7 | 8 | 2013 Pardo Live, 1

PardoLive 66° Festival del film Locarno

Wednesday · Mercoledì 7 | 8 | 2013

Sir Christopher Lee Baltasar Kormákur Daniel e Diego Vega Joaquim Pinto Andrea Segre Vinicio Capossela

Pardo Live Partner:

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PardoLive 7 | 8 | 2013

Lagaan, once upon a time in India | Winner of the Prix du Public UBS in 2001 | Aamir Khan, actor and producer

You are the Jury.

Award the prize, win a prize in the Piazza Grande. www.pardo.ch/ubs

Piazza Grande, 2 Guns, 7 | 8 | 2013 — 21:30

È un inizio sparato: quando le star giocano con il fuoco La ricetta ha gli ingredienti d’impatto dell’action-movie hollywoodiano. Quelli che sanno invadere ogni millimetro del maxischermo di Piazza Grande, per mescolare un cocktail visivo fatto di pistolettate, inseguimenti e colpi di scena che dirottano suspense e attenzioni del pubblico. Tredici anni fa, il regista Baltasar Kormákur ci aveva trasportato tra le nevi grottesche della sua Islanda, con una pellicola d’esordio, 101 Reykjavik che, oltre a scaraventarci in un mondo stralunato fatto di alcool, sesso e flamenco, segnò il suo trampolino di lancio internazionale. Ora, Kormákur ritorna sulla scena del delitto locarnese, ma lo fa dopo quel lungo balzo di carriera che lo ha fatto atterrare negli Stati Uniti e dirigere, come in questo 2 Guns, un cast che è tutto un cielo di stelle.

Fermo immagine Carlo Chatrian Artistic Director I’ve always been mistrustful of celebrity figureheads and opening ceremonies, of forced smiles and speeches written to be read out (but without it being too obvious). As though someone up above did not have enough confidence in the actors or the programme itself to offer it without intermediaries. But when the possibility of hosting Christopher Lee at Locarno came up, I said to myself that if there must be a figurehead, he would be my ideal one. How could you not want to be accompanied by the man who has accompanied more films than any other?

Of water and fire. A thin thread of disquietude passes through the films in the competitions and links Joaquim Pinto’s first-person narrative with that of the river’s inhabitants in Sai nam tid shoer (By By the River River).

In E Agora? Lembra-me, the story of the fight against a disease and of the life that has carried on despite eveSai nam tid shoer rything, fire serves as both real threat and metaphor. In Numbenchapol’s film, it is water that is overturned as a symbol of purity and life to become an element of death and pain. Though not directly present, ruin and rebirth are the basic elements of 2 Guns. Like every good action film, Kormákur’s work repeatedly places its heroes at the edge of the precipice, in impasses with no way out, perhaps to bring the public’s attention to an unbalanced relationship between who controls and who is controlled.

Mettete fianco a fianco agenti mascherati da criminali come Denzel Washington e Mark Wahlberg. Inseriteci di mezzo la figura femminile Paula Patton. E poi lasciateli frizionare all’interno di un groviglio narrativo in cui i rapporti tra buoni e cattivi si mangiano i confini, ribaltando aspetti esteriori e diffidenze che finiscono per arrivare a testacoda imprevedibili. Storia di dollari che scappano, lotte contro i cartelli della droga messicana, il tutto condito da quelle schegge d’ironia che si grattugiano nel pentolone adrenalinico con cui il film mette a fuoco anche un suo cuore “politico”: quando la corruzione dilaga nelle istituzioni, l’abuso di potere diventa prassi quotidiana. lorenzo buccella

Fuori concorso

Indebito, Salonicco Social Club La potente, lacerante, poetica e rabbiosa voce dei rebetes, quella delicata, soffiata di Vinicio Capossela, l’occhio fisso, lucido, fatto di arte e rabbia di Andrea Segre sulle ingiustizie, da sempre tappe del suo viaggio cinematografico e fisico nelle periferie del mondo. Indebito, gioco di parole e note sulla Grecia in ginocchio – Atene e Salonicco in particolare – scrutata attraverso il rebetiko, è la vibrante ricerca e riconquista di un’identità venduta al peggior offerente (consumismo e globalizzazione), uno sguardo diverso e appassionato di due artisti diversi e complementari sul centro di una crisi in cui il disastro economico attuale è solo un effetto e non la causa.

Boris Sollazzo 3

Concorso internazionale, El mudo Auditorium fevi, 8 | 8 | 2013 — 14:00 Someone has shot the judge Costantino. A bullet to the throat has taken away his ability to talk. He is sure he knows who was responsible, but the world around him does not give him a chance to prove it. He is left with his soundless rage, his gaze lost amidst papers that no longer speak to him. Alone, in his office. Alone, in his silence. Imprisoned in a tragi-comic situation, the judge Costantino observes the world that surrounds him with astonishment.

