his students. And small films can still attract big names: this year in Rhapsody we meet Gérard Depardieu («a new, incredibly sweet Depardieu»), while La Femme et le TGV boasts Pardo alla carriera winner Jane Birkin. «In selecting our films, we are not looking for famous celebrity endorsers, but when we see that a renowned figure is dedicating themselves to young directors we do like to put emphasis on it, to highlight not just the talent of these newcomers but also the power of the short as a narrative form, able to win over even experienced actors». But Pardi di domani is not just about the meeting between young artists and established names, or between different trends and styles. It is also an opportunity to forge creative alliances. Like the bond between Camilo Restrepo and Kiro Russo. They met last year when showing their shorts at Locarno, and now they are both back with new works on which they helped each other, Restrepo as associate producer on Viejo calavera and Russo as artistic advisor on Cilaos. «In this way, the Festival becomes a place where people meet and create the connections that allow them to make films».
19
PardoLive 3 | 8 | 2016
Fuori concorso, Une jeune fille de 90 ans, La Sala, 4 | 8 | 2016 – 16.00
La danza della memoria carlo chatrian
Il progetto che sta alla base del film è svelato fin dalla prima inquadratura: un uomo entra a passo di danza in una casa di riposo le cui residenti riescono a malapena a tenersi in piedi. Lo scarto non potrebbe essere più grande: ma una volta superato lo stupore, ha inizio un percorso capace di svelare una drammaturgia inaspettata. Riducendo al minimo la “macchina cinema”, evitando ogni presa di parola o spiegazione e prendendosi tutto il tempo necessario per posare lo sguardo sugli anziani, Valeria Bruni Tedeschi e Yann Coridian realizzano un film che è al contempo impudico e tenero. È un viaggio in un mondo senza tempo, dove si può avere contemporaneamente novanta e vent’anni, dove si può credere di ballare stando su una sedia a rotelle, dove il corpo finalmente non ha più peso e non risponde alle leggi della gravità. Al centro di questa meravigliosa utopia sta Blanche, la “jeune fille de 90 ans”, la più pronta – un po’ per scherzo un po’ per davvero – a lasciarsi portare dalle arie musicali. Con quel suo sguardo eternamente acceso, Blanche finisce per dare forma a una propria storia con il ballerino. Storia che come nei migliori romanzi finisce per contagiare il resto della truppa, tra gelosie e ammiccamenti.
PardoLive 3 | 8 | 2016
20
Histoire(s) du cinéma, Y tu mamá también, L’altra Sala, 4 | 8 | 2016 – 16.00
Mamma Mia boris sollazzo It’s rare having the certainty that an author will become part of history of cinema. Just like happened to David Linde watching Y tu mamá también, Premio Raimondo Rezzonico 2016, always able to merge a special sensibility for art movies with a great instinct for the commercial makings of cinematic product. Gael Garcia Bernal and Diego Luna were young and talented, Maribel Verdù incredibly sexy just like the camera movements provided by Emmanuel Lubezki, the cinematographer that contributes to create the Oscar winning Mexican Nouvelle Vague and winning three in a row Academy Awards himself working for Alfonso Cuaròn and Alejandro Gonzalez Inarritu. These are the ingredients of this manifesto movie that brought movies in a brand new creative an emotional universe. The poetry of Truffaut meets the technique of Bertolucci facing the thin shadow line between adolescence and grow-up and not avoiding its most dangerous curves and crossroads. While the flooring soundtrack ranges through Frank Zappa, Natalie Imbruglia and a bewild Miho Hatori, the audience experiences a moving and complex coming of age trip, ruled by a cinematic grammar that is a soft cinema revolution, not by chance awarded with an Academy Award nomination for the Best Original Screenplay. Y tu mamá también is the seed of the modern Latin-American cinema, together with Inarritu’s Amores Perros, something fresh that learnt how to speak to Hollywood without being colonized.
21
PardoLive 3 | 8 | 2016
NEWCOMER OF THE YEAR. TOYOTA C- H R !
ORDINABILE ONLINE DA SETTEMBRE 2016.
toyota.ch Al momento della stampa nessun dato noto.
