6 | 8 | 2015 - PardoLive – day 2

PardoLive 68° Festival del film Locarno

Thursday · Giovedì 6 | 8 | 2015

Cécile de France Sina Ataeian Dena Igor Drljača Vimukthi Jayasundara Marlen Khutsiev Pascal Magontier Masayuki Mori Guillaume Senez

PardoLive Partner:

Festival del ďŹ lm Locarno

Das Leben der Anderen Vincitore del Prix du Public UBS nel 2006 Sebastian Koch, attore

Prix du Public UBS Votate e vincete: scegliete il vostro ďŹ lm preferito in Piazza Grande e vincete un iPad Air. www.pardo.ch/ubs

Fermo immagine Carlo Chatrian Artistic Director

Piazza Grande, La Belle Saison, 7 | 8 | 2015 – 21.30

Piece of My Heart A city’s soil is hard, it lets your foot rebound and will give you momentum. The countryside’s wetland however will threaten to swallow you and make walking a struggle. Delphine, a country girl, uses these words to describe her feeling of disparity to Carole, a city dweller and feminist activist. It is the 1970s in Paris, and amphitheaters are the setting of loud, forward thinking debates. After meeting a group of students dedicated to improving the rights of women and homosexuals, Delphine has been soaking up an invigorating libertarian energy. Yet when reality calls her back to the more traditional lifestyle of her parents’ farm, her blossoming feelings for the beautiful Carole must withdraw into hiding.

Catherine Corsini made an inspired choice when offering the part of the conflicted Delphine to the charismatic Izïa Higelin, a talented (and bestselling) musician who, at the age of 25, had showed promise in supporting roles but was yet to be given the opportunity to show her acting range. This is what she does in La Belle Saison, moving comfortably between doubt and bravery, and forming a most charming couple with her more experienced co-star, the radiant Cécile de France.

When told for the first time about politics, a farmer‘s wife protests, “But I do have a salary! My husband’s” – embarrassing our pioneering duo. If the obsolescence of her ingenuous comment is a given for today’s audiences, other areas of confusion still feel, sadly, very familiar, such as the hateful reflexes that the idea of a homosexual relationship triggers in the small community.

Il cinema per Marlen Khutsiev è l’atto di avvicinarsi a cogliere nel brusio di fondo l’intimità di una voce. Non si tratta di sentir echeggiare l’urlo dell’eroe, simbolo in cui si rispecchia una comunità, ma di ascoltare la voce interiore di persone comuni. Giovani per lo più e abitati da una voglia di vivere che oltrepassa le frontiere. I film di Khutsiev ci portano l’istantanea di una nuova generazione russa che riletta oggi avrà il sapore un po’ nostalgico di un’occasione perduta. Rivedere però i suoi capolavori (Infinitas, Bastion Il’ich…) serve anche a rilanciare lo sguardo verso altri film che compongono il programma di quest’anno.

In Ma dar Behesht (Paradise) la giovane protagonista nasconde la sua insoddisfazione dietro grossi occhiali; parla sempre meno, Hanieh, nonostante faccia la maestra in una scuola di periferia in Iran. La messa in scena di Sina Ataeian Dena predilige i piani fissi e lascia che sia il montaggio a creare gli scarti e dare il senso di una realtà ormai compromessa.

Ma dar Behesht Più composito come ritratto ma altrettanto disincantato è l’ultimo lavoro di Vimukthi Jayasundara. Sulanga gini aran (Dark in the White Light) è una cupa riflessione sull’uomo del XXI secolo, sul suo rapporto con il prossimo, sugli impulsi di autodistruzione che abitano il mondo. Su questo fondo nerissimo, Jayasundara innesta come in squarci di colore la sua personale, indispensabile, ironia. È la stessa ironia che ci porta al Premio Raimondo Rezzonico di quest’anno. Il cinema di Takeshi Kitano usa proprio quest’arma come glorioso antidoto a un mondo popolato dalla violenza e dalla sopraffazione.

One thing is evidenced by Corsini’s touching drama. However essential theoretical analysis and collective movements are in the process of change, it is at a more intimate level that the harshest battles are fought and the most heroic decisions must be made. aurélie godet 3

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Piazza Grande, La Belle Saison, 6 | 8 | 2015 – 21.30

La Saison de Cécile de France, in your career you have embodied all the possible shades of femininity, even in some of the most complicated moments of one’s life.

What did you feel about La Belle Saison?

I really liked the idea of taking part to a movie which was set in the Seventies. When I read the script I could feel the militant atmosphere of those years. It was already written like that – with demonstrations, group meetings, the force of ideas; it was full of energy, vitality, dynamism and it was moreover telling a great love story with tenderness. I felt destabilized when I read it.

I am not receiving so many scripts which are so intense, and Catherine Corsini also told me she would not have shot the movie without me.

