4 | 8 | 2016 – PardoLive – day 2 by Festival del film Locarno

PardoLive 69° Festival del film Locarno

Thursday · Giovedì 4 | 8 | 2016

PardoLive Partner:

Carlo Chatrian • Artistic Director

Highlights Day2 Revengeful, sensual, transgressive, in love. The second day dips into a world of women, both behind and in front of the camera, with timeless icon Jane Birkin (cover) and the two stars of Moka, Emmanuelle Devos and Nathalie Baye, united and divided by an accident of fate.

Roman Porno yesterday and today: a transgressive genre in which women take power. Eroticism tells us about Japan and the clash between genders. On the same frequency, we have the most sensual dance of film history in our retrospective, performed by a semi-naked Debra Paget as she challenges a giant snake in Fritz Lang’s Der Tiger von Eschnapur.

In La Prunelle de mes yeux French director Axelle Ropert leads us into a comedy of misunderstandings, where two young couples interact between glances of love and concerns for the present. The story of the family in Ostatnia rodzina, on the other hand, featuring Andrzej Seweryn, Wajda’s great actor and SS officer Scherner in Schindler’s List, becomes history of Poland.

A round trip from Milan to the Strait of Sicily that delves into Italy’s history and current events. On the one side, the architecture designed by Piero Portaluppi (L'amatore), on the other the painful journeys through the Mediterranean Sea, filmed by Pardino d’oro 2013 winner Michele Pennetta.

Signs of Life, the section the redraws the geography of cinema, is underway. Now is the moment for Svi severni gradovi (All The Cities from the North), where between cement blocks and lost lands reclaimed by nature, a journey stops at the border between Montenegro and Albania for an investigation into what survives amidst the ashes of old states.

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Focus on Jane Birkin

Style and Transgression massimo benvegnù

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Madame Birkin, you were an icon of style and transgression in Swingin’ London. What do you remember about those times? I don’t remember much! Maybe it feels more important now, looking back, but for us Swingin’ London was just something really exciting – King’s Road, the new Fashion, the fact that for the first time fashion was not something for 40-years old, but aimed at the young. It was great to see all these mini-skirts parading over London. It took only one scene of Michelangelo Antonioni’s Blow-Up to launch you into stardom. How did it go? Antonioni was a master and a gentleman. He was such a perfectionist, I believe he was an architect before becoming a film director. He was in control of everything – he didn’t like the clothes I was wearing for the scene, which I had bought in King’s Road, so he changed those, and then he changed my hair color, and then he went on to change the colors on the set, he controlled every single detail. When he asked me to take my clothes off for the scene, I asked my husband at the time, John Barry, and he said to me: «Michelangelo Antonioni is the greatest director in the World – if you have to be naked, you might as well do it for him». And then came the artistic association with Serge Gainsbourg. You went from fashion icon to music icon. Was music already part of your life? I had done a musical when I was 17. I knew I had a voice, but my pitch was rather high. And of course, I was married to John, one of the greatest film composers, so it happened that I would sing a song here and there. But Serge had an intiution, he asked me to sing even higher, and that’s how Je t' aime… moi non plus came about… which was considered too scandalous to be released as a single, so we ended up producing a whole long-playing, to hide it in there among the other tracks. But it became such a success that me and Serge ended up making a record a year for every year, up until his death… You worked with some of the greatest filmmakers of all time – did you have any favorites and what did you learn from them?

Je’t aime…moi non plus era stata considerata troppo scandalosa per essere realizzata come singolo, così decidemmo di produrre un album intero, per nasconderla in mezzo alle altre canzoni. Ma divenne un tale successo... jane birkin

Jacques Doillon was the most exigent, he would shoot a scene one-hundred times. What he was really looking for was an accident, something unexpected that would happen in front of the camera. A great lesson. Agnès Varda was the most curious person I ever met – she never stopped being interested in everything. I remember once we were together on a stop-over at the airport in Madrid, and I thought, we are just going to sit at the lounge having a drink, and she said «We have to rush to go and see the Prado!» and she dragged me there. Jacques Rivette’s style of work was the most fascinating – you had no idea what the film was about, he would give you a little piece of paper with some notes for what you had to shoot on that day, and find out only the day after what the scene was about, and only at the end of the shoot what was the story of the film, if you had saved all the little pieces of paper! And then you decided to go behind the camera yourself. How did it happen? It was my story, and I decided I was the best person to do it. I was very lucky with the casting, in finding two talented actresses to play my girls, Natacha Régnier and Adèle Exarchopoulos, before she became famous for La Vie d’Adèle. I asked Geraldine Chaplin to play me and she said: «You missed me by ten years. But I will play your mother instead!». In Locarno we will see you as well in an unusual role in a small film directed by Timo von Gunten, La Femme et le TGV. What attracted you to this project? I liked this story about loneliness, and the fact that it was based on an actual person. We worked for one week, every day, from 8 in the morning to midnight, but it was worth it. Everybody was very young and filled with energy, and I liked that.

