7 | 8 | 2016 – PardoLive – day 5 by Festival del film Locarno

PardoLive 69° Festival del film Locarno

Sunday · Domenica 7 | 8 | 2016

PardoLive Partner:

Carlo Chatrian • Artistic Director

Highlights Day 5 Mario Adorf (cover) and Carla Juri, the past and future of two Swiss-born performers who became famous in Germany. The great German actor recalls the various stages of his extraordinary career, while the actress from Ticino explains how she came to take on the role of the painter Paula.

Visionary cinema: João Pedro Rodrigues and Eduardo Williams. When the journey goes beyond the physical dimension and becomes a matter of the spirit. Youth in three continents is recounted by the talented Argentine director in El auge del humano while the stations of a unusual Way of the Cross are described (backwards) by the most iconoclastic of Portuguese directors.

When the camera’s gaze settles a few centimetres from the characters’ skin, the story becomes a game of nuances. In Marija, the protagonist is the paper on which the history of emancipation is drawn, as conceived by newcomer Michael Koch. It takes on the shape of a duel, the physical combat seen in Afterlov, where revenge is dissolved in one of this Festival’s best love scenes.

Here and elsewhere. Franco Piavoli and his poetry come back to Locarno with a delicate and intimate film, all enclosed in a day of Festa. Then the oceancrossing journey of Zaineb, a Tunisian girl forced to follow her mother to cold Canada, told in a documentary shot over six years.

Arthouse cinema and its windows on the market: there’s no contradiction in Locarno, because it is on this need to extend the life of films that the work of our Industry Days is based, an event that has become one of the Festival’s driving forces.

PardoLive  7 | 8 | 2016

Which movie is it? A: Titanic I B: Secret Window I C: Seven Years in Tibet 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.

PardoLive  7 | 8 | 2016

Piazza Grande, Paula, 7 | 8 | 2016 – 21.30

La donna del ritratto sara groisman

«Le donne non produrranno mai nulla, a parte bambini». Così apostrofa la sua allieva un insegnante di pittura all’inizio di Paula, dando voce a un pregiudizio che è gravato per secoli sulle opere delle artiste. È vero che per la tedesca Paula Modersohn Becker (1876-1907), di cui il film di Christian Schwochow ci fa scoprire vita e opere, la frase contiene pure un barlume di verità: di bambini, infatti, ne (ri)produsse davvero moltissimi, prediligendoli come modelli insieme alle loro madri per i dipinti in cui anticipò espressionismo e cubismo. E un che di bambinesco ha anche la Paula incarnata dalla svizzera Carla Juri, giocosa, mutevole e portatrice di uno sguardo stranito sul mondo. «La mia vita deve essere una festa breve e intensa», confida con preveggenza all’amica scultrice Clara Westhoff. Una festa, non sempre gioiosa, in cui il regista l’accompagna passo passo, ponendo nell’occhio della macchina da presa il suo rapporto con il marito Otto Modersohn, anch’egli pittore. Paula diviene allora sì la ricostruzione della maturazione di un’artista che, come viene ricordato a fine film, sarà la prima donna in onore della quale viene costruito un museo, ma anche un dramma che va a indagare l’amore e i rapporti interpersonali. Centrali sono infatti le “scene del matrimonio” tra Paula e Otto, alle quali fa da controcanto un’altra coppia poco felice: quella composta da Clara e dal marito Rainer Maria Rilke. Sullo sfondo, due scenari opposti: da una parte, la campagna di Worpswede, terra della vita domestica dei Modersohn, che se è colta in ampie inquadrature che trasmettono la vastità della campagna finisce però per rilevarsi, per Paula, una gabbia soffocante; dall’altra, Parigi, raccontata con serrati movimenti di camera a trasmettere un senso di fermento, vitalità e caos in cui la giovane donna trova una nuova libertà. Si delinea tra questi due mondi la storia di una coppia che è al contempo unita e separata dall’arte, come ben illustra la scena che vede Paula e Otto intenti a dipingere la stessa bambina: tanto fisicamente vicini quanto lontani nelle rispettive visioni, con la pittrice che non rinuncia a cercare, come scrisse, «la grandezza attraverso la semplicità».