Even if it is the first time you are working together, the bond between you and Catherine Corsini is strong. Did you recognize yourself in Carole’s character?

It is very difficult to answer this question because I rarely draw a parallel between me and my characters – I feel like I understand better the women I am performing than myself. But as soon as I read the script, I thought that Carole was an open-minded woman, at ease with her body, full of energy as I am. However, Catherine’s directing was fundamental – it permitted me to show a side of me which is really exciting and liberating.

The movie brings us back to an atmosphere full of activism and freedom movements. What have the present days inherited from that era?

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Today we are feeling that age as something distant, but we have not to forget that we are indebted to them for the rights to abortion and contraception. Now we are living a regression moment. Personally, what I am feeling more indignant about is the concept of womanobject, as conceived in our society’s advertising world.

As you have demonstrated in this movie as well, you have the great ability to move from a comedy context to the dramas, from genre movies to arthouse cinema. What is the secret of this versatility?

It is quite simple: I am getting bored pretty easily, then I am attracted by different roles. I like to put myself in the most varied conditions in order to always reach a creative status pushing myself beyond, while I am doing my job.

In your career you have worked with greath authors: from Klapisch to Dardenne brothers, not to mention Giannlo and Eastwood. Which experience left a mark on you?

Actually, the year I was called from Eastwood and the Dardennes represents something special: it helped me to work on my ability to adapt because they have opposite methods. With Eastwood you are on a big set and you are doing a single take, with the Dardennes you are rehearsing a lot as you are preparing a theatre play.

The first one is looking for the magic of the momentum, the other two the depth of an inner search. From that year, I am feeling able to do whatever they are asking me to do. daniela persico 4

Cécile

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PardoLive 6 | 8 | 2015

Piazza Grande, Le Dernier Passage, 6 | 8 | 2015 – 23.00

© Fabrizio Maltese www.fabriziomaltese.com

Preistoria 2.0

Pascal Magontier

Scientifico e immaginifico allo stesso tempo. Le Dernier Passage: 28 minuti filmati in un piano-sequenza in soggettiva, realizzato interamente a partire da rilevamenti 3D. Il tutto per offrire allo spettatore la visione “impossibile” della grotta Chauvet-Pont d’Arc, uno dei più grandi siti della storia dell’umanità, con le sue incisioni rupestri, così com’era quando i suoi scopritori l’hanno percorsa per la prima volta nel 1994. E cioè vergine rispetto a tutte le infrastrutture costruite in seguito per permetterne lo studio e la conservazione. “Il nostro scopo” spiega il regista francese Pascal Magontier “era quello di mostrarla idealmente così come gli ultimi uomini preistorici hanno potuto vederla prima che il suo accesso non fosse reso impossibile dal crollo dell’ingresso. Ma, naturalmente, adesso filmarla al di fuori delle passerelle sarebbe stata un’operazione irrealizzabile, se ci si fosse attenuti a un approccio documentario

Prix du Public UBS 7

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classico”. Ed ecco allora l’intervento magico della tecnologia, al servizio di una metodologia del tutto sperimentale. “Per farlo, siamo partiti dalla creazione di una sorta di clone digitale della grotta, attraverso una mappatura dei rilevamenti. Non soltanto delle pareti rocciose e dei disegni, ma anche dei soffitti e dei pavimenti con le loro impronte d’orso e ossa di animali di specie diverse”. Una piattaforma scientifica che si è fatta viaggio cinematografico senza il minimo rischio in materia di conservazione, conformemente alle priorità del Ministero della Cultura Francese. “Quella che offriamo adesso è una vera e propria esperienza, col desiderio che ogni persona presente in Piazza Grande possa avere la sensazione di vivere fisicamente questo dernier passage nella grotta dipinta più antica della storia dell’umanità”. lorenzo buccella

Yesterday’s prize draw winner: Gerrit Kern PardoLive 6 | 8 | 2015

Five questions to Marlen Khutsiev – Pardo alla carriera

War and Peac Marlen Khutsiev, this Pardo alla carriera is an opportunity to revisit your work. Bastion Il’ich and July Rain are both emblematic of the Khrushchev Thaw, representing a Soviet New Wave. Did you feel you were part of a new, worldwide cinematic movement?

No, I had no opinion on the matter. I just made pictures as I felt was right, that’s it. There was something in the air. I hadn’t even seen L’eclisse, my favorite Antonioni, until after we’d wrapped July Rain. I was just caught in the rain one day, so I stepped into a phone booth and started fantasizing...

Only one of your films, It Was the Month of May, deals with WWII explicitly, and yet the war echoes throughout your oeuvre. The veterans’ reunion in July Rain, the postwar everyday life in Two Fyodors, the father’s photo in Bastion Il’ich.