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Which movie is it? A: Titanic I B: Vitus I C: The Piano 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.

Piazza Grande, Moka, 4 | 8 | 2016 – 21.30

Emmanuelle Devos allowed a wide expressive and emotional range necessary in this kind of movie. She knows how to control and abandon losing herself in a beautiful dualism. frédéric mermoud

Il lutto, la lotta lorenzo buccella

L’atmosfera di un noir che è costretta a coabitare con una ricerca quasi tutta alla luce del sole. Ma non è solo su questo confine che si sviluppa Moka, il nuovo film di Frédéric Mermoud, visto che tante altre sono le frontiere da attraversare. Da quelle geografiche del lago Lemano che divide la Svizzera dalla Francia a quelle psicologiche della sua protagonista in cui l’elaborazione di un lutto sembra coabitare in precario equilibrio con un desiderio di vendetta. Un gioco chiaroscurale che nel film trova incarnazione soprattutto nel viso e nel corpo di Emmanuelle Devos, là dove il dolore febbrile convive nelle sue espressioni esteriori con una malinconia disincantata. È lei, l’attrice feticcio del regista vallesano, a far da perno a un viaggio emotivo che la porterà 7

a trovare il proprio contraltare, soprattutto nella seconda parte del film, in un’altra interprete francese del calibro di Nathalie Baye. Dei quattro talenti svizzeri riuniti sotto il tetto comune di Band à part Films (Bron, Baier, Meier, Mermoud) e tutti legati da rapporti profondi al Festival del film Locarno, Frédéric Mermoud si conferma l’autore che più degli altri punta il suo sguardo sul cinema di genere per lavorarlo dall’interno. Lo fa sfruttando la duttilità di quegli orizzonti narrativi che gli permettono di inserire nei suoi film marchi autoriali così come di invertire alcune coordinate di riferimento. Perché se già nel suo polar precedente, Complices, passato nel Concorso internazionale del 2009, l’evento di parten-

za “bruciava” volontariamente la suspense attraverso il ritrovamento di un cadavere finale, adesso in Moka tutto parte a trauma già consumato e da lì s’innesca la miccia di una tensione che cresce lentamente, non tanto per incalzare gli eventi, quanto più che per puntellare lo scandaglio psicologico dei protagonisti. Pochi ed elementari sono infatti gli indizi messi man mano per strada: la ricerca di una persona, una macchina accidentata, una pistola e qualche eco hitchcockiana. Tutte boe, però, lasciate galleggiare sulla piattaforma di un disagio che alla fine contagia tutti. Tra perdite, sensi di colpa e urgenze di chi cerca di ritrovare una “giusta” pace. E cioè in mezzo a tutti quei baratri che si aprono forzando le gabbie del racconto di genere. PardoLive  3 | 8 | 2016

Focus on Emmanuelle Devos

All About Two Mothers

Diane deve rimettersi in gioco e abbandonare il fantasma del figlio; solo così riuscirà a renderlo parte della sua memoria emmanuelle devos

daniela persico

Emmanuelle Devos, Moka is about the journey in mourning for a son’s loss, highlighted with make-up and costume changes: Diane from pure soul becomes again “flesh”. How did you work on this process? That was the heart of the movie, being able to show this transformation. Diane had been hospitalized because of the pain caused by her son’s death, this boy is present only in a dreamlike dimension, the movie starts at a specific point in time, when this woman needs to keep together herself and let her son’s ghost go. It’s the only way she can put him in her memory. You and Nathalie Baye play two opposite characters, in your relationship as well as your role as mothers. We talked a lot with Nathalie, but we didn’t discuss maternity. We focused specifically on our relationship with our partners and the physical aspect. Nathalie created a unique character, totally vivacious and bizarre, with bleached hair and weird make-up! This is the second Frédéric Mermoud's movie you appear in. How does the relationship between director and actress change when they work together again? Shooting again with Frédéric was amazing and different, because after the previous movie Complices – Concorso internazionale at Locarno 2009 – we created this project together. I read the screenplay several times, and had the chance to build my character with the director. It’s a movie we really built together. In several scenes Diane is alone on screen, split between her son’s memory and the plan she has in mind…

You also played a mother’s role in Fai bei sogni by Marco Bellocchio. Directors often project this strong and regal idea of maternal instinct on your beauty. How do you deal with that? Actually no one asked me to play a mother for a long time, even if I have two daughters and enjoy my role as a mother very much. I only got this kind of role recently, and I think bringing maternal instinct onto the big screen is a really complex thing, you need a certain maturity to accomplish it. PardoLive  4 | 8 | 2016

I love being alone, in those moments I have a direct communication with who stands behind the camera. And I love to receive strong feedback: when I act, I expose myself. I become vulnerable, like a child, I enjoy having everyone’s attention. And then I start desiring having other people in the scene, and this time I was waiting for a great actress like Nathalie Baye.

