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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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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PardoLive 7 | 8 | 2013
Five questions to …
Sir Christopher Lee Excellence Award Moët & Chandon
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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.
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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
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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
Tel. 091 792 20 22
APERTURA GIORNALIERA 8.00-12.00 / 13.00-17.00 1 CORSA OGNI 30 MINUTI ! T l. +41 (0)91 873 80 40 Te www.airolo.ch/f / univie /f
NATURA E RELAX TI ASPETTANO !!! w.z
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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
PardoLive 7 | 8 | 2013
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. That’s what we’re perfect in. 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