Pardo

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Tom, Anna, Roger: appassionati di cinema

a spettiv o r t e r tner r e par Locarno o s n o Sp del film l a v i t s Fe

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Piazza Grande, 2 Guns, 7 | 8 | 2013 — 21:30

“Back to Locarno, Where It All Started” You have just to say a word: Locarno. And watch the smile on Baltasar Kormákur’s face. “It was a great experience. It was my first international premiere as a director. It´s where it all started. I had no idea what to expect but it could not have gone any better”. The Icelandic director lived his debut at the Festival del film Locarno in 2000, when 101 Reykjavík took part to the Concorso internazionale.

“The movie became a hit out of Locarno. I had a new born son that me and my wife Lilja brought with us. He is now starting to have teenage problems - that is how long I have been doing it. I could not be more happy to come back to Locarno to open the festival at the wonderful Piazza.”

Following the success of his first “American” film, Contraband, Kormákur was immediately on the hunt for fruitful new challenges.

“I didn’t want to repeat myself with 2 Guns, I was looking for something more personal. I wanted to let my humour and my style come through. This was going to be a chance for me to reveal myself.”

How did he ensure that two stars of the calibre of Denzel Washington and Mark Wahlberg got along on the set? “It was the biggest challenge: if I managed to put these two actors together and make them shine, to find the right chemistry, we could have achieved anything. What I had to do was to create the right atmosphere on the set, to create trust. You have to prepare yourself well so that when it’s

time to start working you feel free and relaxed and the relationships can ease up. Then the actors have to find the camaraderie themselves, you can’t manipulate them. You have to lay the groundwork, the foundations for them to work on. My task was to control the tone of the movie, adding or taking away comedy where I thought it was appropriate.”

What was the most complicated scene to shoot? “There were many. I’m not afraid of shooting unexpected things. In some scenes I was playing with fire a bit, which I love to do. Like the scene with the bull, which I came up with myself. It wasn’t in the original script.

I like these complicated things. There are lots of difficult aspects: it wasn’t easy to unleash a bull against Denzel Washington! In the end though, it proved complicated because it was the bull who was scared…” adriano ercolani

Denzel Washington

Mark Wahlberg

Paula Patton

Sta soprattutto alla bravura e alla responsabilità del regista trovare il tono del film e dosare le prove degli attori.

Kormákur ha adoperato gli arnesi giusti.

Abbiamo improvvisato praticamente ogni scena, lavorando sempre più su nuove idee mentre andavamo avanti. Questo è fare cinema: cerchi di trovare sempre nuovo materiale e poi lo tagli se ti accorgi che non funziona

Come attore, ma anche produttore in passato, sento sempre la responsabilità di creare un ambiente dove ognuno si possa sentire a proprio agio, senza la paura di sembrare ridicolo a tentare nuove strade.

L’approccio a questo film è stato quello di un processo di scoperta. Alla fine molte delle migliori battute sono uscite da me e Denzel mentre ci divertivamo a improvvisare

Per sviluppare l’alchimia sul set non c’è una formula, funziona o non funziona. Denzel e Mark hanno trovato subito una grande intesa e quando abbiamo girato tutti e tre me l’hanno trasmessa, abbiamo organizzato le scene tra noi come una specie di danza.

Non sono cose che puoi creare, succedono e basta. Insomma, è stato un film veramente piacevole da realizzare a.e.

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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. Inviate la vostra candidatura a:

www.fondazionebally.ch 5

PardoLive 7 | 8 | 2013

Five questions to …

Sir Christopher Lee Excellence Award Moët & Chandon

“

Il regista più brillante con cui abbia mai lavorato è Billy Wilder. Un uomo magnifico sul set e davvero arguto

In your career you portrayed a wide range of characters. Generally speaking, did you pursue the roles you played – or did most come to you?

Sir Christopher Lee, you represent a long and fascinating segment of the history of cinema, due to the almost 300 roles you have played.

Could you tell us when you felt the first spark of love for your craft?

The Wicker Man is without any question the best and most brilliantly written part I have ever had – written by Anthony Schaffer. I’ll never forget it.

Absolutely brilliant, the best film I’ve ever made.

I still have the script. It was written – which was fairly rare in those days – for me. Schaffer and Hardy had me in their minds to play the part of Lord Summerile. And many critics call it one of the top ten British movies ever made.

”

I don’t really know. When I was about 10 or 12, we had an annual play at Christmas – Shakespeare. I appeared in Richard II and in Henry V and the idea of acting probably was born when I did those two plays. In 1946, I visited my cousin, who was the first Italian ambassador to the Court of St. James’s after the war. I didn’t really know what I wanted to do after getting out of uniform. “Have you ever thought of being an actor?” he asked. After two or three weeks I told him I would give acting a try.

The Wicker Man (1973) La sala, 8 | 8 | 2013 — 16:15

Parts always came to me. I don’t remember ever saying to my agent “I hear so and so is going make a film, I want to be in it.” Everthing I have ever done has been offered to me – either personally or through my agent.