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Emotionally Gigantic «The feeling you experience when you see yourself on that giant screen is impossible to describe. Up there, your foot suddenly becomes eight meters long. There is nothing as awe-inspiring as the images on the Piazza Grande screen.» For Saskia Rosendahl, a very young German actress, this was how her arrival on the international cinema scene played out. And this was at the Festival del film Locarno in 2012. The film was Lore, by the Australian director Cate Shortland, and she was playing the titular role, a young girl. «The memory of that moment when the screening started? I was there with my mother who was seeing the film for the first time, and I kept looking around to see how people were reacting. But what was magical was that, despite

those thousands of people all around us, the atmosphere somehow managed to be extraordinarily intimate.» All the more so, since the film that tells the story of a group of children in a Germany devastated by World War II ended up touching the hearts of 8,000 viewers in one fell swoop. Which resulted in the film winning the Prix du Public UBS. «Having performed in the film that won the highest number of votes is a feeling like nothing else you’ve felt before. It is a really special honor to receive an award that comes directly from your audience. A completely unmediated response that only the unique experience of the Piazza Grande can offer». l.b.

Festival del film Locarno

Prix du Public UBS Vote and win: choose your favourite film in the Piazza Grande and win an iPad Air. www.pardo.ch/ubs

Lore Winner of the Prix du Public UBS in 2012 Saskia Rosendahl, actress

Panorama Suisse

Whatever The Weather Remo Scherrer

Animation, 2016, 11 min. Switzerland

Friday, 11:00, FEVI Panorama Suisse

My Life As A Film - How My Father Tried To Capture Happiness Eva Vitija

Documentary, 2015, 77 min. Switzerland

Friday, 11:00, FEVI

Pardi di domani – Concorso nazionale

PROGRAM 1

The Railroad Lady, The Bridge Over The River, Stage Left, Lost Exile Friday, 14:00, La Sala

Swiss Highlights in Locarno on Friday, August 5 Concorso cineasti del presente

Fishing Bodies Michele Pennetta

Documentary, 2016, 65 min. Switzerland

Friday, 18:30, La Sala

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www.swissfilms.ch

Concorso internazionale, Ostatnia rodzina (The Last Family), Auditorium FEVI, 5 | 8 | 2016 – 14.00

Morte a Varsavia lorenzo esposito

I wanted to shoot a fiction film as much like a documentary as possible. I think we got closer to those real events than anyone ever before jan p. matuszynski

Non sarebbe inutile se qualche giovane artista contemporaneo, interessato a entrambi gli impianti figurativi – la pittura e il cinema –, riflettesse sulla doppia natura dell’opera del grande pittore polacco Zdzisław Beksinski: quasi realistico nell’epica fantastica dei suoi dipinti e visionario nel documentare ossessivamente la propria vita quotidiana con video, fotografie e registrazioni. «Vorrei dipingere come se stessi fotografando i miei sogni», una delle sue frasi più famose. Di certo ne è consapevole Jan P. Matuszynski. La storia della famiglia Beksinski dal 1977 al 2005 è infatti anche la storia segreta di un popolo e una nazione divisi tra una natura semplice e appartata e la pulsione per l’eccentrico artistico e sessuale. Realtà e sua interpretazione. Immaginazione e morale. Arte e vita. La famiglia Beksinski, che comprende anche il figlio Tomasz (prodigioso e neurotico cono-

Prix du Public UBS 11

scitore di cultura e musica pop, DJ ante litteram, esploratore sadomaso, suicida di professione), la dolce e severa moglie Zofia e le due anziane nonne, non rinuncia a nessuna di queste possibilità, si pone anzi come ultimo incendiario avamposto laico. Non a caso, quando la vita a Varsavia si trasforma in un’inesorabile marcia della morte, che tocca tutti i familiari e tutto ciò che lo circonda, compresa la casa e il quartiere che da anni lo ospita, Zdzisław Beksinski risponde alla morte filmandola e cercandone l’ulteriore dimensione artistica. Matuszynski, in quello che è sicuramente il più bel film polacco degli ultimi anni, filma con furia architettonica e umorismo sottile e disperato, ottenendo un affresco impressionante non solo della Polonia, ma dell’Europa tutta.

