6 | 8 | 2016 – PardoLive – day 4 by Festival del film Locarno

PardoLive 69° Festival del film Locarno

Saturday · Sabato 6 | 8 | 2016

PardoLive Partner:

Which movie is it? A: The King’s Speech I B: The Queen I C: Coming to America 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 Day4 Give an award to a great actor is a way to acknowledge the many stories he has been able to deliver. For Harvey Keitel (cover), every character is an open door on a story that crosses over the borders of the frame, and this is why either when he plays a “bad guy” or when he offers us his softer side, we can’t help but follow him on his trip with eyes closed.

France beyond its borders. To the south, Emmanuel Courcol brings the wounds of the Great War to heal in Africa, while to the north, Gilles Marchand plunges into the eerie atmosphere of a Swedish forest. Meanwhile newcomer Caroline Deruas turns the Villa Medici in Rome into a place where past and present, reality and fiction, can no longer be distinguished.

Yousry Nasrallah and Júlio Bressane do not fit easily into categories, proponents of two styles that are recognizable only in their uniqueness. Egypt’s present is recounted through the metaphor of the kitchen (and spiced with fascinating traveling) while the Brazilian master’s visionary madness is underscored by one of his most provocative muses, Alessandra Negrini. Two films in which colour transforms into flavour. The leads of Inimi cicatrizate (Scarred Hearts) an Akhdar yabes (Withered Green) are imprisoned, the first in a sanatorium where patients give touching proof of their vitality, the second in a house that serves as a metaphor for a prison, experienced as an existential condition.

Discover Mabuse with Jean Douchet. One of the most lucid critics talks about the character who gave life to the first movie saga. Because Locarno is not just a cinematic showcase, but also a reflection on the great films of cinema history.

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Focus on Harvey Keitel

What drives me in my choices is the challenge to understand more. To understand more about the life I’m living. To become more aware… of everything. And a struggle to stay this way

The Harvey's Version aurélie godet

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Mr. Keitel, your career is marked by many complex and never predictable roles, that have always represented a challenge. What drives you through all these challenges? It’s almost too good a question. It sort of requires for you and me to sit down for a week or two [laughs]. But since we only have minutes, let me reply by saying: it’s a drive to understand more. To understand more about the life I’m living. To become more aware… of everything. And a struggle to stay this way. From your roles for Martin Scorsese (like the filthy Matthew “Sport” in Taxi Driver or Judas in The Last Temptation of Christ) to the violent Mr. White in Tarantino’s Reservoir Dogs, up to the emblematic case of the title role in Bad Lieutenant for Abel Ferrara, there are many characters marked by profound ambivalences and contradictions that you have been able to portray in their universality. What draws you to these characters? Well, they were written and directed by people that I have a common bond with. And that bond is to be related to your previous question, it has something to do with that inherent drive to understand more and become more aware. It’s probably the answer to all the questions you could ask me! There’s fate, luck, chance, but in the end an actor can also be judged by its ability to choose films and directors to work with. You had the intuition to work with filmmakers that were at the beginning of their career, before they became big names of International Cinema: Martin Scorsese, Ridley Scott, Quentin Tarantino. How did these encounters happen? I met Marty because I was looking for experience as an actor when I was young, and he had advertised for his student movie in the newspaper that actors followed to try to find work. I went to audition for him at NYU. And after a few auditions I got the part! There was a commonality amongst the directors you mentioned, which is first of all great wit and sense of humor, and the fact that there was a mutual recognition between me and them, on some spiritual level. Many have defined you “the most European of great American actors”. And we can just think of your relationship with Italian Cinema, that go from Ettore Scola to Paolo Sorrentino’s most recent film. What made you accept these proposals, and what kind of experiences have they been for you? These proposals were always dealing with subject matter and issues that concerned me. So whether they’d be Italian or French or Moroccan, or some other countries, there was a common drive to work together. We recognized one another in each other. That’s what brought me to these countries. I think the first foreign country I worked with was France. I was reading a newspaper in America. I had seen Bertrand Tavernier’s L'horloger de Saint-Paul in New York and I told a friend of mine “there’s a director I’d love to work with.” And then I read in an interview of Bertrand: “Harvey Keitel is the kind of actor I’d like to work with.” I couldn’t believe it, but that’s in fact what happened! We contacted one another and made La mort en direct (Death Watch), with Romy Schneider.

The Festival will screen Smoke by Wayne Wang, a film dear to Locarno, because in 1995 it won the Prix du Public UBS. What do you remember about this film?