You have often claimed that Robin Hardy’s The Wicker Man (1973) is the movie you are most attached to. Do you still feel that way?

Without any doubt the most brilliant director I have ever worked with was Wilder. He was a wonderful man to work with and, my god, he was witty. Then you’ve got Spielberg, Peter Jackson, Burton, Martin Scorsese, and Dante. I cannot pick a favorite. They are wonderful in totally different ways because all the stories were different. I also worked with Orson Welles on a television film of his play Moby Dick – Rehearsed, which was never finished. He was wonderful, as was John Huston.

You have taken part to great blockbusters, but you have also acted in some low-budget movies with a strong experimental bent.

That’s the case of Pere Portabella’s Umbracle, which is going to be screened in Locarno.

What was it like working on that film?

From Billy Wilder to Steven Spielberg, Joe Dante and Tim Burton, your filmography is characterized by encounters with great directors. Which one do you remember most fondly?

I never really understood it. He made this movie in B&W, most of which is with sound and some of which I sing in. Other times I just walk around. I did have a scene – cannot remember if it is still in the film – with the famous painter Antoni Tàpies. We spoke French. Then I used to sing Wagner out of nowhere. With no music – nothing. It is a very strange movie and you really would have to ask the filmmaker about the lorenzo buccella meaning of it.

The Hound of the Baskervilles (1959) Cinema Ex*Rex, 9 | 8 | 2013 — 22:00

Umbracle (1972) Cinema Rialto 1, 11 | 8 | 2013 — 21:00

Š Alessio Pizzicannella

Enjoy the festival.

TV is waiting for you.

Replay from Swisscom TV lets you watch any programme broadcast in the last 30 hours. Further information and a special offer from Swisscom TV to mark the festival are waiting for you at Cinebar Swisscom.

PardoLive 7 | 8 | 2013

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Concorso internazionale, El mudo Auditorium fevi, 8 | 8 | 2013 — 14:00

A Reluctant Hero El mudo is, paradoxically, the only character willing to speak up in this tragicomedy directed by Peruvian brothers Daniel and Diego Vega. As a judge devoted to the principles of the law, Constantino faces a system of corruption that a “silent” majority, including his own family, seems to participate in or submit to.

After a striking opening scene exposes his contempt for moral weakness and mediocrity, Constantino is catapulted into a moral crisis by what looks like a double punishment for his overblown good intentions: a professional downgrade and a gunshot out of nowhere which leaves him as good as mute. Pathetic, the little judge appears as a deformed growth aborted by the body that produced him. After their Cannes success and Kaurismäki homage Octubre, the Vega brothers, in just two films, have affirmed a penchant for reluctant heroes marked by the legacy of an admired lost parent; dogmatic men whose intransigence has left them friendless and obliged to recognize the dead-end their solitary crusade got them into.

Maturing from a sober mix of absurd humor and elegantly shot melancholy, the Vega brothers welcome genre elements with a whodunit mystery, as well as a subtle and dark moral questioning. aurélie godet

Concorso internazionale, E Agora? Lembra-me Auditorium fevi, 8 | 8 | 2013 — 16:30

Un anno sopravvissuto pericolosamente Bastano poche inquadrature per intuire che E Agora? Lembra-me non è un film come tutti gli altri. Molto più di una voce narrante, capace di saltare d’intuizione in intuizione e far passare le quasi tre ore tutte d’un fiato, a imporsi è la voglia di prendere di petto quell’impasto di ironia e tragedia, di dolore e gioia che compone una vita. Come annuncia il titolo, il film gioca su una distopia: il presente («E agora?» – E ora?) in tutta la sua incertezza si prolunga nel passato («Lembra-me» – Ricordami), imposto come un imperativo.

Sullo sfondo la concezione di Pier Paolo Pasolini, «Amo il cinema perché con il cinema resto sempre a livello della realtà». Anche Joaquim Pinto, fonico, produttore, regista – compagno di viaggio di Jean-Claude Biette, Serge Daney, Paulo Rocha e João Monteiro – ama il cinema perché gli permette di essere su un piano d’uguaglianza con le cose. Con il cinema ha fatto la sua vita e ora che si trova a lottare con la malattia usa il cinema per trasformarla in poema visivo. Nel film un’immagine ricorre. Come una metafora. O un manifesto. Gli adorati cani del regista e del suo compagno si strusciano sull’erba, a pancia all’aria. È la posizione più indifesa per un animale, che l’adotta solo quando ha di fronte qualcuno di cui si fida ciecamente. carlo chatrian

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PardoLive 7 | 8 | 2013

Concorso Cineasti del presente, The Dirties, La Sala, 8 | 8 | 2013 — 11:00

Tempo libero

Bullies and Cinephilia

Tandem Skydive just do it !