Vote and win www.pardo.ch/ubs

Yesterday’s prize draw winner: Damian Amacker

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«Una bella storia rimane entusiasmante fino alla fine.» Pensaci, ora tocca a te. Swiss Life, partner ufficiale dei Pardi di domani, sostiene i talenti svizzeri del cinema e offre una previdenza completa – per una vita più lunga e secondo le proprie scelte. www.swisslife.ch

Concorso internazionale, La Prunelle de mes yeux, Auditorium FEVI, 5 | 8 | 2016 – 16.30

Lui e lei. Combatteranno, ci faranno ridere, poi si innamoreranno. Perché si deve essere spensierati nei momenti difficili? Ce lo dirà il pubblico axelle ropert

Blind Love carlo chatrian It might be because of the rebetiko, which serves as a playful soundtrack, but Axelle Ropert’s latest film has a certain dissident air that balances well with her taste for comedy and the usual complicit gaze she directs towards her characters. The story is set in Paris, and once again Ropert locates it away from the ordinary areas of interest, here identifying an unusual Greek community. If the spirit of rebetiko, dancehall songs popular during the revolutionary era, remains little more than a light thread woven through the film, the presence of music is nonetheless central thanks to the character played by Mélanie Bernier, a blind tuner. She is the luminous centre of this film, with her open, trusting smile and her eyes wide as though looking beyond the horizon of things. With a Cukor-style misunderstanding, when she first meets the young Théo (Bastien Bouillon), he, not realizing that she is blind, instead pretends that he is. 13

Handicaps and marginality are the subject of La Prunelles de mes yeux, serving as a way to recount the difficulty of a generation struggling to find its own place. Axelle Ropert’s greatest quality is the ability to construct dialogue that gives the right weight to words even when they arrive inopportunely. Riding the wave of words that ring like flirtatious skirmishes, the characters of this film, which hides a dark depth under an air of comedy, live a kind of existential exile. That’s how it is for the two Greek brothers, one who thinks he is a misunderstood musician and can’t sing and the other who has a musical gift but doesn’t use it so as not to offend his brother. And that’s just one example of the delicately woven web that connects all of the characters, even when they are fighting amongst each other, and which represents a beautiful image for a pluralistic community.

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Love in Japan aurélie godet

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Ho cercato di evocare l'esperienza umana nel suo complesso. Mi sono concentrato sui corpi degli attori, e ciò ha influenzato ogni scena akihiko shiota

Histoire(s) du cinéma, Koibito-tachi wa nureta (Lovers are Wet), La Sala, 4 | 8 | 2016 – 23.30

Fino al prossimo uomo Tatsumi Kumashiro stava cercando un modo di raggiungere il successo nell’industria cinematografica quando lo studio Nikkatsu lo assunse come regista per il lancio, nel 1971, dell’ormai famosa serie dedicata al cinema erotico softcore, conosciuto come “roman porno”. Kumashiro fu astuto nel comprendere il potenziale del genere e lo trasformò ben presto in un successo di critica e di pubblico. Koibito-tachi wa nureta (Lovers are Wet), il suo quarto film con Nikkatsu, rimane uno dei suoi classici più ammirati – oltre che, per pura coincidenza, il suo preferito – e non è difficile capire perché. È incredibilmente bello. Moderno sia nelle tecniche di ripresa diversificate, sia nell’approccio ai temi. La storia è abbastanza semplice: un giovane, Katsu, si nasconde nel piccolo villaggio di pescatori dove è cresciuto. Lì dà una mano come proiezionista, anche se passa la maggior parte del tempo a passeggiare e a spezzare la routine cittadina. C’è un vento libertario che soffia in tutto il film e Kumashiro è a capo della ribellione: mentre soddisfa i requisiti del “roman porno”, all’interno della narrazione sviluppa una riflessione sul genere stesso. Considerando il sesso più un bisogno naturale che una trasgressione, ci invita a vedere – spesso con umorismo – cos’è veramente il voyeurismo e quanto patetica può essere la frustrazione maschile. Prima di reagire alle sue scene più brutali, riflettiamo su una delle questioni aperte del film: cos’è peggio, sbirciare o mostrare?