I read Paul Auster’s screenplay and… it was large, more than the average number of pages you would find in a screenplay. I finished it and thought to myself: I don’t know what the heck this thing is about, but there’s so much writing, this author must be up to something, I’m going to do it! So I agreed to it and I’m glad I did. I had the pleasure of working with Wayne Wang and meeting Paul Auster. It was a very rich experience. If you had to choose among the many great films you worked on, is there one for which you have a special affection, maybe because you think it didn’t receive the success it deserved? Well there might be a few of those… one certainly was Tim Blake Nelson’s The Grey Zone. I wished it would have had more recognition. And James Toback’s Fingers, it did get a certain level of recognition, but not the kind we were hoping for.

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Piazza Grande, Dans la forêt, 6 | 8 | 2016 – 23.30

La foresta del padre aurélie godet

Il regista e prolifico sceneggiatore francese Gilles Marchand ha sempre covato un suo gusto per il mistery, inteso sempre come un puzzle da risolvere e come doppio strato di percezione. Come se una verità alternativa fosse nascosta sotto la superficie. Il suo precedente sforzo da regista (Qui a tué Bambi?) portava in sé questo senso dell’ignoto e del pericolo incombente. È così che con una saggia intuizione ha scelto di raccontare la sua ultima storia, Dans la forêt, dal punto di vista dei bambini, non soltanto perché questa prospettiva farà apparire ogni cosa più grande, lontana, cupa, spaventosa. Ma anche perché la loro vulnerabilità scandalizzerà e disturberà il pubblico, sia giovane che adulto. Tom e Benjamin non vedono da tempo il padre, che vive in Svezia. Anche se riluttante, la madre ha accettato che l’uomo si prenda cura dei figli durante le vacanze. Ma appena arrivati iniziano le difficoltà di comunicazione. Per i ragazzi il padre non è solo un estraneo. È strano. E neppure lo nega. Al contrario, insinua che Benjamin potrebbe aver ereditato da lui dei particolari doni. Porta allora i figli in un viaggio non programmato nella foresta, dove pensa di trovare delle risposte. Il precoce Timothé Vom Dorp è impeccabile nel ruolo di Tom. Nei suoi occhi spalancati si proietta un notevole mix di pensieri e sensazioni, a metà tra il bisogno di fiducia e sicurezza di un bambino e lo spirito analitico di una mente sempre pronta a imparare. E la performance di Jérémie Elkaïm nella parte del padre è azzeccata. Il suo volto aperto e l’espressione limpida sono perfettamente idonee a indurre disagio e condurci attraverso il confine sfocato che separa innocenza e follia. Il contrasto tra la sua amabile superficie e la sua aggressività ci convincono lentamente che i ragazzi potrebbero essere nei guai.

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Piazza Grande, Cessez-le-feu, 6 | 8 | 2016 – 21.30

Siamo figli dei sopravvissuti della Grande Guerra. Riscoprire quel passato vuol dire comprendere chi siamo e da dove viene la nostra rabbia emmanuel courcol

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Crawling Out of the Shell aurélie godet

Before the American Association of Psychiatry officially recognized the diagnosis of PTSD (Post-Traumatic Stress Disorder) in 1980, war trauma was poorly handled and symptoms sometimes interpreted, sadly, as cowardice or a “lack of character”. During World War I, the proportion of shell-shocked soldiers was such that the army could no longer afford medical treatment, giving rise, fortuitously, to a more psychological approach being developed. In Emmanuel Courcol’s Cessez-le-feu, an aging mother discovers the turmoil of war’s painful echoes when her three sons, although together in the trenches, are handed different fates. One of them never comes back, despite the efforts of protective brother Georges (Romain Duris), while the third one, Marcel (Grégory Gadebois) remains in a form of shock that leaves him mute. Georges’s way of coping is to get as far away as possible, the Upper Volta territories of West Africa, and lead a completely differ-

ent life there. But when a tragic accident convinces him to return home, he is touched by his brother’s state, and charmed by the woman who has been teaching him sign language (Céline Salette) in an effort to pull Marcel out of his shell. Gadebois is incredibly moving as a man whose imposing physique hides a great frailty and who wins the heart of a petite, kind-hearted demoiselle (Julie-Marie Parmentier). And Duris, whose versatility needs no more evidence, finds here an ideal platform to display his abilities. Gifted with a great sense of comic timing (less at use here, for obvious reasons) and a command of his body and tempo, he adapts to the film’s tone and is able to give depth to the character of Georges… all the while remaining his likeable self and inviting the viewer to accompany him, to the next room or the other side of the world.