The fears of parents worldwide: just what are your kids doing in their spare time? Along with his best friend Owen (Owen Williams), Matt (maniacal director Matt Johnson) decides to take on a gang of bullies he dubs The Dirties in a no-budget epic action farce made for his high-school film class, a revenge fantasy à la Tarantino packed to the brim with cinematic references and surreptitiously filmed prankery. All, of course, does not go as planned, actual bullying increases, and Matt comes up with the idea of making the film again, this time as a documentary, which tests Matt and Owen’s friendship, and brings to the fore the degree to which Matt has become disattached from reality. The impressive quality of Johnson’s feature debut is that it willingly assumes a now-too-familiar, juvenile form to deal with its juvenile subject – call it the mockumentary, with action shot from a handheld camera by an unseen, yet acknowledged cameraman – but the enaction of the concept is more mature than in untold number of generic art films flooding the scene today. (This guy is goC ing to be big.) Winner of multiple awards at American M independent film festivals, including the main prize at Y this year’s Slamdance, The Dirties is a rioyous comedy, CM make no doubt about it, but paced and edited in a dazzling way that its thematic seriousness seeps, leavingMY a bad taste in your mouth about the dangers of untouched CY cinephilia, when taken to the extreme. mark peranson CMY

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Concorso Cineasti del presente, Sai nam tid shoer, La Sala, 8 | 8 | 2013 – 18:30

E il naufragar mi è dolce in queste acque di piombo C’è un villaggio nella regione di Kanchanaburi. E c’è un fiume le cui acque scorrono fino a Bangkok. Un giovane si immerge tutti i giorni per pescare, e mentre pesca si perde nel verde cristallino, nei riverberi di luce, nel silenzio della foresta di smeraldo. Ma c’è qualcosa di oscuro in questa discesa adamantina. Negli anni le acque del fiume sono state inquinate dal piombo di una fabbrica finalmente chiusa. Il pesce è contaminato, molti abitanti del villaggio si sono ammalati. Nontawat Numbenchapol, che già nel precedente Fahtum pandinsoong (Boundary) lavorava sui confini fra verità e menzogna, va più a fondo. Letteralmente. Il virus minerale che ha infettato l’ambiente è fluido, opaco, silenzioso. L’aria ne è pregna, ma non si vede. L’ecosistema è travolto, ma la vita quotidiana scorre placida come le acque del fiume. Sai nam tid shoer (By the River) filma il cuore dell’infezione: dov’è dunque la realtà? Su quale superficie liquida è precipitata? Come si fa infine a documentare questo suo corpo malato e invisibile insieme? lorenzo esposito

IDEA REGALO VOLO IN MONGOLFIERA

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UBS Chair. Join the Festival del film Locarno Community.

Share your impressions at www.pardo.ch/ubschair We will not rest

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PardoLive 7 | 8 | 2013

Programme 8 | 8 | 2013 An Hour with 10.30 Spazio Cinema

Forum: Pardo alla carriera

13.30

Forum: Excellence Award Moët & Chandon

Conversation with Sir Christopher Lee

11.00 Auditorium FEVI & 9 | 8 | 2013

Hosted by Emmanuel Burdeau

14.00 Films 09.00 La Sala & 7 | 8 | 2013

09.00 Cinema Ex*Rex

11.00 La Sala & 9, 10 | 8 | 2013

11.00 PalaVideo

Auditorium FEVI & 9, 10 | 8 | 2013

Fuori concorso

Indebito

Dir.: Andrea Segre Italy · 2013 · DCP · Color · 87’ · o.v. Greek/Italian · Subt. Italian, English

Retrospettiva George Cukor

What Price Hollywood?

14.00 La Sala & 9, 10 | 8 | 2013

Verliebte Feinde Dir.: Werner Schweizer Switzerland · 2012 · DCP · Color · 112’ · o.v. German/French/English · Subt. French, German

Dir.: Harutyun Khachatryan Armenia · 2006 · 35 mm · Color · 84’ · no dialogue

Concorso internazionale 1 Versailles

Here Come the Girls

16.00 Cinema Ex*Rex

Fuori concorso: Shorts

Acrobat

Perfect

Dir.: Eduardo Menz Canada · 2012 · DCP · Color · 29’ · o.v. French/Persian/English · Subt. English, French

Retrospettiva George Cukor

Justine

Dir.: George Cukor, Joseph Strick USA · 1969 · 35 mm · Color · 116’ · o.v. English Introduced by Anna Karina

Dir.: Young Jean Lee USA · 2013 · DCP · Color · 20’ · o.v. English · Subt. French, Italian

During the Day My Vision Is

Return of the Poet

Pardi di domani

Dir.: Rémi Allier Belgium · 2013 · DCP · Color · 20’ · o.v. French/Dutch · Subt. French, English

Dir.: Matt Johnson USA/Canada· 2013 · DCP · Color · 83’ · o.v. English · Subt. French, Italian