Concorso internazionale, Kaze ni nureta onna (Wet Woman in the Wind), Auditorium FEVI, 5 | 8 | 2016 – 18.30

Kiss Me Out of Danger In Akihiko Shiota’s first film Gekkô no sasayaki (Moonlight Whispers, 1999), a boy with a fetishism for female authority kneels down to his girlfriend and declares: «I’m your dog». For this 3rd participation to the Festival del film Locarno, Mr. Shiota returns with a masterfully written story of desire and domination that boasts comparable canine analogies. A stray dog – or rather, a stray bitch – is how the male lead, Kosuke, calls the beautiful stranger who makes a spectacular entrance into his hitherto quiet life. He resists her sexual provocations, explaining that he has left the city for an isolated mountain cabin in order to get away from women and «think deeply». Shiori (the bitch has a name) laughs, calling him a fool. Denying oneself sex? How ridiculous. She has an appetite and no intention of letting herself starve. And a man who rejects her deserves punishment. The Nikkatsu studio asked for Mr. Shiota’s take on their brand of erotic cinema known as “roman porno” and the game came with certain rules, such as making the film shorter than 80 minutes and shooting it in the record time of one week. Although incredibly restrictive at first sight, Mr. Shiota appears to have turned this last constraint into a formidable asset. Kaze ni nureta onna (Wet Woman in the Wind) is infused with an unstoppable energy, which shouldn’t let us overlook the delectable subtlety of his mise-en-scène and dialog. And in addition to an unhinged freedom of tone, this joyful spontaneity induces an original exploration of spaces. Characters have sex when and where they feel like it, whether or not people are right there watching them. Who’s the doggy? PardoLive  4 | 8 | 2016

Viviamo insieme

momenti indimenticabili.

La Posta Ă¨ 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

Concorso Cineasti del presente, Mañana a esta hora, La Sala, 5 | 8 | 2016 – 11.00

One Day, by Chance carlo chatrian

Nasce dalla curiosità e dalla paura che ho per ciò che non resta, tra i ricordi del passato e le possibilità che riserva il futuro. lina rodríguez

Father, mother and daughter. A family like many others, filmed in a static shot as they watch television. Stretched out, their bodies fill the frame, as though this is a complete portrait. Lina Rodríguez frames her characters through scenes that describe the inertia of domestic life. She chooses a short distance, heightening the narrowness of real spaces. Concentrating on moments in which action is absent, she highlights a dual movement of attraction/repulsion. On the one hand Adelaida and her parents share an intimate space, on the other the young woman is starting to show her desire for freedom. The scenes with her contemporaries – in front of their school or out in the evening – are filmed in a way that privileges

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Mostofa Sarwar Farooki, regista Laura Osma, attrice Madss Mikkelsen, attore Lionel Baier, regista

the horizontal axis, as though the girl’s existence is laid out on a flat plane. This sort of phenomenology of an ordinary life is abruptly interrupted. After the re-emergence from the darkness, nothing is as it was before. Reference must be made to Kieslowski, who first used chance as a dramaturgic element; here the invasion of the unexpected gives a new depth to the characters, who after the initial shock seek to recompose their lives and deal with the missing piece. Lina Rodríguez’s writing is very precise in never giving way to pathos; she strings together scenes that serve as many antidotes to the explosion of grief, up to the last image, dedicated to the clouds that arrive like a long-awaited breath of air.

Nathalie Baye, attrice Mélanie Bernier, attrice Caroline Deruas, attrice Jérémie Elkaïm, attore

Axelle Ropert, attrice Maria Mauti, regista Andrzej Seweryn, attore Jesse Wakeman, attore Made of Switzerland.

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Concorso Cineasti del presente, Pescatori di corpi, La Sala, 5 | 8 | 2016 – 18.30

Ogni naufrago è un’isola sergio fant

It is not a film about immigration. It is about misery and struggle of two illegal universes: fishermen and Ahmed, living the age of indifference michele pennetta

Per la seconda volta dopo ‘A iucata, Pardino d’oro nel 2013, il regista Michele Pennetta, formatosi alla SUPSI in Ticino e all’ECAL di Losanna, porta al Festival una storia siciliana. Se in ‘A iucata si calava nel mondo delle corse clandestine di cavalli nel catanese, questa volta risponde all’appello rappresentato dalla tragedia dei naufragi nel Mediterraneo, cui già altri documentaristi hanno reagito raccontando il rapporto tra siciliani e migranti – basti pensare al presidente della giuria del Concorso internazionale 2014 Gianfranco Rosi, con l’Orso d’Oro berlinese Fuocoammare, o a Lampedusa in Winter di Jakob Brossmann, alla Semaine de la critique nel 2015. Rispetto a loro Pennetta lascia morte e disperazione nel fuoricampo, che scandaglia usando la camera come un sonar che scruta volti, gesti e silenzi alla ricerca di riflessi del dramma che si sta consumando in