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After coming to Locarno in 2013 with the provocative Feuchtgebiete, you’re now back with a biopic in which you take on the complex role of Expressionist painter Paula Modersohn-Becker. In reality, all roles are complex. Like human beings, each character is its own universe. For the character of Paula, changing era and context, I had to do historic, documentary research to understand what the social expectations were for a bourgeois woman living over a century ago. I wanted to understand the spirit of the times not just at a social level, but also in regards to the artistic and literary trends and influences. In order to better understand her motivations, I read the many letters that Paula wrote to her parents, her husband, her sisters and her dearest friends, words that reflect the innermost evolution of her mental states. Something that can also be perceived externally, in her artworks, which changed over time. After all, the film does not recount just the story of an artist, but more generally the story of a woman fighting to realize her dreams in every field, challenging the taboos of a whole society. At that time, women did not have the right to a real education, still less a university one, never mind in the artistic field. Painting lessons were seen as a hobby or a pastime for the amusement of bourgeois women, while only a man could represent “the artist”, “the intellect” or “culture”. At most, a woman could aspire to be a teacher, an acceptable role because it was connected to an idea of motherhood. And so an independent life was not only badly regarded but also almost impossible: only marriage could guarantee social and financial survival. All constrictions that Paula did not want to heed. She was an unconventional woman, without compromises. And she risked not being accepted and understand, both on a human level as well as an artistic one. At an artistic level her paintings were not understood, but most of all they were not taken seriously. A reappraisal came many years after her death. Speaking of the relationship with her husband – also a painter, though artistically anchored to more traditional and conservative positions – she said that the years with him were «the best and the worst» of her life. She was a victim of her times, but in the end so too was he. He admired her difference, her art, but unfortunately at the same time, intimidated, he pushed her away and forced Paula to remain a virgin for five years of marriage. While with Paula we follow you on a journey into the past, we’re also ready for the future, next year, when we’ll see you again in the new Blade Runner 2… We’re right in the middle of production, so I can’t say much. But one of the most surprising things is that despite many years having passed, there’s a strong continuity with the people who made the first film in 1982. The scriptwriters, for example, are the same as back then, while Ridley Scott is still here, though as co-producer rather than director. It’s a bit like something that stays in the family, and that’s quite rare for such a big franchise. But even the book Do Androids Dream of Electric Sheep? by Philip K. Dick on which the first Blade Runner film was based is a novel that continues to stand the test of time. It reflects with black humour on a technology-driven future that in the end is not so far away from the present.

PardoLive  7 | 8 | 2016

Focus on Carla Juri

Grand Juri's Statements

Mi sono documentata per capire quali erano, più di un secolo fa, le aspettative sociali di una donna borghese, oltre che lo spirito dei tempi. Ho letto le lettere di Paula a parenti e amici; parole che rispecchiano l'evoluzione intima dei suoi stati d'animo. Qualcosa che si percepisce anche nelle sue opere d’arte, che cambiano nel tempo