Open Doors Screenings

Dir.: Daniel Vega, Diego Vega Peru/France/Mexico · 2013 · DCP · Color · 90’ · o.v. Spanish · Subt. English, French

Zinneke

The Dirties

14.00 L’altra Sala

El mudo

Dir.: George Cukor, Cyril Gardner USA · 1930 · 35 mm · Black and White · 74’ · o.v. English Concorso Cineasti del presente

The Royal Family of

Dir.: George Cukor, Cyril Gardner USA · 1930 · 35 mm · Black and White · 82’ · o.v. English

Concorso internazionale

Dir.: Carlos Conceição Portugal · 2013 · DCP · Color · 20’ · o.v. Portuguese · Subt. English, French

Grumpy

Retrospettiva George Cukor

Broadway

Appellations Suisse

Retrospettiva George Cukor

Dir.: Benjamin Ramírez Pérez Germany · 2013 · DCP · Black and White · 10’ · no dialogue

14.00 Cinema Ex*Rex

Dir.: George Cukor USA · 1932 · 35 mm · Black and White · 88’ · o.v. English · Subt. French

Conversation with Sergio Castellitto Hosted by Maurizio Di Rienzo

Spazio Cinema

11.00 Cinema Ex*Rex

16.00 PalaVideo

Appellations Suisse: Jacqueline Veuve

Les Frères Bapst, charretiers

Premi speciali: Werner Herzog

Auch Zwerge haben klein

Dir.: Jacqueline Veuve Switzerland · 1989 · Beta SP · Color · 26’ · o.v. French · Subt. German

Rosso cenere

angefangen

La Petite Dame du Capitole

Dir.: Augusto Contento, Adriano Aprà France/Italy · 2013 · Beta digital · Color · 60’ · o.v. Italian · Subt. English

Dir.: Werner Herzog Germany · 1970 · DCP · Black and White · 96’ · o.v. German · Subt. English

Dir.: Jacqueline Veuve Switzerland · 2005 · Beta digital · Color · 55’ · o.v. French · Subt. German, English

Histoire(s) du cinéma

14.00 PalaVideo

Spensierati all’evento e prevendita alla stazione FFS.

Mendrisio and lower Ceresio bathing offers

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16.15 La Sala

18.30

Premi speciali: Sir Christopher Lee

The Wicker Man

L’altra Sala

Dir.: Robin Hardy United Kingdom · 1973 · DCP · Color · 88’ · o.v. English

21.00

Histoire(s) du cinéma

Batang West Side

Cinema Rialto 1 & 14 | 8 | 2013

Dir.: Lav Diaz Philippines · 2001 · 35 mm · Color and Black and White · 302’ · o.v. Filipino/English · Subt. English

21.00 La Sala

Premi speciali: Victoria Abril

¡Átame!

(Tie Me Up! Tie Me Down!)

Dir.: Pedro Almodóvar Spain · 1990 · 35 mm · Color · 101’ · o.v. Spanish · Subt. French, German I film delle giurie: Pardi di domani

Harmony Lessons

Dir.: Emir Baigazin Kazakhstan/Germany/France · 2013 · DCP 4K · Color · 115’ · o.v. Kazakh · Subt. English

21.15 Cinema Ex*Rex

16.15 L’altra Sala

Histoire(s) du cinéma: Pardo alla carriera Sergio Castellitto

Alza la testa

19.00 Cinema Ex*Rex

Dir.: Alessandro Angelini Italy · 2009 · 35 mm · Color · 87’ · o.v. Italian · Subt. English

16.30 Auditorium FEVI & 9, 10 | 8 | 2013

18.30 La Sala & 9, 10 | 8 | 2013

18.30 PalaVideo & 9 | 8 | 2013

Retrospettiva George Cukor

Dinner at Eight

Dir.: George Cukor USA · 1933 · 35 mm · Black and White · 113’ · o.v. English · Subt. French

Histoire(s) du cinéma: Pardo alla carriera Sergio Castellitto

L’ora di religione

Dir.: Marco Bellocchio Italy · 2002 · 35 mm · Color · 102’ · o.v. Italian · Subt. English

Concorso internazionale

E Agora? Lembra-me (What Now? Remind Me) Dir.: Joaquim Pinto Portugal · 2013 · DCP · Color · 164’ · o.v. Portuguese · Subt. English, French This film features scenes that could shock the sensitivity of some viewers

21.30

Concorso Cineasti del presente

Piazza Grande

Sai nam tid shoer

L’Ours

Dir.: Daniel Karolewicz Canada · 2013 · DCP · Color · 36’ · o.v. French · Subt. English Fuori concorso: Shorts

Lo que el fuego me trajo Dir.: Adrián Villar Rojas Argentina/Brazil · 2013 · DCP · Color · 43’ · no dialogue