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Concorso internazionale, Al Ma’ wal Khodra wal Wajh El Hassan (Brooks, Meadows and Lovely Faces), Auditorium FEVI, 7 | 8 | 2016 – 14.00

Matrimonio all’egiziana carlo chatrian

«Racconto storie d’amore. Faccio film non per uccidere, ma per evitare la morte». La frase è del 1995, ma si adatta perfettamente al film che Yousry Nasrallah ha realizzato vent’anni dopo la sua indagine sui giovani e l’uso del velo, mostrata proprio qui a Locarno. Il fondo morale di questo regista innamorato della vita e dei suoi personaggi non è cambiato negli anni. Anzi, questa sua ultima avventura, che ha l’ambizione di far coincidere generi diversi, come il melò, il musical e la commedia, suona come un inno alla potenza dell’amore. Amore con cui si superano le differenze di età e di ceto, amore con cui si prepara un piatto o una festa, amore che va oltre i limiti imposti dalle leggi. Fare cinema non è mai un atto innocente, neppure quando le storie che si raccontano sembrano svolgersi nell’alveo tranquillo della finzione più dichiarata. Per Nasrallah questa cesura dal cosiddetto realismo è un modo per ricercare una complicità con lo spettatore che è la base necessaria affinché la verità della storia possa venire alla luce. Così c’è bisogno di accettare i codici del cinema per entrare in questo racconto che nell’arco temporale di un matrimonio dispiega una visione critica della società egiziana: non solo perché mette in evidenza connivenze tra potere politico, militare e imprenditoria ma anche perché mai come qui la gioia di vivere dei personaggi fa i conti con un’atmosfera di repressione che aleggia oltre i margini dell’inquadratura. Nasrallah ha la forza (morale) di far sentire la violenza senza lasciarla entrare in campo: il suo film resta un omaggio a una società che ancora si pensa libera, che non vuole rifiutare di ballare, che ancora si vuole abbandonare ai giochi di seduzione. Sarà per questo che i suoi travelling capaci di raccordare i passi degli amanti ci appaiono necessari ed eleganti, moderni e politici come non mai.

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When History becomes so strong that seems to be still, it is time to tell stories yousry nasrallah

Only Yousry boris sollazzo When he was a student of economics and politic sciences at Cairo University, still in his twenties, Yousry Nasrallah realized he was attracted by the same big screen he dreamed about as a child. In 1973 he started attending the École Supérieure du Cinéma and started going through Seven Art in all its forms. Film critic, screenwriter, assistant of a master like Youssef Chahine (with whom he wrote two movies), and of course director. Immediately acclaimed since his first movie Sarikat sayfeya (Summer Thefts, 1988), awarded at several festivals and selected at Cannes Film Festival ‘s Quinzaine des Réalisateurs, Yousry Nasrallah comes back to Locarno after 17 years. In 1999 he showed El medina (The City), a innovative movie about contents and aesthetic, talking about a man looking abroad for an evanescent and colorful success and then going back to Egypt. A movie somewhat complementary to the one he’s presenting this year, totally focus on complex social and family realtionships, in a microcosmos based on money, feelings and broken patterns. And, most important, he come back after the Arab Spring which he lived on his own skin, armed with his camera (this is the idea behind Baad el mawkeaa, or After the Battle) and his good will in his teaching cinema to new generations. Trying always to explore and witness his country present and possibly future.

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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 internazionale, Inimi cicatrizate (Scarred Hearts), Auditorium FEVI, 7 | 8 | 2016 – 16.30

A Moving Hospital Bed mark peranson

Ho imparato a ricostruire il passato attraverso i dettagli, a mischiare la letteratura con il cinema, a parlare di morte e di vita allo stesso tempo radu jude

In 1937, Emanuel (a very game Lucian Teodor Rus) is diagnosed with bone tuberculosis (or Pott’s disease) and is confined to Carmen Sylva, a marine sanatorium near the Black Sea. After the head doctor gleefully removes a pus-filled abscess while puffing on a cigarette, Emanuel is soon encased in a heavy body cast, and must spend all of his hours confined to his bed. A highly intelligent young man in he early twenties with a penchant for quoting poetry and philosophy, Emanuel tries to live life to its fullest in this Magic Mountain-like setting – keeping up his good humor, arguing over politics with blithe anti-Semites and falling in love with Solange, a recovered former patient sporting a leg brace – but is it only a matter of time until he, like many other of his fellow patients, becomes resigned to his arbitrary fate?

Loosely based on the autobiographical writings of Jewish Romanian author Max Blecher, poetic excerpts of which appear onscreen as intertitles, punctuating the scenes (e.g., «Darkness lay around us like thick wine»), Radu Jude’s eerily gorgeous Inimi cicatrizate (Scarred Hearts) uses Emanuel’s immobility to develop a melancholic master class in mise en scène. For his second consecutive period piece (following the Berlin Best Director-winning Aferim!), Jude shoots on 35mm film with a mostly immobile camera and in the Academy ratio, luxuriating in the rich details of the sanatorium, and exploring the plasterized Lothario’s realization of his own mortality. The impressive result is a cumulative humanistic power made even more trenchant with the fact that, outside of the hospital, as the time passes, the Iron Guard and Romanian fascism is on the rise…

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Concorso Cineasti del presente, Akhdar yabes (Withered Green), La Sala, 7 | 8 | 2016 – 19.00