lorenzo buccella

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Focus on Mario Adorf

Super Mario Adorf lorenzo buccella

PardoLive  7 | 8 | 2016

Signor Mario Adorf, attraverso la sua sterminata galleria di personaggi, la sua figura si è guadagnata un posto centrale nell’immaginario tedesco. Come sono cambiati i suoi personaggi con il mutare del contesto storico del suo paese? Sono soprattutto i tempi storici ad aver subito un cambiamento che inevitabilmente ha riversato le sue influenze anche sullo sviluppo dei film, in particolare attraverso la pressione esercitata dal mezzo televisivo. Naturalmente, con l’avanzare della mia età, poi si sono trasformati anche i ruoli che ho interpretato. Lei ha mosso i suoi primi passi professionali nel cinema tedesco degli anni Cinquanta che – come riassume il titolo della nostra retrospettiva – è stato tanto amato quanto poi rifiutato… Per quanto riguarda il cinema tedesco del dopoguerra, in particolare quello degli anni Cinquanta, c’è una distinzione da dover fare. Da una parte, oltre a quelli musicali, c’erano i film commerciali che raccontavano il paese in modo leggero e spesso superficiale. Dall’altra, c’era lo sforzo serio di alcuni registi che affrontavano e rielaboravano la terribile esperienza passata del nazionalsocialismo. Ma di fatto, questi ultimi film meritevoli sono stati poi infilati in un unico calderone assieme a quelli commerciali dalla generazione successiva, tanto che sono finiti nel dimenticatoio quanto quelli di qualità inferiore. La mia fortuna, comunque, è stata quella di ricoprire i miei ruoli all’interno della produzione più seria e impegnata di quella cinematografia: Nachts, wenn der Teufel kam (Ordine segreto del III Reich) di Robert Siodmak, Das Totenschiff (SOS York) di Georg Tressler e Das Mädchen Rosemarie (La ragazza Rosemarie) di Rolf Thiele. Come giudica adesso le esperienze cinematografiche di quel periodo? Penso che si possa farne una rivalutazione in positivo, perché alla luce dei nostri giorni abbiamo l’opportunità di riscoprire quei film, valutandoli in tutta oggettività per quello che sono stati: nobili tentativi di registi impegnati a cercare un proprio cinema. Nella sua vasta carriera, lei è riuscito sempre a passare da ruoli comici a ruoli drammatici, ma soprattutto dal cinema di impianto popolare a grandi registi come Edgar Reitz, Volker Schlöndorff, Rainer Werner Fassbinder. Cambia anche il modo di recitare, quando si cambiano questi orizzonti? La fortuna per un attore che si è formato a teatro è proprio quella di essere spronato a cimentarsi in ruoli sempre diversi, a differenza di quanto succede al cinema e ancor più nella televisione di oggi, dove invece molto spesso si è chiamati a ricoprire delle tipologie fisse. In questa maniera ci si fa la nomea di essere versatili e questa è una vera risorsa, perché si viene apprezzati non solo da chi si muove nel cinema più popolare, ma anche da autori importanti come quelli che ha citato lei. Tuttavia non penso che uno cambi il proprio modo di recitare a seconda delle categorie in cui viene impiegato. In questa sua grande versatilità, sembra esserci comunque un punto in comune, una sorta di taglio ironico che lei pare conservare anche di fronte a scenari più drammatici… Non saprei dire se si tratti di ironia o meno. Però penso che quest’impressione sia dovuta a una spiegazione più generale. Non mi sento di appartenere a quella categoria di attori che si identificano in modo totale con il loro personaggio. Con i miei personaggi ho sempre mantenuto una distanza controllata in senso brechtiano.

Se in Germania lei è stato un punto di riferimento cinematografico, importanti sono state anche le sue lunghe collaborazioni con il cinema italiano (da Dario Argento a Luigi Comencini, passando per Antonio Pietrangeli e Florestano Vancini). Senza dimenticare l’incontro con mostri sacri a livello mondiale come Billy Wilder e Sam Peckinpah. Che ricordi conserva di quelle esperienze?

Il fatto che Luigi Comencini mi abbia chiamato dalla Germania per portarmi in Italia durante quell’irripetibile stagione degli anni Sessanta ha rappresentato una delle più importanti occasioni della mia vita. Anche se non mi è stato possibile collaborare con i grandi maestri del cinema italiano di quel periodo come Fellini, Visconti, Rosi, Monicelli, ricordo quegli anni come i più belli e felici della mia esistenza. È stato un vero piacere anche l’incontro con Billy Wilder, benché il film Fedora non faccia parte dei suoi maggiori capolavori. Invece, aver lavorato con Sam Packinpah in Major Dundee (Sierra Charriba) è stata un’esperienza drammatica che mi ha fatto capire come l’America non potesse essere una delle mie terre più amate.

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lucasdesign.ch | Foto: © Festival del film Locarno

Gemeinsam, wird Energie zu Emotion.