Absolutely. Even in my first movie there is a poem about the war. The thing is, I didn’t fight. I had been a sickly boy, so I was turned down because I still looked like a child. This is sort of like a debt I’ve been repaying ever since.

One of your most memorable scenes is the meeting with the dead father, killed in combat, at the end of Bastion Il’ich. This search for the lost father is another one of your motifs. How autobiographical is it?

My father died in 1937. I woke up one morning, and he wasn’t there. My stepmother told me he had gone away on a business trip. What kind of business trip? After a while I understood her. Once, when I was already an adult living in Moscow, I had a dream of meeting my father on the bus and hugging him. Bastion Il’ich is, of course, a deeply personal picture. I even used to say that the three main characters were all me. One of them stood for my inner turmoil and doubts; the second one, for my family situation at the time; and finally, the third one was the person I aspired to be.

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Infinitas is not just your magnum opus but also a retrospective of all your previous films. It’s filled with allusions: for example, you replicate the dance-floor scene from Two Fyodors.

So it seems. There are references, of course, though it hadn’t really occurred to me. I came up with Infinitas long ago, while I was working on Bastion Il’ich. Everything at once: the title, the selections from Bach, the meeting of the protagonist with his younger self. Everything except the ending which took me a while to write. It’s my most serious film. It may be a little too long, but I couldn’t bring myself to edit anything out. On the contrary, I had to throw away a subplot – the German one. My character didn’t fight in the war, and yet he meets a German POW... The scene of the soldiers leaving home in 1914, which is for me a very painful page in history, was pretty short in the screenplay, but it ended up growing into an elaborate, complex sequence.

“

Da giovane sono stato scartato dall’esercito, non ho mai combattuto.

I miei film sono dedicati alla guerra anche per ripagare questa sorta di debito marlen khutsiev

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The protagonist receives worn-out daguerreotypes from a stranger who quotes a Pushkin poem. “You speak as though you were his contemporary”, the protagonist says. Let’s talk about your most recent project Not Yet Evening, the story of Chekhov meeting Tolstoy, which you’ve been working on for over decade. Is it based on archival materials?

No. All the dialogue is fictional. My son wrote it. The only factual basis is that Tolstoy actually visited Chekhov in the hospital when he was sick.

There’s a letter by Chekhov that says, “Tolstoy dropped by. We talked about immortality”. That’s it. Is it possible nowadays for a distinguished man of letters to visit a young writer? That really struck a chord with me. Then I came up with the idea for the second part of the movie, which matters a lot to me. It’s about Chekhov visiting Tolstoy in Crimea. This is where the theme of immortality is resolved. We see some shoots sprouting, and Tolstoy says, “This is it. This is immortality right here.” boris nelepo

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20.06.14 11:22 PardoLive 6 | 8 | 2015

Scoprite il leopardo che c’è in voi.

Scaricate la app «Locarno68», create un selfie Pardo e il vostro volto da leopardo è pronto. Procuratevi subito la app e raccogliete molti «mi piace» per il vostro selfie. Con un po’ di fortuna vincete un Samsung Galaxy S6 edge. #IAMPARDO Benvenuti nel paese delle possibilità.

Condizioni di partecipazione: al termine di ogni giornata del festival viene assegnato un Samsung Galaxy S6 edge al partecipante, il cui selfie ha raccolto il maggior numero di «mi piace». In caso di parità si procede al sorteggio. Una sola vincita per persona. Le condizioni dettagliate del concorso sono visibili nella app e devono essere accettate online dai partecipanti.

Concorso internazionale, Ma dar Behesht, Auditorium FEVI, 7 | 8 | 2015 – 14.00

Paradiso del malcontento Difficile credere che Ma dar Behesht (Paradise) sia un’opera prima. Concepito come il capitolo introduttivo di una trilogia sulla violenza, costituisce molto più che un esordio promettente. Un innegabile esempio di come è possibile raccontare una storia con forza, emozione e intelligenza – risultato reso possibile da un affiatato trio di produttori: Yousef Panahi (fratello di Jafar e partner di produzione), Amir Hamz (al lavoro anche su Der Nachtmahr, presentato nel Concorso Cineasti del presente) e lo stesso regista del film, Sina Ataeian Dena, alle cui conoscenze nel campo dell’animazione e dei fumetti si devono le meravigliose composizioni visive e l’elegante dinamica del film.

Dotato di un altrettanto spiccato senso delle strutture narrative, il cineasta sa bene come accoglierci in un film (con un’introduzione tanto inquietante da non lasciare alcun dubbio sull’ironia insita nel titolo) e ci invita a partire, ma trattenendo il respiro.

La meravigliosa Dorna Dibaj – artista e per la prima volta attrice – è Hanieh, un’inse-

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gnante 24enne obbligata a percorrere quotidianamente un lungo tragitto da Teheran al posto di lavoro in periferia. La sua richiesta per un trasferimento nel centro cittadino va per le lunghe, e la sua esperienza a contatto con l’inferno dell’amministrazione scolastica si aggiunge alle consuete pressioni a cui è sottoposta una donna iraniana.