Signs of Life, Pow Wow, PalaVideo, 4 | 8 | 2016 – 21.00
Close Encounters of the Desert Kind mark peranson
A reconfigured desert, California’s Coachella Valley attracts a rich motley crew of characters, from the country clubbers pow-wowing it up in the Indian Wells Country Club, former site of a thriving Native American village, to washed-up celebrities, Austrian socialites, maintenance workers, survivors, and the Natives themselves. In a series of “ethnographic encounters”, they speak of the desert as a place of freedom, of changing beliefs, testifying to life then versus
life now. A throughline is provided by the true story of one of the West’s last great manhunts in 1908, which saw the Native Willie Boy on the run after he killed his lover’s father in self-defense (and provided the material for Abraham Polonsky’s 1969 movie Tell Them Willie Boy Is Here, shot on location in the community). With its odd characters, unique settings, and framings – the film’s major motif might be that
Spensierati all’evento e prevendita alla stazione FFS. RA_392_Typo-Inserat_Tessin_FiFL_186x17_i.indd 1
23
20.06.16 14:17
PardoLive 3 | 8 | 2016
Retrospective
Beloved and Rejected: German Cinema (1949 to 1963) PardoLive 3 | 8 | 2016
24
olaf möller
Das Kino der jungen Bundesrepublik Deutschand von 1949 bis 1963
Geliebt und verdrängt
In a 1960 essay for the magazine labyrinth, Heinrich Böll describes the difficulties of explaining the Federal Republic of Germany to a friend from abroad. He uses a rather intriguing adjective in this piece, calling the young nation ungenau, “inexact”. He meant that the FRG was characterized by contradictions and paradoxes, or to put it more casually: things refuse to add up. Why? Because nothing changed completely after May 8th, 1945; the Zero Hour is simply a myth (which some might call benign). And yet, it seems that so many thought or at least hoped that the FRG would be fundamentally different from what had come before. And it was – just in a different way, one that was less easy to narrate, while maybe more human. Yet when it came to cinema in the FRG, the Zero Hour myth worked, although the decisive moment came almost two decades later, in 1962, on February 28th, at the 8th West German Days of the Short Film in Oberhausen, where 26 filmmakers proclaimed: “The old cinema is dead. We believe in the new one”. As cinephiles, most of us are children of that moment, for we were brought up with the idea that the so-called post-war film industry produced merely politically vile, commercial junk, and sabotaged the careers of those few directors deemed important. But did we really believe this narrative of oppression and victimization? Didn’t we, the two and a half generations of Bonn Republic Germans, grow up watching those films, and liking, even loving them? Not all of us, sure, but many. More often than not, they were our first contact with cinema’s pleasures; more often than not, we enjoyed them together with our families who talked about the
25
stars of their childhood, while cracking fond jokes about them the same way you’d jest with your friends and relatives. And didn’t we love them, our families and their audio-visual acquaintances? So many of us always sensed that there was something very inexact about the way early FRG film history was told by those who officially were said to know... They weren’t wrong in their own way, it’s just that they couldn’t see it, often still can’t, and so be it. One of the cultural legacies of the Oberhausen Zero Hour is a vast blank space. By now, the West German cinema of the nation’s early years, the troublesome era of Chancellor Konrad Adenauer, the Bonn Republic’s decisive years, is essentially unknown abroad while at home considered a case deserving of special pleading. In fact, even those of us who believe in the genius not only of Wolfgang Staudte and Helmut Käutner, the official greats who indeed are great (greater perhaps than we thought), but also that of little-researched and little-lauded masters like Radványi Géza, Victor Vicas, Frank Wisbar or Wolfgang Schleif – even we are still taken aback when friends from afar tell us how much they liked, say, Georg Wilhelm Pabst’s Das Bekenntnis der Ina Kahr (1954) or Harald Braun’s Der gläserne Turm (1957). We were right, there is so much to this cinema, so, so much – and still, although we know, it feels hard to believe. We feel strange. Maybe it’s high time for all of us to watch some films from those years together, to get rid of many a prejudice, to start filling that blank space, and to discover the contradictionriddled beauty of the young Bonn Republic’s cinema.
The Book The Retrospective is organized in collaboration with the Deutsches Filminstitut, Frankfurt am Main, and with support from the Cinémathèque suisse and German Films. The Deutsches Filminstitut will also publish a catalogue in English and German edition that will accompany the program. Edited by Olaf Möller and Claudia Dillmann, Director of Deutsches Filminstitut, the multi-faceted book will comment on and further explore the issues of the Retrospective.