mare aperto. Protagonisti sono un immigrato che una volta approdato ha trovato rifugio in un bastimento abbandonato, le cui giornate sono scandite dalle telefonate ai familiari rimasti in Siria, e l’equipaggio siciliano di un peschereccio, che tra pesci e crostacei trova nelle reti sempre più indumenti, e attende le chiamate via radio che ordinano di partecipare ai salvataggi. In un tale mondo popolato da naufraghi, le cui vite galleggiano tutte tra un passato doloroso e un futuro incerto, come poter solo immaginare l’assenza di solidarietà? Eppure quelle centinaia di corpi in fondo al mare tanti pensano sia uno spreco tentare di recuperarli, per renderli ai familiari: naufraghi sono anche loro, senza la bussola dell’etica o anche solo della pietà, in un mare di cinismo.

Spensierati all’evento e prevendita alla stazione FFS.

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20.06.16 14:17

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Kids Welcome ascona-locarno.com

tion Free accommoda 12 years for children up to all year round! More info: /k idswelcome ascona-locarno.com

USI Università della Svizzera italiana

www.usi.ch

Small classes, an international atmosphere.

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ARCHITETTURA / ECONOMIA / COMUNICAZIONE / INFORMATICA BACHELOR / MASTER / PHD / EXECUTIVE MASTER USI Lugano/Mendrisio - studyadvisor@usi.ch

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Fuori concorso, L'amatore, La Sala, 5 | 8 | 2016 – 16.00

Architettura sentimentale carlo chatrian

Tra fiaba e biografia, tra architettura e ritratto di una città, l’opera prima di Maria Mauti ha l’ambizione – e il coraggio – di evadere dalle categorie abituali per calcare un terreno poco battuto. Il suo viaggio dentro e fuori l’archivio dell’architetto Piero Portaluppi non svela solo una figura singolare nell’Italia della prima metà del secolo scorso, ma accenna anche – come indica il titolo – a un modo di intendere la vita. Il testo scritto con precisione e invenzione da Antonio Scurati e interpretato con una sottile ironia da Giulia Lazzarini inserisce sulla matrice documentaria una forte carica narrativa. La fotografia fa il resto, contrapponendo al movimento dell’archivio familiare la posatezza di quadri che esaltano le linee architettoniche che hanno fatto da sfondo alla vita di Portaluppi. E poco importa allora che una parte

consistente del protagonista sia messa da parte: L’amatore non è il ritratto ufficiale di un architetto e uomo influente nel ventennio fascista, ma una sorta di dagherrotipo che ha la leggerezza di Guido Gozzano e che sotto il suo fare faceto nasconde le illusioni di un’epoca che fanno il paio con quelle del tempo in cui stiamo vivendo. Siamo lontani dalla retorica del regime, anche perché il film ha una nota malinconica, propria di una famiglia che, sebbene al centro della vita pubblica, sembra accorgersi che il tempo la sta superando. Maria Mauti è davvero brava a bilanciare la solidità dei palazzi e delle ville disegnate da Portaluppi e la fantasia, tanto che ogni qualvolta una figura reale fa capolino nell’inquadratura ci si domanda se per caso non sia un fantasma del passato.

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Signs of Life, Svi severni gradovi (All the Cities of the North), PalaVideo, 5 | 8 | 2016 – 21.00

Desires for a New Order of Things mark peranson In an abandoned hotel complex situated on the edge of Montenegro near the Albanian border, two men have taken up shelter. In this space overgrown with vegetation, inhabited by dogs and donkeys, they live a basic daily existence out of, to quote director Dane Komljen, «a desire to imagine a new order of things». Within the fenced-off boundaries of this makeshift orange and blue tent community of two, communication is inessential. There is no dialogue in Svi severni gradovi (All the Cities of the North) – a film that echoes Sokurov and Apichatpong while explicitly referencing Simone Weil, Godard’s Passion and Serbian epic poetry –, only a series of expressive monologues, which connects this space to aban-

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doned or repurposed modernist utopian constructions elsewhere (Lagos, Brasilia), or contrasts them to the ex-Yugoslavian metropolises to their north. A third nameless man arrives (played by the director), and he joins the two settlers in moments of quiet repose; of gathering and cooking food; of building and rebuilding. Slowly he disturbs their fragile patterns, and the film itself becomes slightly agitated, visually and sonically, as they find a way to live side by side. Yet even when things are burning, a calmness and tenderness remains, making for a debut unlike any other emerging from the former Yugoslavia in recent years.