In qualità d’insegnante occupa una posizione chiave nella formazione intellettuale di una nuova generazione di ragazze, ancora ricche di potenziale ed energia. Ma ormai spossata dalla situazione e nonostante alcuni piccoli atti di ribellione, Hanieh sembra perdere la capacità di vedere come il suo stesso comportamento alimenti il mostro alla base dei suoi tormenti. L’approccio narrativo di Sina Ataeian Dena è tanto sottile da non necessitare di personaggi maschili per accennare a quel terrore sessuale di fondo che le controparti femminili sembrano aver assimilato, come se si trattasse della norma. aurélie godet

“

All of us experience violence in daily life in some extent – it is like a ghost here and there, it seems like a natural part of life for this species, human beings. We carry it out. Ma dar Behesht is a film about this “ghost” sina ataeian dena

”

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Vivere momenti commoventi: la Posta è anche questo.

La Posta fa molto piĂš di quanto si pensi. Noi patrociniamo vari festival cinematografici svizzeri. Favoriamo la cultura per permettervi di vivere momenti unici: posta.ch/sponsoring Sponsor e partner retrospettiva Festival del film Locarno

Concorso internazionale, Sulanga gini aran, Auditorium FEVI, 7 | 8 | 2015 – 16.30

The Shadows of a Man “

In definitiva, questo film è basato sulla mia fascinazione per la “grande domandaâ€? che tutti noi ci poniamo ma che non osiamo fare ad alta voce: cos’è il senso della vita?

C’è un senso nella vita? vimukthi jayasundara

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There are many versions of a given story. Its oral transmission, a fundament of Vimukthi Jayasundara’s cinema, contributes to multiplying its form and meaning. In the filmmaker’s 2009 film Between Two Worlds, a pair of fishermen jointly composed a tale by adding chapters of their own, one after the other. The story’s mythical value resonated as it found echoes in what first appeared to us as a single-layered narration, before it took turns and backward jumps that blurred the lines between reality and dream, to a point where even its own protagonist was left flabbergasted. In Mushrooms (2011),

fate’s arbitrariness was underlined by the utterly opposite directions that the lives of two brothers had taken after their tragic separation.

Finding oneself on the lucky side of the draw is only one variant of the story. And in any case, our limited human minds may lack the clarity needed to perceive the full scope of possibilities in front of us. Sulanga gini aran (Dark in the White Light) is, again, an exploration of revealing grey areas, with a particular interest for death and the diverse impact of its imminence on our minds. A young man chooses to under-

stand it better and to do so, takes the way of enlightenment. A doctor, too familiar with death and seemingly unafraid of it, embraces his shadow self but abandons all goodness in the process. A selfish organ trafficker is shortsighted about his own fear of dying. A submissive assistant is crushed by the preoccupation with his own survival.

Their paths cross or collide, but one thing is bound to unite them in the end, death being the conclusion to all human stories. Or is it‌? aurÊlie godet

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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/pensacioratoccaate

Concorso Cineasti del presente, Keeper, La Sala, 7 | 8 | 2015 – 11.00

L’adolescenza non è una parata

“

Taking off from a situation of powerlessness, Keeper is a movie about desire. I like to think that a film, at a certain point, starts to exist by itself. It is time now to make it fly, and I am proud to live this moment here, in Locarno guillaume senez

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”

Il tempo della spensieratezza e della scoperta della sessualità. Soltanto un lampo iniziale, perché subito, con la notizia di una gravidanza a sorpresa, scatta quella trappola delle responsabilità che inizia a togliere spazi e tempi all’adolescenza, finendo per asfissiare i sogni cullati nell’ingenuità dei propri 15 anni.

Segue questo ticchettio implacabile il piano inclinato su cui scivola Keeper, il film del regista franco-belga Guillaume Senez che vede il ritorno in un ruolo da protagonista di Kacey Mottet Klein, lanciato come spalla di Léa Seydoux nel 2012 da Ursula Meier nella pellicola Sister. Questa volta, da promettente portiere di una squadra di calcio, divide con Galatea Bellugi scena e passioni,

condensate nell’arco di nove mesi. Quella sorta di conto alla rovescia esistenziale che costringe una coppia di ragazzi appena usciti dall’infanzia al confronto quotidiano con bivi e dilemmi imposti da una gravidanza prematura. Un travaglio che nel film, braccando quegli spazi dove l’imprudenza cozza contro il lento montare di ansie e preoccupazioni, s’incide sui loro volti e sul saliscendi dei loro stati d’animo. Ed è come un muoversi sul posto, nel perimetro di un’intimità che proprio per la giovane età dei protagonisti si sfrangia per le inevitabili invasioni del mondo adulto.