PardoLive 3 | 8 | 2016
CONGRATULATING ALL THE NOMINEES FOR THEIR OUTSTANDING CONTRIBUTIONS TO FILM
THE OFFICIAL MAKEUP SUPPLIER OF THE FESTIVAL DEL FILM LOCARNO 2016 MACCOSMETICS.CH
Beyond the Festival
Al centro del villaggio mattia bertoldi In migliaia l’hanno apprezzata come ritrovo naturale dei festivalieri tra una proiezione e l’altra, di giorno come di notte, ma quest’anno c’è di più: laRotonda è tornata con una nuova veste grafica e un soprannome – il villaggio del Festival del film Locarno – che è insieme promessa e garanzia. Gli ingredienti sono quelli di sempre: internazionalità (grazie alle venti tendine dedicate al cibo etnico del Food-district, unite ai sette bar), attenzione alle realtà commerciali di tutto il mondo (l’Outdoormarket conta oltre cinquanta bancarelle), grande attenzione per la musica e l’intrattenimento. Il cartellone sta lì a dimostrarlo, con un parterre di musicisti di razza... ticinese come SEBalter (in formato
trio), Andrea Bignasca, Sinplus e Make Plain più una serie di altri musicisti ai quali subentrano, ogni sera, i piatti e i mixer di diversi DJ. Una ricca offerta artistica, insomma, allietata dai collegamenti in diretta e il lavoro di supporto di Rete Tre. Aperta fino al 14 agosto, laRotonda si presta a ogni genere di esplorazione, come dimostra la bella mappa illustrata da Antoine Déprez alle pagine 402 e 403 del catalogo ufficiale del Festival del film Locarno. Per chi preferisse connettersi, maggiori informazioni sono su www.rotondafestival.ch o sulla pagina Facebook “laRotonda”, che in pochi giorni ha accumulato già oltre 2400 “Mi piace”.
Per aggiornamenti e modifiche del programma, consultate www.pardolive.ch To keep updated on any changes of the programme, connect to www.pardolive.ch
USI Università della Svizzera italiana
www.usi.ch
Small classes, an international atmosphere.
<wm>10CAsNsjY0MDAy0bU0MjU3NAYAg3rvSw8AAAA=</wm>
<wm>10CFWLKw6AMBAFT7TN27dtl7KS4AiC4GsImvsrPg4xyYiZZYmS8DHN6z5voQCzNBZXi0JPzDaEuSfAnQEnCa2j1gxUov0WgZIF6G8jcCH7I9aE1vOg6TrOG9ar8E11AAAA</wm>
Starring 2964 students from over 100 countries in 40 programmes
Programmes in English & Italian
ARCHITETTURA / ECONOMIA / COMUNICAZIONE / INFORMATICA BACHELOR / MASTER / PHD / EXECUTIVE MASTER USI Lugano/Mendrisio - studyadvisor@usi.ch
Mobility Partner Festival del film Locarno
27
PardoLive 3 | 8 | 2016
Beyond the Festival
Cinema, moda e creatività mattia bertoldi Marina Masoni, il settore della moda è considerato determinante per lo sviluppo dell’economia ticinese. In che modo Ticinomoda (www.ticinomoda.ch), di cui lei è presidente, lo favorisce? La moda è fondamentale come fattore di diversificazione dell’economia ticinese: non solo banche, commercio, industria farmaceutica, meccanica e orologiera, dunque. Per una regione di frontiera è una carta decisiva. La missione di Ticinomoda è fare in modo che il Ticino sia un territorio competitivo per l’insediamento e l’espansione delle imprese attive in questo settore. Il Ticino è spesso considerato una “Fashion Valley”... È una delle migliori espressioni per descrivere la capacità del Ticino di modernizzarsi, cioè di innovare, confrontarsi con il mercato globale,
reinventarsi. Una settantina di aziende con circa 6’000 posti di lavoro, cifre e contenuti imprenditoriali che parlano da soli. Come mai avete avviato una collaborazione con il Festival del film Locarno? Primo: la creatività nella libertà. Senza creatività il cinema annoia e la moda muore. Senza libertà il cinema non può parlare alle persone e la moda non può offrire ciò che le persone cercano. Secondo: glamour e fatica. Cinema e moda vogliono affascinare il pubblico. Per arrivarci però occorre fatica: competenza, serietà, impegno, tanto lavoro. Un backstage gigantesco. E non è sempre detto che il risultato sia soddisfacente. Ma chi riesce, può segnare la memoria di ognuno con un’immagine che resta per sempre.