Verde (senza) speranza lorenzo esposito

What mattered to me was how Iman dealt with events, as the simplest situations expand on the big screen to control the fate of the characters and shape their lives mohammed hammad

Un verde appassito. Il titolo del sorprendente debutto di Mohammed Hammad sposta subito l’attenzione dalla narrazione allo spazio architettonico e psicologico vissuto e attraversato dai corpi protagonisti del racconto. Stretta fra la rigida struttura delle tradizioni legate al percorso matrimoniale e il suo inesorabile, per quanto inatteso e precoce, decadimento procreativo, è come se Iman rilasciasse con violenza tutta l’energia trattenuta per anni sul mondo circostante. Si stende così un velo grigio, quasi nero, un verde cupo umido e pastoso, che si diffondono e inventano la geometria claustrofobica che corre parallela agli eventi. Da un lato la città, dura e brulicante, che Iman attraversa tutti i giorni per andare al lavoro, per fare i necessari esami medici e andare in visita ai familiari che

Prix du Public UBS 15

dovrebbero soccorrerla. Dall’altro la casa, bruscamente condivisa con la giovane sorella promessa in sposa e che Iman cerca di aiutare nei preparativi del matrimonio. Dettagli, ombre, angolazioni. Il corpo c’è, resiste, ma continuamente oppresso e frenato. Diventa un corpo separato da sé, dimenticato nel doppio fondo di uno specchio vuoto. Le stanze sembrano chiudersi su se stesse, quasi a mimare un’intera società che serra il cuore e le speranze. Tuttavia emerge l’orgoglio femminile, la battaglia silenziosa e determinata di una donna che guarda in faccia coraggiosamente i propri sogni infranti. La regia è come un altro assedio, stringe, accerchia, espone i fatti fino a una sorta di implosione, di affondo nel nero. Fino al risveglio però, altrettanto solitario e, infine, rosso sangue.

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Yesterday’s prize draw winner: Tino Langjahr

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Beyond the Festival

Story Of A Zip mattia bertoldi Ticinomoda (www.ticinomoda.ch), the association which mattia bertoldi gathers the more important fashion societies in our Canton helping them to develop their businesses, has more than 40 associated companies. Many of their stories could be chosen by one of the several directors who has come to Locarno on those days, and we are sure they could do a great movie. Do you want an example, set in Ticino from the first years of existence? Let’s pick the Riri’s one and let’s go back to more than ninety years ago. The year’s 1923: Martin Othmar Winterhalter, a Swiss jurist, purchases the patent of a handcrafted zip for Europe and he perfects it, taking inspiration from the shape of the teeth – concave and convex, which in German is rille und rippe, hence the acronym Riri. Well, it is going to be something ingenious and legendary at the same time. The

company has immediately success and in 1936 it moves to Mendrisio, near the Italian borders. Since the Fifties the zips are also made of plastic, in 1979 a new plant is opened in Mendrisio and more than 20 million zip fasteners are produced per year and in 2003 Riri wins the America’s Cup Challenge with Alinghi – not bad for a boat developed and built in our country, without any sea! Riri is the perfect demonstration of how something so small can have a huge influence on our habits, costumes and clothing all around the world. And it is not surprising to discover that it chose to associate to Ticinomoda: thanks to its help, the company which is still based in Mendrisio will grow and develop further, approaching to celebrate its first 100 years of story in 2023.

Peccia, Val Lavizzara

Taste local dishes in a typical location ascona-locarno.com

ples best exam e h t , i” t t “Gro o Cuisine! in ic T e h t f o strone lenta, mine d Risotto, po ishes serve ther local d o y n a m . d le n a ic-sty verns of rust in ty pical ta More info: ronomy o.com/gast rn a c o -l a ascon

Concorso Cineasti del presente, L'Indomptée, La Sala, 7 | 8 | 2016 – 11.00

Open the Door Within Me aurélie godet

Manto protettivo della notte, le reminiscenze e gli incubi sono un tutt'uno. Non si può che contare sui nostri sogni, per ricordare caroline deruas

How does inspiration come? Can you make it come? The young writer at the center of L’Indomptée, Camille (Clotilde Hesme), believes that an answer might be to look for it in the right place. After winning a yearlong residency at the Villa Medici, home to the French Academy in Rome, she moves there with the firm intention to write her first full-length novel. Despite a writer’s block worsened by the maddening productivity of her notorious husband, Camille finds an ally in the elusive Axèle (Jenna Thiam), who helps her see the illustrious mansion’s walls for what they are: a hideout for muses indifferent to passing time. Caroline Deruas explores the instinctive idea that old stones may be more worthy of trust than people. The word of humans, and in particular a rather pitiful sample of the male gender, seems short-

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Eduardo Williams, regista Yousry Nasrallah, regista Louis Garrel, attore Bulle Ogier, attrice

sighted and calculating, a slave to desires and insecurities. Thankfully, the filmmaker casts a caustic eye on the grotesque spectacle of these all too familiar human emotions, to an often exquisitely amusing effect. Walls, on the other hand, don’t lie. And when a woman confides her secrets in the ear of a statue, slithering among her sculptural mate’s convolutions, the presence of one friendly ghost, Luis Buñuel, is instantaneously palpable, transporting the uncontrollable erotic impetus of his surrealist masterpiece. In Ms. Deruas’s delicate weaving of reality and imagination, ideally adorned by Nicola Piovani’s bewitching music, a living person fades out of a picture while inanimate characters come to life. In this dreamy landscape, inspiration is within reach, literally.