Con quel futuro che diventa un gioco in difesa per parate ancor più difficili di quelle su un campo da calcio. lorenzo buccella

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Concorso Cineasti del presente, The Waiting Room, La Sala, 7 | 8 | 2015 – 18.30

Side by Side with the Past “

Il film combina finzione e storia recente con elementi biografici. È stato importante far sì che rappresentasse l’analisi caratteriale di un attore immigrato, piuttosto che una semplice storia sull’immigrazione igor drljača

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Bosnian-born director Igor Drljača’s absorbing second feature is based in part on biographical elements of the lead actor, Jasmin Geljo, though what’s true and what’s fiction is never a certainty. A Bosnian émigré from the former Yugoslavia to Toronto, a multicultural city that’s host to numerous self-sufficient immigrant communities, Jasmin finds himself trapped between a more glamorous past and a tiring present.

He’s twenty years deep into an exile that was forced upon him, with Bosnia never far out of his mind, and has displaced his frustration outwards from himself onto his

adopted country. Drljača follows Jasmin as he dutifully trudges from audition to audition, supporting his second wife and his young child (an aspiring actor himself) through bit parts and construction work, but the actor plans on returning to Sarajevo to resume his pre-war career as a famous drag performer. (This last part is very much true: Jasmin starred in a popular televised stage show named “Audicija” clips of which are scene on TV in The Waiting Room – and has also acted in numerous films, in both the former Yugoslavia and Canada.) The date of Jasmin’s supposed departure keeps

changing, but indeed the whole film has a sneaky relation with time, and is structured around Jasmin performing in a filmed installation set in 1991, which sees him silently driving along the idyllic Croatian coast that spools behind him as a rear projection. Exploring the intersection between fiction and reality, The Waiting Room encourages comparisons to Atom Egoyan at his prime, a character study of a hardened man given over to the waves of history and haunted by its ghosts. mark peranson

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Focus on – Open doors

Back to

The Maghreb, ten years on: the Festival del film Locarno is once again opening the door to one of the most vital and creative parts of the world. Dictators have fallen and the winds of the Arab Spring have rushed through these unique countries, so (cinematically) distant. The thirteenth edition of Open Doors continues to benefit from the support of the Swiss Agency for Development and Cooperation (SDC) of the Swiss Federal Department of Foreign Affairs.

This year the section brings its focus back to Algeria, Morocco and Tunisia and, for the first time, Libya, originally unable to participate under the Gaddafi regime. This year’s programme features ten shorts that will help bring a better understanding of the country.

“What immediately leaps out is the huge presence of first works, a flowering of debuts and filmmakers moving from shorts to fea-

tures,” points out Ananda Scepka, who heads a section that has been experiencing constant growth for years now.

Innovation, independence, identity are the driving forces behind the screenings and meetings. The events will offer an opportunity to discover a new aesthetic, a startling freedom of content and formal liberty and the emergence of a new generation of filmmakers, who will find here a new award, ICAM (Investing in Culture & Art in the South Mediterranean), from the EU-funded Med Culture programme, worth €20,000, and a workshop involving producers and distributors to help find new channels for distributing their works.

“The Arab Spring was an important phase of a cultural revolution that has actually been going on for years,” continues Scepka.

“But the way the art is looked at has definitely changed. In Tunisia,

Bla cinima

Horra Cinema Rialto 2, 12 | 8 | 2015 – 11.30

L’altra Sala, 10 | 8 | 2015 – 14.00 PardoLive 6 | 8 | 2015

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o the Future Maghreb for example, a film centre was set up in 2012, a positive and promising sign. In this new contest we can see new voices emerging, thanks in part to the freedom of expression.” The projects reflect everything that has happened in the past years, with vivid images but also more original approaches. “Obviously, politics and society are tackled, but mostly expressed within the personal sphere of men and women, private battles of human beings in search of their own individual expression.”

A decade also helps Open Doors assess itself, to look back and to focus on the years to come. “Much has changed. Now we’re stepping on the accelerator of formal and informal exchanges between film professionals, on an analysis of the market, on production and distribution. The Ateliers, introduced in 2013, are now running par-

allel to the professional meetings and the screenings for the public.