Azienda Elettrica Ticinese Auch in diesem Jahr bündeln AET und das Festival del film Locarno ihre Energie und tauchen die Piazza Grande in ein emotionales Lichtermeer. Viel Spass bei diesem Sehvergnügen!

www.aet.ch Main Sponsor Festival del film Locarno

Piazza Grande, Am Tag, als der Regen kam, 7 | 8 | 2016 – 23.30

È un film che non volevo fare. Sembrava impossibile che l’esperienza terribile del nazionalsocialismo in Germania potesse tornare a esistere. Purtroppo mi sbagliavo mario adorf

In the US they called ‘em juvenile delinquents; in France, soon, those same youngsters who didn’t want to make themselves common with the oppressive world of their parents were identified by their favorite piece of clothing: the blouson noir (“black leather jacket”); in the Federal Republic of Germany (as well as the German Democratic Republic), those rebels with/out a cause were ironically referred to as Halbstarke (“semi toughs”). The expression sounds kind-of cute – as if those jeans-sporting, rock ‘n roll-worshiping teens trying to act cool the Brando-way were something one didn’t need to take too seriously. Well, the yellow press nevertheless did, and so did the conservative establishment, and so did the cops – Halbstarke were deemed troublemakers in a country hell bent on keeping life quiet and the Wirtschaftswunder (“economic miracle”) happening. Halbstarke were the stuff great cinema was made of; and no film about these loudly neurotic boys and their anxiously hopeful girls is greater than Gerd Oswald’s masterpiece Am Tag, als der Regen kam (The Day It Rained, 1959) – a weirdly lyrical title (taken actually from a Gilbert Bécaud-cover by Dalida) for the toughest example of postwar FRG Straßenfilm (“street film”), the realist sub-genre of choice for everybody wanting to tell it as it is for the proles and the downtrodden, the outlaws and criminals, the desperate, the lost and the lonely. In this world, lean, clean-shaven while tough-talking Horst Buchholz (cf. Georg Tressler’s Endstation Liebe, or Last Stop Love, 1958) was invariably the guy who in the end could get married away nicely – a loveable braggart, really; while muscular and volatile Mario Adorf was the one whom you might cry for when the lights go up again, for he’s a man of anger and action, all body intelligence, pure presence, yet also good with words – a gutter poet, really, the one who’d die for the few principles he holds dear, doesn’t matter whether those position him in- or outside the law. Mario Adorf is the FRG the nation never dared to be but loved to keep around as a possibility, a dream.

Rebels With/Out a Cause olaf möller

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Concorso internazionale, O Ornitólogo, Auditorium FEVI, 8 | 8 | 2016 – 14.00

The Call of the Wild mark peranson

Penso che i miei film siano sempre ambientati tra città e campagna perché parlano di metamorfosi. Di come la campagna possa diventare scenario joão pedro rodrigues

In Trás-os-Montes, a majestic part of northeastern Portugal, solitary ornithologist Fernando (the body of Paul Hamy, the voice of director João Pedro Rodrigues) kayaks along a river peering through his binoculars in search of rare birds, especially the endangered black stork. Distracted, he is caught in the rapids and ends up being saved by two female Chinese pilgrims, lost on their way to Santiago de Compostela. This is not good. Eventually extricating himself from the women, Fernando forges his own path, and the further he ventures into the forest, the more O Ornitólogo morphs into an exploration of the realm of fantasy – as fantastic as the idea of religion itself – as Fernando undergoes a series of extreme masochistic trials in this mythopoetic wilderness on the road to spiritual enlightenment. This Birdman is more saint than superhero, and his journey

comes to echo that of Anthony of Padua, Portugal’s most beloved saint whose popular devotion Rodrigues explored in his 2012 short Manhã de Santo António (The Morning of Saint Anthony’s Day). Indeed, the director litters his film, shot by Rui Poças in glorious CinemaScope, with religious iconography and artistic references. But Rodrigues’ blasphemous exploration of the transformative process of religious awakening, through a serious of wild – at times sexual – adventures focusing on the pleasure and the pain of the body is a modern film, in line with Godard’s Je vous salue, Marie (Hail Mary) or Buñuel’s La Voie lactée (The Milky Way). A trained ornithologist himself, Rodrigues has made what is likely his most personal film since O Fantasma, and the fascinating O Ornitólogo launches his filmography into new and adventurous territory.