Isabelle Huppert, attrice Maria Schrader, regista Albrecht Schuch, attore José Oliveira, regista

Radu Jude, regista Abel Ferrara, regista Harvey Keitel, attore Kelly Ann Page, attrice Made of Switzerland.

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Fuori concorso, Jean Ziegler, l'optimisme de la volonté, La Sala, 7 | 8 | 2016 – 16.15

Comandante Jean Ziegler lorenzo buccella

«Che Guevara mi ha salvato la vita». A scandirlo come un mantra durante il corso del film è forse il più anomalo degli svizzeri, mentre la memoria torna alla radice dell’aneddoto. È il 1964 e a Ginevra è di passaggio il rivoluzionario argentino per un convegno internazionale. Al giovane Jean Ziegler che gli fa da autista e che vorrebbe seguirlo a Cuba per partecipare alla lotta antimperialista, il Che risponde che è meglio combattere il “mostro” nel proprio paese. Un consiglio che il sociologo Ziegler, autore di libri famosi come Una Svizzera al di sopra di ogni sospetto e La Svizzera lava più bianco, da allora ha stretto a mo’ di bussola per orientare una vita votata alla lotta e all’impegno. E lo ha fatto fino a oggi senza mai perdere di vista quel proprio nord magnetico e ideologico, nonostante, attorno a sé, il vento della storia pare continuamente relegare quegli stessi ideali a questioni del secolo scorso. Attriti e dissidenze col presente che il documentario di Nicolas Wadimoff registra, lasciando sullo sfondo un paesaggio da “tramonto delle ideologie” per stringere l’inquadratura e pedinare la combattività del suo protagonista. Un uomo che all’età di 82 anni torna a visitare Cuba, proprio nel periodo in cui il paese è destinato a cambiar rotta, ripiegando bandiere e mitologie del passato. Tra interviste in tv, chiacchierate con la gente comune e visite impreviste in ospedale, il ritratto che si staglia è di un intellettuale che in ogni suo gesto e in ogni sua parola non divide il passato dal presente, se a far da fedele filo conduttore resta la coscienza di una battaglia pronta ad affrontare i “mostri” nelle loro nuove metamorfosi contemporanee. Dalla lotta contro la fame nel mondo all’attacco nei confronti dei fondi speculativi, campagne portate avanti, ancora oggi, da Ziegler al Consiglio per i diritti umani delle Nazioni Unite. Con un vestito da diplomatico che fa solo da involucro a un cuore perennemente ribelle.

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Opening New Horizons mattia bertoldi Jean Ziegler, how important is optimism for fighting in the name of an ideal? The subtitle of the movie which will be presented at the Festival del film Locarno is clearly inspired by an Antonio Gramsci’s quote, who wrote in one of his Quaderni del carcere: «Pessimism of the intellect, optimism of willpower». It explains perfectly how rationality leads to negativity, while willpower lets mankind to open new horizons, to go towards a new future of freedom and justice. Travelling always leads to discovery. Did you discover in Cuba something new about the island, or maybe about yourself? I have a deep affection for this country. To me it has always represented an example of independence and solidarity. Che is certainly one of the most important historical figures in your life. But why did he become so important for whole mankind? Because he gave his life to defend what he believed in. He did not write only some books, he did not take part only to conferences: he gave his life, all he had. What is the most important thing you learned during your trip to Cuba, on which is focused Nicolas Wadimoff’s movie? A thing I already knew: that independence, solidarity and social justice are the most fundamental aspects of human society, the most essential values we have to defend and to believe in.