Before we were mostly a showcase, now we’re a complete factory that looks to the future and helps projects to construct themselves at Locarno, inside Open Doors, perhaps thanks to the conversations generated by the professional exchange opportunities we offer.” And by rewatching, along with the public, 22 shorts and features produced between 2009 and 2015, and using film as a way of understanding how much everything has changed and how much more there is that still needs to experience its own revolution. boris sollazzo

Les Terrasses L’altra Sala, 14 | 8 | 2015 – 14.00

Gabbla L’altra Sala, 15 | 8 | 2015 – 14.00

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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

Fuori concorso, I sogni del lago salato, La Sala, 7 | 8 | 2015 – 16.15

Un lago senza frontiere “

I wanted to go to Kazakhstan. To lose myself on borderlands, on horizons which are so wide to become intimate. In the Asian steppe I looked for dreams that I found in my uncle Alberto's cellar, on 8 mm films shot 50 years ago

Il cinema per Andrea Segre serve ad avvicinare ciò che è lontano. Perché da vicino le cose appaiono più chiare e meno preoccupanti. Perché toccando con mano è più difficile cadere in generalizzazioni e i pregiudizi svaniscono rapidamente. Così è stato per Li, cinese di Chioggia (Io sono Li), così è accaduto con Dani, che dal Togo è finito in una sperduta valle in Trentino (La prima neve).

Vedendo I sogni del lago salato ci si domanda se è più lontano il Kazakistan d’inizio millennio, vittima di una ricchezza improvvisa, o l’Italia dei nostri genitori, quella del boom economico. Tra i campi larghi sul lago d’Aral quasi prosciugato, colmi di una bellezza struggente, e i primi piani serrati di volti di

Un lago senza frontiere

andrea segre

Proudly presents the latest arrivals

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Claire Simon, director Paolo Branco, producer Lars Kraume, director Andy Garcia, actor

Noémie Lvovsky, director Vimukthi Jayasundara, director Lakshman Joseph de Saram, musician

contadini e operai che l’archivio ci restituisce, il film dispone un felice parallelismo, accompagnato dalla voce del regista. I raccordi vengono naturali, e naturale è voltarsi indietro e vedere quanta è la distanza che separa l’Italia dalle sue radici, legate a una terra profondamente cambiata.

Penso però che il valore del film vada oltre l’illuminante confronto. I “sogni del lago salato” sono quelli di un mondo in cui il significato delle frontiere – geografiche e temporali – sta sfumando e dove riacquistare il senso delle proporzioni è salutare e importante, anche se solo per il tempo di un film. carlo chatrian

Eliza Kubarska, director Martina Parenti, director Lois Patiño, director Ronald Zehrfeld, actor

PardoLive 6 | 8 | 2015

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Signs of Life, Recollection, PalaVideo, 7 | 8 | 2015 – 21.00 Circular ruins. A bay on the sea. Empty, out-of-focus landscapes, battered by the wind. Then sounds that seem to come from elsewhere and, in the background, someone, human beings. Bit by bit, a city sees neighbourhoods disappear, memories wiped out, inhabitants lost. Territories occupied.

The occupiers, as though in mockery, think that this makes a perfect film set and shoot war films in war zones. But, for the very fact that it has been filmed, the image enters a different order of visibility, recording something that doesn’t appear to be visible with the naked eye…

Recollection is the story of someone – Kamal Aljafari – who doesn’t trust the images filmed by the occupiers and decides to collect them, to study them, to investigate them frame by frame. And what does he discover from these 24 lying frames a second called film? That they hide the truth: in the background of the shot – only apparently out of History – there they are, the occupied, alive and well, real actors in a fictional world. Recollection explores these ghosts teeming in the back and brings them to the foreground, restoring the present to them by restoring the past. He makes them travel through time, thanks to a mixture of sounds recorded in the same city today. The journey is hypnotic, repetitive, obsessive. The city is Jaffa, and it could be any in Palestine. lorenzo esposito

Occupied

by Images Histoire(s) du cinéma: Tribute Alex Phillips

Messico e luce

Quasi 400 titoli in carriera, e un ruolo di punta nella stagione d’oro dell’industria cinematografica messicana: questi i fatti salienti della carriera di Alex Phillips (1900-1977), il prolifico direttore della fotografia di origini canadesi che fece fortuna in Sudamerica, dopo varie peregrinazioni, e a cui il Festival rende omaggio riproponendo quattro dei suoi lavori più rappresentativi, tra cui Subida al cielo (1952), uno dei due titoli del periodo messicano di Luis Buñuel che vede Phillips dietro le lenti – l’altro é il Pathé Color del produttivamente complicato Robinson Crusoe (1954). Phillips riprende i chiaroscuri dell’Espressionismo tedesco, e li ripropone in salsa guacamole per La mujer del puerto (1933), si ispira al noir per Crepúsculo (1944) e gioca al melodramma a tinte fosche in En la palma de tu mano (1950), riproposti a Locarno grazie a copie provenienti dalla Filmoteca de la UNAM e dalla Cineteca Nacional de México, oltre che al sostegno della Fundación Televisa. massimo benvegnù

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Premio Raimondo Rezzonico Office Kitano

Box Offic With the Premio Rezzonico, Locarno is paying hommage to the contribution of Office Kitano to Cinema. How did your story start?