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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, Marija, Auditorium FEVI, 8 | 8 | 2016 – 16.30

The story of a woman who does not accept the role of victim: this was what interested me from the very beginning michael koch

Nel nome di Marija carlo chatrian L’esordio al lungometraggio di Michael Koch conferma che il cinema è una questione di sguardo. Marija è molto più che il ritratto di una donna forte, emigrata in Germania dall’Ucraina e capace di giocare alla pari su un terreno di solito riservato agli uomini. Il film si offre come un dialogo serrato tra la macchina da presa e il corpo della protagonista, interpretata da una straordinaria Margarita Breitkreiz, al suo primo ruolo da protagonista per il cinema. La messa in scena gioca spesso su una prossimità che ha un evidente valore simbolico: Koch non sovrappone il suo sguardo a quello di Marija, piuttosto ne segue da vicino i movimenti, quasi stupito a ogni svolta dell’azione dalla forza presente nella donna. Diviso narrativamente in due parti, caratterizzate dai compagni in affari e sentimenti della protagonista, Marija tratteggia una parabola che sembra segnare una svolta nell’abituale rappresentazione

della donna emigrata: da vittima predestinata essa qui diventa proprietaria del proprio destino. La città descritta da Koch è una comunità senza nazione, dove i tedeschi hanno bisogno di interpreti – una sorta di giungla dove la conoscenza di più lingue così come il rapporto con il proprio corpo si rivelano uno strumento di potere. Un film come questo non sarebbe pensabile senza gli occhi azzurri, febbrili e sbarrati, di Margarita Breitkreiz. Il suo corpo asciutto, come mosso da un furore interno, crea un perfetto dualismo con la pacatezza di Georg Friedrich, attore sorprendente che si conferma a suo agio in ruoli diversissimi. Le prove degli interpreti sono esaltate da una regia che dà prova di una grande precisione, tanto nelle scelte di campo quanto negli stacchi di montaggio. Per essere un esordiente, Koch sa bene dove vuole andare.

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via Marcacci 7 - 6600 Locarno 15

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Piazza Grande a tutto Ganz «In Piazza Grande ci sono stato più volte. Ma forse l’episodio che mi ricordo con più intensità riguarda un film americano dove purtroppo recitavo e dico “purtroppo” perché la storia era abbastanza noiosa. Poi però ha cominciato a piovere e la gente è rimasta lì, a guardarsi il film sotto l’ombrello. È stato qualcosa di meraviglioso.» Questa la memoria di un attore straordinario come Bruno Ganz. Uno degli attori più amati del Festival, uno che a Locarno ha sempre giocato in casa. Un rapporto culminato nel 2011 con un Pardo alla carriera, ma che prima aveva avuto una tappa altrettanto significativa, nel 2009, con la vittoria del Prix du Public UBS grazie al film di Christoph Schaub Giulias Verschwinden. «Era un film insolito dove si è cercato di far sorridere la gente, nonostante si affrontasse il tema della vecchiaia. In fondo, ero

rimasto stupito che il pubblico avesse capito e gradito così a fondo un film che non era così facile.» Un rapporto di complicità con gli spettatori locarnesi che Bruno Ganz, un po’ scherzando, fa risalire a una radice lontana nel tempo, addirittura agli anni dell’adolescenza dell’attore svizzero-tedesco. «Io a Locarno venivo già da bambino, in camping, con i miei genitori. Per me, era una bella esperienza poter vivere per qualche giorno in tenda. E poi mi ricordo che anche quando ero in tenda, cominciava a piovere a dirotto, proprio come in Piazza Grande.» Avventure esistenziali che col tempo sono diventate avventure cinematografiche. «Devo ringraziare Piazza Grande, perché ogni volta che sono venuto al Festival, mi ha fatto capire quanto lì si ami il cinema. E per chi fa questo mestiere Locarno è sempre un posto molto bello.»