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Signs of Life, Beduino, PalaVideo, 7 | 8 | 2016 – 21.00

Amore Umore lorenzo esposito

Si può ancora oggi dire e filmare qualcosa che non sia immediatamente riconducibile alle categorie del senso comune o dell’essere comunicabili? Qualcosa che inviti lo spettatore a cercare liberamente la sua strada e a provare l’ebbrezza di un cammino senza guida né orientamento? Qualcosa che, letteralmente, non abbia precedenti? Sì, se il cineasta in questione si chiama Júlio Bressane. Non a caso Beduino comincia lì dove finiva Educação Sentimental (in Concorso a Locarno 2013), sul set che si rimette in moto e la troupe al lavoro che circumnaviga la scena fra differenza e ripetizione. Il boudoir dove avviene il gioco a due erotico-filosofico – protagonisti la bellissima Alessandra Negrini e Fernando Eiras (entrambi già molte volte con Bressane) – diventa subito un teatro magico: le prime due parole pronunciate, dopo oltre dieci minuti di puro sisma onirico, sono amore, umore. Come miraggi si susseguono siderali deviazioni del senso: piramidi, una donna d’Oriente che viene dal passato, corvi, coccodrilli, passeri notturni, pendoli di Foucault, treni che corrono su promontori femminili, guerre casalinghe, piccoli teatri d’amore, calici misteriosi. Gli estratti da altri film di Bressane non sono più solo memorie ma storie, sogni, personaggi che infine giungono con Beduino a uno stato psico-fisico del tutto nuovo. Tutto si spalanca su un abisso che ribolle e che sogna l’auto-rigenerazione.

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Jean Douchet on Fritz Lang

The Lang Way to Europe daniela persico Discovering one of the essential filmmakers in cinema history: Fritz Lang, the Austrian author who immigrated to the US and then returned briefly in Europe, is part of the constellation of films presented in this year’s retrospective. Der Tiger von Eschnapur (The Tiger of Eschnapur, 1959) and Das indische Grabmal (The Indian Tomb, 1959) marked the return of the director in Europe, but have been largely misunderstood by critics of the time: shock and disgust were aimed at the director, stuck in an adventure film with fake and exotic locations. A voice rose to support Lang’s choice: Jean Douchet, who, from the pages of the Cahiers du Cinéma, started from the apparent anomaly of the films to go and discover the coherent poetic of Lang. «To understand what is cinema all you need is to watch the last films

of Lang’s career, between America and Europe: The Big Heat (1953), Beyond a Reasonable Doubt (1956), Der Tiger von Eschnapur, Das indische Grabmal, up to Die 1000 Augen des Dr. Mabuse (The Thousand Eyes of Dr. Mabuse, 1960)», says Douchet, who will give a lecture on the subject on Sunday, August 7 (Palavideo, 15.30). «Lang was trained as an architect, and you can see it in the construction of his films – where he goes from the stillness of the image to the exploration of the movement - gradually able to free himself from this precise geometry to leave room for abstraction». An aesthetic introduction to the author that could be «the exploration of one of the possible paths of this year’s retrospective» says Roberto Turigliatto, who will conduct the lecture.

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20.06.16 14:17

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Open Doors

Come In, You Are Welcome Open Doors has now a Hub, a Lab and a Screenings section. And in the next three years will support and highlight filmmakers and films from eight countries in South Asia mattia bertoldi

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Afghanistan, Bangladesh, Bhutan, the Maldives, Myanmar, Nepal, Pakistan and Sri Lanka are going to be at the heart of the Open Doors section for the next three years. This initiative is supported by the Swiss Agency for Development and Cooperation of the Federal Department of Foreign Affairs. Sophie Bourdon, Head of Open Doors says «We have chosen this region because it has never been explored yet over the first 13 years of Open Doors and we know there is a promising new generation of talents with fascinating stories. The extended 3-year period, moreover, has been decided to increase the awareness of talents and new voices and to develop possible cooperations with existing local initiative such as festivals and film schools like The Memory! International Film Heritage Festival, the Yangon Film School, FAMU Burma, etc» Open Doors is also the only section of the Festival del film Locarno, which is subdivided in three complimentary activities. «The Hub is a coproduction platform, introducing new stories and talents to the international market. The Lab, is an inspiring producers’ lab to encourage entrepreneurial activities, and Screenings which represent an exploration of the contemporary, diversified cinematographic landscape of a specific region». Bourdon defines the soul of the whole Open Doors section as sharing, connecting and challenging, while the next three years are going to be more collaborative, entrepreneurial and structuring. In the meanwhile, to be aware of the successes reached by the section, there is a page called «Success Stories» which collects all the accomplishments of the last 13 years, and where Bourdon mentions her favorite stories. «To me a team like the one of Necktie Youth (South Africa) is an interesting example to show the impact that our initiative can have. It can not only help a project to become a film and have a successful career internationally, but also the help the people to grow – like the South African producer Elias Ribeiro who met Pandora da Cunha Telles at Open Doors in 2014, and together produced the film directed by Licínio Azevedo, Comboio de Sal e Açucar (The Train of Salt and Sugar), which is being premiered on the Piazza Grande on August 10… This is the first time a Open Doors project is selected for the Piazza! » The main goal seems to trigger a virtuous circle, a series of spontaneous initiatives. «Ribeiro is a real entrepreneur who also cares for the new generation of talents of his region and has just launched a training initiative, a residence for filmmakers to support scriptwriting, called "Realness". Such a case which has encouraged us to create the Open Doors Lab to contribute to the development of a possible new generation of film entrepreneurs, and more importantly creative producers».