Quali sono i film legati alla moda che più le sono rimasti impressi? È difficilissimo fare una selezione. Dal vestito verde che Scarlett O’Hara (Vivien Leigh) si inventa con le vecchie tende in Gone with the Wind alla scelta del guardaroba di Gaby (Alicia Vikander) in The Man from U.N.C.L.E., passando dalle creazioni che sfilano magnificamente indossate da Marilyn Monroe e Lauren Bacall in How To Marry a Millionaire, alla mitica scena dell’arrivo di Sabrina (Audrey Hepburn) al rientro da Parigi, all’impeccabile guardaroba di Harry-Galahad (Colin Firth) in Kingsman – Secret Service. Cinema e moda sono inscindibili, si influenzano reciprocamente e insieme esprimono e creano il gusto di generazioni intere.
Histoire(s) du cinéma suisse – Hommage Clemens Klopfenstein
The Story Of Night Clemens Klopfenstein
Documentary, 1979, 63 min. Italy / Switzerland
Thursday, 11:00, Teatro Kursaal
Swiss Highlights in Locarno on Thursday, August 4
Panorama Suisse
A Decent Man Micha Lewinsky
Fiction, 2015, 92 min. Switzerland
Thursday, 11:15, FEVI
Piazza Grande
Moka
Frédéric Mermoud Fiction, 2016, 90 min. Switzerland / France
Thursday, 21:30, Piazza Grande
www.swissfilms.ch
PardoLive 3 | 8 | 2016
28
Histoire(s) du cinéma
A New Gaze on Klopfenstein boris sollazzo
The marriage between the Festival del film Locarno and the Cinémathèque suisse gets renewed every year, with special gifts. In 2016, two of these concern Bernese director Clemens Klopfenstein, the peot of the night, a cinematic location and space that he’s made unique through film, shooting it in various cities throughout the world in Geschichte der Nacht. As stated by the Cinémathèque’s director Frédéric Maire, it’s an experimental masterpiece that has often had the misfortune of being screened in museums, theaters and festivals in terrible conditions. However, thanks to a digital restoration carried out by the Cinémathèque suisse, the association Memoriav, the University of Basel and the director himself via the Cinegrell laboratory, it has reclaimed it beauty and uniqueness. As part of the Histoires(s) du cinéma program, we will also see another film by the same director, the disorienting WerAngstWolf, featuring Bruno Ganz. While Klopfenstein’s work is scheduled at
Histoire(s) du cinéma, Boxes, Teatro Kursaal, 4 | 8 | 2016 – 12.30
the beginning of the festival (August 3, 4 and 5, Teatro Kursaal), another surprise is coming on the penultimate day, August 12, at the Auditorium Fevi. The Cinémathèque suisse has another unmissable proposition, L’Inconnu de Shandigor, a cult film from 1967: director Jean-Louis Roy works on genre with irony and inventiveness, with an antihero in the shape of Von Krantz, an unusual mad scientist (in that he wants to save the world, not dominate or destroy it), and Serge Gainsbourg as a “leader of bald people”, ripe for rediscovery. Especially when seen in the 4K restoration made by the Cinémathèque suisse using the original 35mm negative as a starting point. Lastly, in between those two names, we have the festival-wide retrospective, with the Cinémathèque playing a role as always. In this case, the films of the young German Federal Public presented a fairly complex challenge, which was overcome.
Beyond the Festival
CISA, il cinema giovane max borg
Boxing Jane Thanks to masterpieces like Blow-Up or La Belle Noiseuse, Jane Birkin has become one of the most iconic European actresses of our times. Awarded with the Pardo alla carriera, the English artist is coming to the Festival del Film Locarno to present her movie as a director: Boxes, released in 2007. The story is centered on Anna who has just moved in Brittany. Unpacking
adriano ercolani
her stuff means re-experiencing her own lifetime journey. The cast is astonishing: Geraldine Chaplin, Michel Piccoli, Natacha Régnier, John Hurt and Tchéky Karyo. This ensemble supports the director’s personal vision about life, love and regret. A moving portrait inside the core of Jane Birkin’s private soul.