The arrivals of the day, thanks to SWISS

Vinicio Capossela, cantante Andrea Segre, regista Anna Karina, attrice Sergio Castellitto, attore Baltasar Kormàkur, regista Nontawat Numbenchapol, regista

nt on u o c dis ion 30% s admiss rt reso

Vijay and I

Dir.: Sam Garbarski Belgium/Luxembourg/Germany · 2013 · DCP · Color · 96’ · o.v. English · Subt. French, German

(By the River) Dir.: Nontawat Numbenchapol Thailand · 2013 · DCP · Color · 71’ · o.v. Thai/Karen · Subt. English, French Histoire(s) du cinéma

Pardo alla carriera to Sergio Castellitto

21.00 PalaVideo & 9 | 8 | 2013

23.30

Fuori concorso: Shorts

Cinema Ex*Rex

America

Retrospettiva George Cukor

Our Betters

Dir.: George Cukor USA · 1933 · 35 mm · Black and White · 83’ · o.v. English

Dir.: Valérie Massadian France · 2013 · DCP · Color · 7’ · o.v. English · Subt. French Fuori concorso: Signs of Life

A Spell to Ward Off the Darkness Dir.: Ben Rivers, Ben Russell France/Estonia · 2013 · DCP · Color · 95’ · o.v. English · Subt. French

Matt Johnson, regista Valérie Donzelli, regista Daniele Gaglianone, regista Christopher Lee, attore Diego Vega, regista Sam Garbarski, regista

Entertainment, refreshment and plenty of delightful spots Info: 0840 852 852 or www.postbus.ch/leisureclick Webcode 10641

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PARTENAIRES D’ÉMOTIONS

GIOIELLI-OROLOGI HERSCHMANN PardoLive 7 | 8 | 2013

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Appellations Suisse: Jacqueline Veuve

Fuori concorso, A Spell to Ward Off the Darkness PalaVideo, 8 | 8 | 2013 – 21:00

Madame Veuve, la pioniera Doc

Two Directors – Three Movements

PHOTO: HIROSHI SUGIMOTO, «GARTENBAUKINO», VIENNA 2001

During Rivers and Russell’s film, in the transition from the first to the second part, and then to the third, a triangle appears, scratched onto the film itself, branded into the black. The two filmmakers, one British and one American, sharing a first name and initials as though predestined to double and reflect in each other, have often shared similar creative journeys, which grew closer, intersected and have now joined together. Two directors for a film in three movements, and the union of the segments in the closed and continuous shape of this triangle stands for the journey of the project and its main character. He leaves a community of which he is a member and a mute witness. Alone, he passes through forests, lakes and memories, before arriving at a new community, this time musical, completing a journey from silence to shout. The film is inspired by the luminous colours and social utopias of Rivers, slides towards a common enchanted ground in which the visions of both meet, and arrives at an long and mysterious performance sequence, with the Dionysian charge typical of Russell’s work. During the final concert, the camera lingers on the faces of the audience, mirroring on screen the faces of the film’s audience, us, like them, part of an experience that has transformed the room into an autonomous space, and listening and seeing V13_Ins_pardo news_V13 24.07.13 17:38 Seite 1 into a progressive liberating alteration of the senses. sergio fant

È stata una vera pioniera del documentario in Svizzera, tracciando con il proprio sguardo una lunga serie di scavi etnografici e antropologici che hanno restituito in immagine la complessità della realtà. Sia quella più ravvicinata sia quella che andava oltre i perimetri della familiarità, perché Jacqueline Veuve, signora del cinema svizzero, scomparsa lo scorso 18 aprile, declinando alla propria maniera le lezioni di Jean Rouch e Richard Leacock ha fatto del documentario una botola di racconti, affamati da una volontà di comprensione per ciò che aveva davanti agli occhi. Ora il Festival del film Locarno, che ha ospitato negli anni tanti lavori della Veuve, a partire dal suo esordio al lungometraggio con La Mort du grand-père ou le sommeil du juste del 1978, le dedica un doveroso omaggio.

Con una tavola rotonda in memoriam al PalaVideo con Léo Veuve, Jean Perret e Fernand Melgar che sarà preceduta da una doppia proiezione: prima, il cortometraggio sul mondo del trasporto del legno in montagna, Les Frères Bapst, charretiers (1989) e, a seguire, La Petite Dame du Capitole (2005), uno dei suoi documentari più incisivi, incentrato sulla figura femminile dell’ottantenne Lucienne Schnegg, cassiera, factotum e memoria vivente di un cinema storico di Losanna. lorenzo buccella

OCTOBER 24 — NOVEMBER 6, 2013 WWW.VIENNALE.AT 15

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Sarida Bossoni Agency for Directors of Photography Kalchbuehlstrasse 169 CH-8038 Zurich +41 (0) 79 279 11 99 welcome@saridabossoni.com www.saridabossoni.com

Never underestimate the power of a strong image.