Mr. Masayuki Mori President of Office Kitano

PardoLive 6 | 8 | 2015

I first met Takeshi Kitano thirty years ago. I was a director on the TV program that Kitano presented on Japanese TV, as comedy superstar «Beat Takeshi». There was a plan for him and his associates to become independent and establish a new office, so in 1988 I partecipated in the creation of “Office Kitano”. Kitano already appeared in Nagisa Oshima’s Merry Christmas, Mr. Lawrence (1983), where he got a chance to show his acting skills. When the Office was formed, he received an offer to star in an action picture by Kinji Fukasaku, the master of Yakuza films. When Fukasaku left the project, Kitano said «if I were the director, I could shoot this film». He never directed before, but the distri-

butors liked the idea, a film directed by «Beat Takeshi». It might be hard to believe it now, but then the Japanese distributor refused to use his real name. Takeshi Kitano was not known by many people in the world, at least until Hana-bi won the Golden Lion at the Venice Film Festival in 1997. After that, in order to protect and strengthen our environment, I decided to support other directors who create such excellent and creative works as Takeshi Kitano.

Which aspects are driving your movie production ideas, which are still deeply connected to Kitano’s example?

I think the most important starting point in creating films is the imagination and originality of the director. As for producing the work of Takeshi Kitano, he always had 5-6 ideas for new films.

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ce Kitano Of course I respect his priorities, but I also think in terms of budgets and audience. That said, it is simply the relationship of mutual trust between a director and a producer.

You also produced Delbaran, by Abolfazl Jalili which received the Special Prize of the Jury in Locarno in 2002. What do you remember about that experience?

Among your many collaborations, you worked with Jia Zhang-ke. How did it happen?

When producer Shozo Ichiyama was in the selection committee at the Tokyo International Film Festival, there was an opportunity to arrange for a special screening of director Abolfazl Jalili’s film. He had just started Delbaran and I decided to produce it. Filming began in January 2000, but the shooting in the desert was full of difficulties. In addition, editing took more time than expected. Delbaran raised International attention when it was selected in the Locarno competition in 2002, and won a special jury prize. Delbaran was shown in the other international film festivals, and was distributed theatrically in several countries including France.

There was an opportunity for producer Shozo Ichiyama to meet Jia Zhang-ke at the Berlinale in 1998. They discussed Platform, and a script was sent half a year later. I met Jia Zhangke in Vancouver in September and saw his initial work Xiao Wu. I met the team on the Chinese side in Busan one month later and agreed on co-producing Platform. That project was also supported

by Monte Cinema Verità, the fund established by Locarno. I wish to express my appreciation for the support on this fund as well.

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What is the secret – if there is one – for being able to produce quality movies, keeping a trust relationship with the audience?

I believe it is possible to create high-quality movies, even under limited conditions, by trusting the director’s creativity and the capability of the crew, and establishing a superior environment, including casting talented actors. And in the end, I think it is very important to have the modest posture not to bring the audience to the film but bring the film to the audience. lorenzo buccella

PardoLive 6 | 8 | 2015

Il Premio Raimondo Rezzonico a Office Kitano

Il regista Bakur Bakuradze

Lida Duch, attrice di Dream Land

L’attrice Moon So-ri, giurata del Concorso internazionale

Rose in Piazza per Ricki and the Flash

gotti.ch PardoLive 6 | 8 | 2015

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Laetitia Dosch, attrice di La Belle Saison

Anouk Grinberg, la voce di Le Dernier Passage

La regista Catherine Corsini

www.fondazionebally.ch

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Il cineasta Marlen Khutsiev, insignito del Pardo alla carriera

L’attrice Senta Berger

Fondazione Bally per la Cultura ricerca ogni anno un artista ticinese attivo nel campo delle arti figurative (pittura, scultura, fotografia e grafica) che avrà l’opportunità di essere sostenuto e supportato a livello internazionale da uno dei Brand più famosi nel settore del lusso.

PardoLive 6 | 8 | 2015

Beyond the Festival

Events for All Tastes The region hosts many big and exciting events all year long, taking place in Locarno, Ascona and other towns. The exceptional Camellia Festival and exhibition opens the Locarno blooming season. Furthermore, music is the great star of summer: don’t miss the JazzAscona festival, the Moon & Stars concerts on the Piazza Grande in Locarno, the Vallemaggia Magic Blues concerts, the Verzasca Country Festival and many other events.

Other cultural, sport and entertaining happenings will allow you to experience fantastic emotions! For the first time, the As-

cona-Locarno Marathon will take place next autumn, which will complete the sports offer together with Triathlon Locarno, Walking Day Ascona-Locarno & Ladies Run as well as SlowUp Ticino. The theme music and culture continues with the classical music festival Settimane Musicali di Ascona, which promises brilliant concerts, programmed for the highly anticipated 70th edition.