Retrospettiva, Der Tiger von Eschnapur, Cinema Ex*Rex, 5 | 8 | 2016 – 13.00

Last Tiger Of Lang adriano ercolani

Since his first masterpieces in the early ‘20s Fritz Lang worked inside the genre in order to express his nihilism, a pessimistic view about life and human relationships. With Der Tiger von Eschnapur – one of his last works, released in 1959 – the great German director confirms that in the filmic universe he creates it’s impossible to escape the cruelty of people and fate. The only way of expression left to his characters is the effort, which in this case ends in a painful, amazing last sequence. Inside this iron cage which we call life the author still includes the warmth of sensuality and passion. The perfect example in this movie is a terrific dancing scene performed by the main actress, Debra Paget. Based on the novel by Thea von Harbou, Der Tiger von Eschnapur was originally planned by Lang as the first chapter of a twoparts project, together with Das indische Grabmal. Realized in Germany after Lang came back from his forced exile in U.S. since 1933, the movie mixes adventure, romance and the director’s usual throbbing eroticism. Behind the craft, behind the surface on entertainment and aesthetic there’s always something genuinely disturbing, and Der Tiger von Eschnapur is no exception. 23

PardoLive  4 | 8 | 2016

Focus on David Linde

David Linde, West Meets East The American producer David Linde, awarded with the Premio Raimondo Rezzonico, recalls his career – from Chaplin to Iñárritu lorenzo buccella

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Il mio obiettivo? Lavorare con chi è capace di raccontare storie così coinvolgenti da emozionare il pubblico di tutto il mondo

The award you are receiving from Locarno embraces your whole career as film producer. Going back to the origins, however, when did you feel for the first time the spark of love for cinema? My father was a professor, and as children we were allowed access to the entire University campus. I vividly remember sneaking into retrospective screenings of Charlie Chaplin and Buster Keaton, and being just entranced. So, I guess that’s where it’s all started, sitting on the floor of the theatre, laughing and crying. When you are about to produce a movie, how much does your personal taste affect the movie itself? And how are you able to control this part of you before planning budget, casting and locations? As a producer, I wouldn’t make something that I didn’t feel strongly that the filmmaker brought his or her own perspective to the material. That’s always what driven me artistically and always been my focus. But, I also have very wide ranging tastes, so it can mean everything from a Chinese drama to a low budget, horror film. I try to apply that belief to every aspect of making a film and support the filmmaker in their choices as much as possible, and which for many reasons you can not always do. But if a relationship is strong and consistent, and you trust how comprehensive each other are being in making a decision, then usually — it works out well. Could you briefly tell us about your drive to produce within and outside the American film industry? Alejandro González Iñárritu is one among many non-American filmmaker you produced and supported from early on… My parents always stressed an appreciation for culture as the means of best understanding the world. When I was younger we traveled the world and I was encouraged to learn multiple languages. This exposure and curiosity about the world was the driving force in my early fo25

cus on international distribution of American films. As my career progressed I was able to do the opposite and be involved in the global presentation of non-American films. Interestingly, a lot of my work has been focused cross-culturally with Spanish (Almodóvar, Bayona), Mexican (Cuarón, Iñárritu, del Toro) and Chinese (Lee, Yimou) filmmakers… and I don’t speak Spanish or Chinese! There’s the art of cinema, and the art of producing independent films tailored for a larger audience. What can you tell us about that hard task, since you surely have a significant track record with indie films being so successful in the international box office… After college, I moved to New York just as the American independent scene was blossoming. Joel and Ethan Coen and Jim Jarmusch were walking the streets, literally. I love the way a filmmaker’s perspective influences the audience’s appreciation for a film, and was really lucky that my colleagues at Miramax and Good Machine shared that understanding. We were really committed to finding the best (and any) way to accomplish that goal. It was a tremendously exciting time, and that is where my career really began. Stepping up as the CEO of Participant Media, could you tell us about your role with this new position at this particular moment of your career? I joined Participant Media a little over nine months ago as CEO. Participant is a film and content company that uses storytelling to create impact on important social issues. It’s an exciting place to be a part of and felt like a natural fit with the focus of my career – working with creative visionaries to tell important and compelling stories that move audiences around the world. As CEO, I’m able to take that next step and create avenues for people to be a part of solution. It’s unique in the entertainment world and it’s an honor to lead the company forward.

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PARDO

LIFE

Il produttore David Linde, premio Raimondo Rezzonico 2016.

Douglas Gordon, regista di I Had Nowhere to Go, e Jonas Mekas

Margita Gosheva, attrice di Slava.

La giuria del Concorso internazionale

L'Excellence Award Moët & Chandon Bill Pullman.

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La regista Valeria Bruni Tedeschi .

Rita Azevedo Gomes, regista di Correspondências.