Al Borgo

Oasi Casablanca

Max Way

Café literaire

Oriental lounge

The cosmopolitan place in town

La Rotonda del Pardo

Club Seventy7 The place to pleasure your night

Beach Lounge

Teatro La Cambusa

Semplicemente beach

Cambusindie - Music festival

Bistrot Teatro Paravento Magico giardino con concerti

Fashion 2Shé Aperò & after movie cocktail

Lido Patriziale di Ascona Bar Magnolia @ Spazio RSI

Happy Carrot Project

Music bar

Un gustoso fotogramma dal sapore etnico, naturale e creativo

Cinebar Swisscom

Rivellino Garden

Film lounge

Relaxing garden

Pardo Way PardoLive 7 | 8 | 2013

Pardo Way is a selection of top bars & nightspots in town.

The optimal itinerary to recharge your battery between the screenings. Starting from breakfast, snacks, lunch and aperitif, Pardo Way goes on with thematic tastings, shows, concerts and nightlife that are going to amuse and keep busy our festivalgoers.The program with all the initiatives is published on the Pardo Way Facebook Page, while strategic tips and useful information are available on Foursquare.

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Tempo libero

Retrospettiva

La Madonna ti aspetta a Medjugorje

Mondo Cukor

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“regista delle star” (alcune, come Katharine Hepburn o Judy Holliday le ha plasmate fin dall’inizio, altre le ha “ricreate” una o più volte), per quanto sia ormai una formula convenzionale, non è immeritata né trascurabile. È anche attraverso la direzione degli attori che si realizza in Cukor la mise en scène del cinema, lo “scambio” costante e reciproco tra vita e teatro. “Ci gettavamo addosso le battute come palle da tennis”, dice il regista a proposito del suo lavoro con la coppia di sceneggiatori Ruth Gordon e Garson Kanin e gli attori Katharine Hepburn e Spencer Tracy.

Nella complicità con le star Cukor scopre e inventa il proprio mondo poetico: può modulare all’infinito il gioco del travestimento e del doppio, mettere in scena il “femminile” come perpetuo offrirsi all’illusione, rendere infine nell’ambiguità di commedia e melodramma “la struggente e sfuggente malinconia di fronte al mistero della vita”, secondo le parole di Giuseppe Turroni. roberto turigliatto

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Un’opera tra le più risplendenti e affascinanti della storia di Hollywood, il cinema di George Cukor. Dal 1930 al 1981 Cukor ha lavorato con metodo e disciplina, dagli albori del sonoro al cinemascope e al colore, percorrendo una geniale sperimentazione artistica nel mondo scintillante e feroce di cui lui stesso ha fornito dall’interno, con A Star Is Born (dopo What Price Hollywood?), una delle più ispirate rappresentazioni cinematografiche. Gli oltre cinquanta film che ha firmato come regista, tutti presenti nella retrospettiva (salvo One Hour with You, co-diretto con Lubitsch e già presentato a Locarno tre anni fa), sapranno sorprenderci. Di Something’s Got to Give, incompiuto per il ritiro e la morte di Marilyn, si potranno vedere alcune splendide rushes (e una ricostruzione parziale) nel documentario Marilyn Monroe: The Final Days, nella sezione Histoire(s) du cinéma.

Godard parlava di “maîtrise absolue dans la direction des acteurs” a proposito di tre cineasti: Renoir, Bergman e Cukor. E la fama di

ooal maglio

Hotel Ascona film and video art Festival 2014

Retrospettiva

3rd edition. 27 february - 1 march

LYWOOD OR. ON/OFFeHOL GEORGE CUK pectiv intégrale l’occasion de la rétros

Cukor On/Off Hollywood

À al del film Locarno du cinéaste au Festiv

made in internet

indie or nothing

At the Festival del film Locarno, US director George Cukor is not only celebrated by a retrospective of all his 50 films, but also by a book, On/Off Hollywood (in French and English), where international critics, film historians and directors reflect on his influence on cinema.

“Whether because his methods weren’t conducive to the ‘politics of writers’, he has not been the subject of a book in years,” said Capricci Publishers, who issued the book – co-ordinated by French critic Fernando Ganzo – with the festival. jørn rossing jensen 17

asconafilmfestival.org

George Cukor a été l’un des très grands cinéastes de l’âge d’or d’Hollywood. Pourtant, il n’a été l’objet d’aucune monographie en français ces dernières décennies. De The Philadelphia Story à My Fair Lady, en passant par la pléiade d’acteurs cukoriens (Katharine Hepburn, Greta Garbo, Cary Grant, John Barrymore, Jane Fonda…), ce livre, accompagné d’une abondante iconographie, a la double ambition de servir les lecteurs curieux du cinéma américain comme les cinéphiles les plus exigeants.