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Pardi di domani: Concorso internazionale, Kommittén (The Committee), La Sala, 7 | 8 | 2016 – 14.00

Artisticamente corretto Quando l’arte incontra la politica, si sa, ne possono nascere opere stupefacenti… o clamorosi fallimenti. È questo il fulcro del cortometraggio Kommittén, che ci presenta una delegazione di esperti provenienti da Svezia, Finlandia e Norvegia incaricata di scegliere un’opera da collocare là dove s’incontrano i confini tra le tre nazioni, a simboleggiare l’amicizia che le lega. Ma la proposta dell’artista incaricato del progetto si rivela non poco eccentrica, sollevando le perplessità dei delegati. A poco a poco, dalla discussione in seno al gruppo emergono stereotipi, pregiudizi e patriottismi. È con umorismo lieve che il duo composto dalla finlandese Jenni Toivoniemi e dalla norvegese Gunhild Enger si addentra tra i paradossi dell’incontro tra arte e politica, rimanendo su un delica-

sara groissman

to terreno che non sconfina né nel grottesco né nella tragedia, ma coglie con finezza i molteplici risvolti che a mano a mano assume il reale. Si sorride dei dialoghi tra i diplomatici (incarnazione di un “potere” più dilettantesco che forte) e del mondo di apparenze a cui appartengono: anche se la scelta dell’opera rischia di naufragare, a un selfie di gruppo non si rinuncia mai… A fianco dello sguardo ironico sulla burocrazia che si cela dietro le grandi opere pubbliche, le due registe guardano con affettuoso umorismo anche al mondo dell’arte, attraverso la figura di un performer stralunato che porta avanti una concezione molto particolare di “monumento” ma si trova sperduto di fronte ai compromessi richiesti a chi lavora a stretto contatto con la politica.

USI Università della Svizzera italiana

www.usi.ch

Small classes, an international atmosphere.

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Programmes in English & Italian

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Industry Days

Locarno Alliance massimo benvegnú

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What better place to look for allies for your project than in Locarno? This is the spirit between the Alliance for Development, an initiative created by the Industry Days out of a common purpose with the three bilateral co-development funds existing between France, Germany, and Italy. Since Switzerland borders with all three countries, and shares the same official languages, it is the natural place where to look for a co-producer to develop a feature. Supported by the Federal Office of Culture (FOC) in the context of the MEDIA compensatory measures, Alliance for Development comprehends a total of twelve projects in various states of development, with three each coming from the Centre national du cinéma et de l’image animée for France, the Ministero dei beni e delle attività culturali e del turismo for Italy and the Filmförderungsanstalt for Germany, with three Swiss projects invited to join as special guests. «Alliance for Development gives the chosen projects an opportunity to match with the professionals attending the Locarno Industry Days, highlighting the best assets of each country involved and together aiming to create a solid market-oriented model» says Nadia Dresti, Delegate to the Artistic Director and Head of International. Locarno proves once again to be the ideal meeting point for professionals coming from these four borderning countries to discuss their projects and get to know each other through individual meetings with potential partners, plenary sessions, panels and discussions, and networking activities.

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PARDO

LIFE

Gilles Marchand, regista di Dans la forêt, e il suo cast.

Il regista Emmanuel Courcol e Wabinle Nabié, attore di Cessez-le-feu

Yuri Ancarani, regista di The Challenge.

La giuria Opera Prima

L'attrice Lola Giouse e Lora Mure-Ravaud, regista di Côté cour.

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Matías Piñeiro, regista di Hermia & Helena.

Rainer Frimmel, regista di Mister Universo

Maud Alpi, regista di Gorge Cœur Ventre

Industry Party.

Tizza Covi, regista di Mister Universo

Stefania Sandrelli, Leopard Club Award 2016

L'attrice May-Linda Kosumovic e Fisnik Maxhuni, regista di Lost Exile.

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Beyond the Festival

Rotonda ad alta frequenza mattia bertoldi

PardOn Air

Musica per tutti i gusti, divertimento assicurato. La lunga notte di Locarno è sempre di casa a laRotonda. E per scaldare l'atmosfera, in diretta ogni giorno dalle 18 alle 21 sulle frequenze di Rete Tre, c'é la trasmissione PardOn. Il metodo migliore per vivere e godersi #Locarno69 in tutte le sue declinazioni.

Cinema da assaggio Mister Chips e Mister Universo, la tendina dedicata al cibo thailandese e Bangkok Nites, lo stand dedicato al cibo messicano e i sei film provenienti dal Paese centroamericano... Il programma del Festival riecheggia nel variegato Food district. Provare per credere.