The autumn season presents the local cuisine with all its flavours. A gastronomic festival takes place in more than 50 restaurants of the region. A highlight of the season is the chestnut festival in Ascona. In addi-

tion to that, other local culinary events are based in the valleys and aimed to present some of their most delicious specialties.

Last but not least, Locarno also sparkles in winter: Locarno on Ice is the lounge of the region and with its ice rink, food stalls and entertainment, it becomes the core attraction for both tourists and locals throughout the whole winter and festive season.

Info: www.ascona-locarno.com/family T: +41 848 091 091

Panorama Suisse

Horizontes Eileen Hofer

Documentary, 2015, 70 min.

Switzerland

Friday, 11:00, FEVI

Swiss Highlights in Locarno on Friday, August 7

Concorso cineasti del presente

Keeper

Guillaume Senez Fiction, 2015, 90 min.

Belgium / Switzerland / France

Friday, 11:00, La Sala

Pardi di domani – Concorso nazionale

PROGRAM 1

Eleonora Marinoni, Elice Meng, Laura Morales, Samuel Grandchamp, Philip Meyer, carmen Jaquier, Nikola Ilić, corina Schwingruber Ilić

Friday, 14:00, La Sala

www.swissfilms.ch «La rivière sous la langue» by Carmen Jaquier

PardoLive 6 | 8 | 2015

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21.00

News

Change in the Program

Cinema Ex*Rex 9 | 8 | 2015 16.30 Cinema Ex*Rex 10 | 8 | 2015 19.00 Cinema Ex*Rex 10 | 8 | 2015

Retrospettiva Sam Peckinpah: Films

The Killer Elite

Christoph Huber will not be there to introduce the movie Retrospettiva Sam Peckinpah: Films

Bring Me the Head of Alfredo Garcia Isela Vega will not be there to introduce the movie Retrospettiva Sam Peckinpah: Films

Straw Dogs

Susan George will not be there to introduce the movie

Beyond the Festival

Il cacciatore (di Pardi) Solo un fotografo dalla mente scattante è in grado di seguire gli scatti del felino maculato e immortalarlo in un autentico Scatto del pardo. A lanciare la sfida è l’associazione Animazione Centro Pax Muralto, in collaborazione con Foto Garbani e con il Festival: durante la manifestazione tutti i fotografi accreditati sono invitati a gareggiare inviando le loro immagini dedicate all’evento, che saranno esposte giorno per giorno al Centro Pax, in una mostra aperta al pubblico. In palio vi sono tre buoni in prodotti fotografici, nonché tre accrediti da fotografo per il Festival 2016. La premiazione avrà luogo venerdì 14 agosto alle 16:30 al Centro, offrendo l’occasione d’ammirare una galleria di scatti che vanno a riassumere questa edizione. sara groisman

© Zunino Celotto Vittori

Beyond the Festival

Fashion? It Is a Family Business This is the 68th year of the Festival del film Locarno. And the Ticino Moda Association also tells a long story, covering the span of three generations, much like the many families who – generation after generation, – display such passion for the kermesse.

Let's take as example a family which represents one of the most famous fashion dynasties in all the world - Eremenegildo Zegna's one (and not “Zeena” as is seen in The Family Man with Nicolas Cage and Téa Leoni which you should check out next Christmas on television).

They moved to Ticino, a decision that underlines the importance of the fashion industry in our economy and, consequently, Ticino’s importance to the fashion world. The Ticino Moda Association represents this industry and aims to promote the best conditions to encourage fashion companies developing locally. And guess what? This society began in 1959, originally for protecting the interests of companies producing clothing in Ticino.

That was 56 years ago – the span of three generations, as we were saying.

And today, the new Ticino Moda Association structure will help Marina Masoni (who was elected as President in 2015) and Giorgio Delpiano (vice-President) to show the same wisdom, passion, and judgement as their predecessor Franco Cavadini, who became honorary president after having successfully lead the association for several decades. mattia bertoldi

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PardoLive 6 | 8 | 2015

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The Last Tweet @lorenzobuccella

My name's is Mond, Josh Mond #Locarno68

www.gettyimages.com/entertainment

mov(i)e

Editor Lorenzo Buccella Graphic design Dimitri Bianchini Aris Dotti Michela Di Savino

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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 Fabrizio Maltese Vittorio Zunino Celotto – mov(i)e

Photographers Gabriele Putzu (TiPress) Fotofestival (Marco Abram, Massimo Pedrazzini, Samuel Golay, Sailas Vanetti)

by Vittorio Zunino Celotto

Advertising Raphaël Brunschwig Elisa Bazzi Luca Spinosa publicitas Print Salvioni Arti Grafiche

PardoLive 6 | 8 | 2015

© UBS 2015. All rights reserved.

Enjoying together Unique moments at the Festival del film Locarno. ubs.com/festivaldelfilmlocarno