Sono giovani, determinati, ambiziosi, pronti ad imparare e divertirsi. Sono gli studenti del CISA (Conservatorio Internazionale di Scienze Audiovisive), protagonisti del pomeriggio del 4 agosto tramite l’iniziativa Young Filmmakers Training in Switzerland and Italy (part 2), al PalaVideo dalle 14 alle 16.30 (la prima parte avrà luogo dalle 10 alle 12.30). In tale occasione verranno presentati i lavori più recenti degli studenti, con uno spazio privilegiato per il Progetto ImaginaSon: cortometraggi realizzati a partire da materiale d’archivio fornito dalla Cinémathèque suisse, con accompagnamento musicale dal vivo composto appositamente, a cura degli studenti del Conservatorio della Svizzera Italiana (CSI). Il CISA è anche presente al Festival, per il sesto anno consecutivo, in collaborazione con PardoLive TV.
Official Film Carrier
69° Festival del film Locarno tnt.com/express
29
PardoLive 3 | 8 | 2016
Quando Piazza Grande ci crede “Credo che un film non è fatto per essere visto solo da pochi individui. Se hai un messaggio deve poter essere recepito da molte persone. E penso che Locarno è un primo test fenomenale per scoprire come possa reagire il grande pubblico davanti a un tuo film”. Parola di Eran Riklis, l’unico regista che è riuscito per ben due volte a strappare i consensi di Piazza Grande, aggiudicandosi una doppietta di Prix du Public UBS. “Ogni volta è stata la stessa emozione ed è una cosa unica la mondo: sai che ci sono 8000 persone. Non li vedi in viso, ma ne percepisci la presenza anche al buio. Ti siedi con loro e davanti hai solo la bellezza dello schermo”. Un’esperienza, vissuta con vittoria finale sia con The Syrian Bride nel 2004 che con The Human Resources Manager nel 2010. In entrambi i casi, il
regista israeliano è partito da episodi vicini ai drammi della cronaca, per innescare da lì meccanismi da commedia capaci di far sorridere e riflettere insieme. Il dolce che non può essere disgiunto dall’amaro e viceversa, proprio come succede negli eventi concreti della vita quotidiana. “Un film ha sempre molti elementi fantastici. L’immagine, la scenografia, i costumi, il dialogo, la musica, la storia. Ma, in fin dei conti, un film funziona solo se è credibile. Questo è il solo punto fondamentale”. Ed è qualcosa che i lavori di Riklis si sono sempre guadagnati sul campo. Anzi sulla Piazza, di fronte a quella moltitudine di occhi che costituisce la giuria popolare più preziosa del Festival del film Locarno.
Festival del film Locarno
Prix du Public UBS
Festival del film Locarno, Piazza Grande
Votate e vincete: scegliete il vostro film preferito in Piazza Grande e vincete un iPad Air. www.pardo.ch/ubs
The Syrian Bride, The Human Resources Manager Vincitori del Prix du Public UBS nel 2004 e 2010 Eran Riklis, regista
120% fun ascona-locarno.com
et! stival tick e f r u o y p Kee it! It’s worth e activities ee tim t on many fr n u co is d % 20 Locarno. ival del film st e F e th g n duri l More info: merspecia o.com/sum rn a c o -l a ascon
The Last Tweet @lorenzobuccella
Ladies and Gentlemen, please rise for the President of United States of America #billpullman #locarno69
www.gettyimages.com/entertainment
cinematic
Editor Lorenzo Buccella Graphic design Dimitri Bianchini Julien Nemiccola Michela Di Savino
Writers Massimo Benvegnù Mattia Bertoldi Max Borg Alessandro De Simone Adriano Ercolani Lorenzo Esposito Sergio Fant Aurélie Godet Sara Groisman Mark Peranson
Daniela Persico Boris Sollazzo Guest photographers Alessio Pizzicannella (cover) Sabine Cattaneo Vittorio Zunino Celotto
Photographers Gabriele Putzu (TiPress) Fotofestival (Marco Abram, Pablo Gianinazzi, Massimo Pedrazzini, Sailas Vanetti)
Production and Logistics Luca Spinosa Advertising Raphaël Brunschwig Elisa Bazzi publicitas
by Vittorio Zunino Celotto
Print Salvioni Arti Grafiche
Š UBS 2016. All rights reserved.
Enjoying together Unique moments at the Festival del film Locarno.
ent cial mom e p s a y your njo Did you e al del film? Share stiv ts for at the Fe win ticke d n a e c n experie g night. rno the closin lfilmloca e ld a iv t /fes ubs.com