En vente pendant le festival et le 22 août en librairie

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Offcuts 7 | 8 | 2013

Andrea Segre

Lav Diaz

Arthur Cohn

Lino Capolicchio

Piazza Grande, 2 Guns

Il Presidente Marco Solari, il Direttore operativo Mario Timbal e Sandra Sain

Baltasar Kormรกkur

Carlo Chatrian

Vinicio Capossela

The 66th Festival del ďŹ lm Locarno overture

Vox Pop Attending the Festival

Piazza Grande, Festival Center

Energia ticinese, per il Festival www.aet.ch info@aet.ch

Beyond the Festival

Festival

The Swiss Future of Documentary Production in a Competition

Helvetic Festivals and Diversity

Second day at the Festival del film Locarno and it is already time to assign awards. How is that possible? Thanks to the Migros Culture Percentage, the jury members of the fourth Swiss Documentary Film Competition will announce the names of the winners of the first round on Friday August 8th, 17:00 at Casa Rusca (Locarno). The talented Swiss directors will be then supported by the Migros group with 25,000 Swiss Francs each, a financing that will give them the opportunity to develop their subjects until December 2013, waiting for the verdict of the second round vote. In January 2014, in fact, only one of them will be designated as winner, earning the right to shoot his or her own

documentary film thanks to the professional cooperation of the SRG SSR group.

For the first time in its history, the Swiss Documentary Film Competition was not tied to a single theme, but to a wide range of topics which are all relevant and strongly correlated to Swiss society, looking for “an alternative point of view on the reality of our Country”. The jury for this fourth edition is composed by Nicole Hess for the Migros group, the director and winner of the first edition Simon Baumann, the directors and producers of documentaries Nikolaus Geyrhalter and Nicolas Wadimoff, the slam poet Lara Stoll and Sven Wälti, representing the SRG SSR group. mattia bertoldi

Locarno and Sorroundings

Quando il pubblico diventa protagonista

© Marco Matteo Fieni

Da semplici spettatori a protagonisti assoluti della scena festivaliera: è questa la promessa del fotografo ticinese Marco Matteo Fieni al pubblico locarnese. Tutto merito di Ritratti Metropolitani (RM) Festival, parentesi pardata del progetto fotografico sperimentale di street photography inaugurato nel 2010 dal creativo 37.enne. Il procedimento è semplice: basterà mettersi in posa davanti all’obiettivo posizionato nelle vicinanze di Piazza Grande per entrare a far parte di una lunga serie di istantanee in cui, per una volta, la gente di passaggio sarà al centro dell’attenzione. Per maggiori informazioni visitare il sito web www.ritrattimetropolitani.ch. m.b.

Diversity: that probably is the keyword to appreciate at most the variety of proposals guaranteed by the “omnivorous” attitude of the Festival del film Locarno. But how does that cinematographic diversity affect Switzerland’s reality?

That is the question asked by the Swiss Film Festivals Association “Conférence des festivals” to the Federal Statistical Office, obtaining as answer a study identifying the impact of film festivals on Switzerland’s cinematographic diversity. Comparing data from cinemas and festivals in 2011, the analysis identifies film types, countries of origin and genres that are more likely to be seen on festival screens than in cinemas.

These first results are presented by the Federal Statistical Office on August 8th, 15:30, at La Magnolia. The presentation is followed by a panel discussion with Ivo Kummer (Head of Section Film, Federal Office for Culture), Nadia Dresti (Head of Industry, Festival del film Locarno), Edouard Waintrop (Quinzaine des réalisateurs, Cannes) and moderated by Seraina Rohrer (Director Solothurn Film Festival). Further information on www.film-festivals.ch. sara groisman

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The little things.

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Small things can be great. When you  y SWISS Business, you’ll enjoy delicious Swiss cuisine, a modern entertainment system and a fully at bed. For ights to 74 destinations worldwide visit swiss.com

SWISS is delighted to be a long-term partner to Festival del lm Locarno and to offer its services for the world-famous event in the role as Official Airline

Vinicio Capossela full-frame by XL

Editor Lorenzo Buccella Graphic design Simon Smeraldi Alessandra Angelucci Jannuzzi Smith

Writers Massimo Benvegnù Mattia Bertoldi Lorenzo Esposito Adriano Ercolani Sergio Fant Aurélie Godet

Christian Gomez Sara Groisman Jørn Rossing Jensen Mark Peranson Boris Sollazzo Roberto Turigliatto

Guest photographers Alessio Pizzicannella (Cover) Laura Chiesa (assistant) Xavier Lambours (full-frame by XL) Fabrizio Capeder (assistant)

Photographers Gabriele Putzu (TiPress) Fotofestival (Marco Abram, Massimo Pedrazzini, Silas Vanetti) Ivana De Maria Timbal

Advertising Raphaël Brunschwig Oriana Pivetta Luca Spinosa Print Salvioni Arti Grafiche, Bellinzona

15 marzo – 17 novembre 2013 Bernisches Historisches Museum

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La « 8 meraviglia del mondo » – ora a Berna Qin – L’imperatore eterno e i suoi guerrieri di terracotta www.qin.ch