Il regista Dario Argento, presidente della giuria del Concorso Cineasti del presente, con occhiali @Swatch THE EYES

L'attrice Sennia Nanua, protagonista di The Girl With All The Gifts.

L'attrice Gemma Arterton

L'attrice Kate Moran, membro della giuria del Concorso internazionale

Il regista Frédéric Mermoud. e l'attrice Emmanuelle Devos, protagonista di Moka.

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Beyond the Festival

Stay Hungry, Stay Innovative with Ticinomoda mattia bertoldi There’s a new university course in town. Thanks to the partnership between Ticinomoda association (www.ticinomoda.ch) and the Department of Innovative Technologies (University of Applied Sciences and Arts of Southern Switzerland, or SUPSI), a new formation program was developed to earn a Certificate for Advanced Studies (CAS). Its name is “Smart e-Fashion – Enhabling technologies for fashion business innovation driven development” and is structured into five modules; it is going to start in September 2016 in Manno, near Lugano. Along 160 hours of lessons, the students will be able to face and study several fields related to the world of fashion. Sustainability,

innovative technologies and data analysis are only a few aspects of this new course, designed to offer the future fashion professionals all the skills and all the tools to work with industry and production, especially in relation to supply chain and distribution. This course is also one of the first answers to the need of specific and up-to-date training which has characterized fashion economy in Ticino. Since the main objective of Ticinomoda is promoting favorable conditions for the development of companies in the fashion industry in our Canton, the partnership with SUPSI is the most natural step to encourage and foster the growth of this important economic sector.

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PER POTER VIVERE IL GIARDINO.

Una verde terrazza naturale a 1624 m. di altezza. La più grandiosa vetta panoramica della Svizzera italiana.

Sponsor Festival del ﬁlm Locarno

CMY

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Histoire(s) du cinéma

Capolavori da rivedere Histoire(s) du cinéma, Cinema Rialto 1, 5 | 8 | 2016 – 21.00

La mala ordina Uno dei “poliziotteschi” piú famosi della storia del cinema di genere italiano, girato da Fernando Di Leo nel 1972, lo stesso anno di Milano calibro 9. Mario Adorf, che presenterá la proiezione locarnese di La mala ordina, interpreta lo spacciatore e “magnaccia” Luca Canali, inseguito da killer americani in una cupa Milano.

Histoire(s) du cinéma, PalaVideo, 5 | 8 | 2016 – 14.00

Videodrome When it came out, Andy Warhol called it the “Clockwork Orange of the 1980s”. A visionary take on the future of media from the genius of David Cronenberg, Videodrome has since become a classic, like its haunting musical score by Howard Shore.

Histoire(s) du cinéma, Il conformista, Cinema Ex*Rex, 5 | 8 | 2016 – 17.00

Il conformista Come sarà stato ballare il valzer con Dominque Sanda? Ce lo racconterà Stefania Sandrelli a questa proiezione speciale del capolavoro “nouvelle vague” di Bernardo Bertolucci.

Beyond the Festival

Scatto quotidiano Anche quest'anno i fotografi accreditati al Festival del film Locarno hanno occasione di esporre (e veder premiati) i loro scatti. Grazie al concorso organizzato dall’associazione Animazione Centro Pax Muralto, in collaborazione con Foto Garbani, ognuno di loro potrà

inviare quotidianamente una fotografia che racconti la sua giornata festivaliera. Venerdì 12 agosto, alle 16:30, le immagini migliori saranno premiate con buoni per prodotti fotografici e tre accrediti per il Festival 2017.

Per aggiornamenti e modifiche del programma, consultate www.pardo.ch

To keep updated on any changes of the programme, connect to www.pardo.ch

Il Forum con Jane Birkin (5 | 8 | 2016, Spazio Cinema, 10.30) è annullato. Al suo posto una chiacchierata di 25 minuti prima di La Fille prodigue (stesso giorno, PalaVideo, 16.15)

The Forum with Jane Birkin (5 | 8 | 2016, Spazio Cinema, 10.30) is canceled. It will be replaced by a 25-minutes-long introduction before La Fille prodigue (same day, PalaVideo, 16.15)

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The Last Tweet @lorenzobuccella

When you look at the dark side of the Jury, careful you must be #SeanPriceWilliams #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 logistics Luca Spinosa Advertising Raphaël Brunschwig Elisa Bazzi publicitas

by Vittorio Zunino Celotto

Print Salvioni Arti Grafiche

Enjoying together Unique moments at the Festival del film Locarno.

ent ecial mom our p s a y jo y n Did you e al del film? Share iv t r s o e kets f at the F d win tic n a e c n ie exper g night. o the closin lmlocarn lfi e ld a iv /fest ubs.com