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Beyond the Festival

SUISA Prize Hat-Trick for Reiser The FONDATION SUISA has chosen once again the Festival del film Locarno for awarding a Swiss music composer with the Film Music Prize, which is worth CHF 25,000. This year the foundation for music promotion of the Cooperative Society of Music Authours and Publishers has selected Niki Reiser for his original music for the film Heidi (2015); the composer from Basel will receive the prize on Sunday, August 7 at Casorella (11.00). Reiser did not tremble when he was asked to write music for Alain Gsponer’s movie, dedicated to the girl created by Johanna Spyri – one of the most iconic characters in Switzerland and over the world. In 2001 he had already scored Markus Im-

boden’s Heidi and he was aware of how important could be avoiding clichés that Swiss mountains and alpine locations can suggest. He ignored then Swiss melodiusness and chose to focus on the main character’s emotional sphere. According to the jury, it was the right choice because Reiser was able to transform the film into “a feast for the eyes and ears, touching people’s hearts”. For Reiser this is the third Film Music Prize of FONDATION SUISA he earns, following the ones won for the scores of Kalt ist der Abendhauch (2001, directed by Rainer Kaufmann) and Das Blaue vom Himmel (2011, directed by Hans Steinbichler). An outstanding hat-trick.

Beyond the Festival

Locarno, En Garde! L’avranno notato in molti: il cubo di stoffa e cartone che fa bella mostra di sé nell’atrio della Sopracenerina (Festival Center) è un tributo al dadaismo, movimento artistico che nel 2016 celebra i suoi primi cento anni. La Garde – questo il titolo dell’installazione interattiva creata da Fragment.in, in collaborazione con Superlife (www.superlife.ch) – invita gli spettatori a riflettere sulle tracce che lasciamo sulle

reti sociali, grazie a una marionetta virtuale i cui fili rispecchiano i legami che stringiamo nell’universo digitale. La “costruzione” affianca il documentario web creato da David Dufresne, Anita Hugi e Akufen, esplorabile all’indirizzo Dada-data.net. Che siate a Locarno o meno, insomma, il viaggio alla (ri)scoperta del Dada non attende che voi.

Per aggiornamenti e modifiche del programma, consultate www.pardo.ch the programme, 30.05.16 16:12connect to www.pardo.ch

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The Grande Piazza of Memories From Canadian director Philippe Falardeau who took us inside a school class dealing with a bereavement in Monsieur Lazhar (2011) to Gurinder Chadha who brought women’s football to the Piazza Grande with Bend It Like Beckham (2002)... All are still vivid memories – full of people and emotions – that remain with the directors whose films were able to connect so strongly with the Locarno audience. Feelings which then, via the audience vote, were expressed in the triumph of the prestigious Prix du Public UBS. So many Festival stories that intersect with the personalities who have contributed to film history. The brief interviews that are shown on the screen of the Piazza Grande, every evening before Carlo Chatrian’s introductions, are there to record them. Bruno Ganz, the winner in 2009 with Giulias Verschwinden, re-

calls its rain-drenched screenings on the Piazza, watched from under umbrellas. Or the two directors of Microcosmos, Marie Pérennou and Claude Nuridsany, who recall how their little insect players became gigantic on the giant screen. Or then again, filmmaker Alessandro D’Alatri, and his sudden fear on realizing that very soon there would be thousands of people watching and judging his film. For Anna Galiena, a clamorous, immersive experience, which matched the joyous spirit of going to the cinema as a child. To each his or her own.... memory. Bearing the indelible imprint of the Piazza Grande. Since in the end, there is not one of the past winners of the Prix du Public who – following that unforgettable experience – has not wanted to say a heartfelt “thank you, Piazza Grande”.

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

Monsieur Lazhar Winner of the Prix du Public UBS in 2011 Philippe Falardeau, director

Semaine de la critique

Cahier africain Heidi Specogna

Documentary, 2016, 119 min. Switzerland / Germany

Sunday, 11:00, Teatro Kursaal Panorama Suisse

Raving Iran

Susanne Regina Meures Documentary, 2016, 84 min. Switzerland

Sunday, 11:00, FEVI Fuori concorso

Jean Ziegler – The Optimism Of Willpower Nicolas Wadimoff

Documentary, 2016, 90 min. Switzerland

Sunday, 16:15, La Sala

Swiss Highlights in Locarno on Sunday, August 7 Concorso cineasti del presente

Fishing Bodies Michele Pennetta

Documentary, 2016, 65 min. Switzerland

Sunday, 21:30, Cinema Rialto 2

www.swissfilms.ch

The Last Tweet @lorenzobuccella

#GasparNoé and the unbearable light of being. #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.

oment special m e your a y jo n e ? Shar Did you l del film ts for a iv t s e F ticke at the and win e c n ie r e p ex g night. o the closin lmlocarn lfi e ld a /festiv ubs.com