Festival del film Locarno

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

Giulias Verschwinden Winner of the Prix du Public UBS in 2009 Bruno Ganz, actor

Hiking between heaven and earth

More than 1’ 400km of pat hs from the lak eside throug h the valleys and up to th e summits o f our mounta Check out o ins. ur premium hiking-trail s! More info: ascona-loca rno.com/ex cursions

Robiei, Val Bavona

ascona-locarno.com

Concorso Cineasti del presente, El auge del humano, La Sala, 8 | 8 | 2016 – 11.00

Wasting Time mark peranson

Un luogo, per me, non è un mero accessorio decorativo. Lo considero come un personaggio, capace di dialogare con il resto del film eduardo williams

Certain modes of being characterize daily human existence in each part of this globalized world, though it can be reduced to two poles: are you working or are you not working? It’s a question of what you do with your time, who you spend it with, your attitude to neoliberal ideas of productivity. It’s the same whether you find yourself in Buenos Aires, Maputo, Mozambique or the Philippine province of Bohol. Or even whether you’re human being or an ant. These places and their residents are linked in variegated ways – maybe more so now due to our interconnected, internet age (finding a working computer is sometimes an effort, however). Contemporary history consists of uncovering and mapping these relations, and in his first feature, the sui generis El auge del humano, Argentine director Eduardo “Teddy” Williams proves himself a cinematic Magellan.

Williams’ almost exclusively young characters are almost always in continuous movement, seeking connections, as is his curious shaky camera – the film’s first section shot in Super 16, then Blackmagic reshot off a monitor on Super 16, and finally Red – which trails behind them and follows along circuitous routes through urban and rural environments. Along for the ride, we watch lives and friendships unfold – and are even treated to sublime moments of magic. A fearless film, El auge del humano not only looks different to all others in the Festival, but operates differently, as Williams boldly attempts to present an alternative reality, envisioning lives where work takes on a lesser meaning, but also a filmic alternative, where imagination and freedom are the default practices of operation.

Spensierati all’evento e prevendita alla stazione FFS. RA_392_Typo-Inserat_Tessin_FiFL_186x17_i.indd 1

20.06.16 14:17

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Beyond the Festival

Per un Ticino aperto al mondo mattia bertoldi Franco Cavadini, lei è stato per quasi 40 anni presidente di Ticinomoda (www.ticinomoda.ch). Come è cambiato il settore della moda in Ticino? I cambiamenti avvenuti a livello mondiale negli ultimi trent’anni nel campo della moda hanno trasformato anche il settore ticinese: si è passati dalla produzione di capi d’abbigliamento a una vera industria e logistica della moda, capace di attirare in loco importanti brand mondiali. Oggi il polo ticinese della moda è diventato un sistema-impresa articolato e coeso, comprendente la produzione, la gestione di marchi e la logistica integrata che permette alle nostre ditte di spedire i loro prodotti in tutto mondo.

nata l’anno scorso con il passaggio di timone a Marina Masoni), il comparto ticinese ha dovuto affrontare gli importanti mutamenti avvenuti a livello internazionale. Negli anni Ottanta, ad esempio, si è verificata una forte crisi finanziaria a livello mondiale; alcune ditte ticinesi si sono viste costrette a chiudere o a dislocare e molte altre hanno dovuto ridurre drasticamente il numero di dipendenti. Il personale impiegato nel comparto moda è passato così in poco tempo da 9’500 unità a 4’000. Effetti benefici sono invece giunti dall’introduzione della moneta unica in Europa e dall’entrata in vigore degli accordi bilaterali, oltre all’insediamento di nuovi gruppi internazionali che hanno dinamizzato l’economia del nostro territorio.

In questo periodo avrà assistito a traguardi più importanti di altri. Quali ricorda con maggior affetto?

La moda trova nel cinema uno dei suoi canali più importanti...

Durante la mia presidenza di Ticinomoda (termi-

Il cinema è sempre stato e sempre sarà un grande palcoscenico mondiale per il nostro settore.

Alcuni cambiamenti epocali della moda sono stati possibili grazie al grande schermo: penso in particolar modo alla nascita negli anni Cinquanta del prêt-à-porter o a quando, nel 1963, Mary Quant inventò la minigonna, portando a un cambiamento sociale epocale. Lo stile glamour delle star del cinema continua a essere fortemente influenzato dai vari stilisti che si appoggiano alla popolarità di questi personaggi. Quali sono i valori che il Festival del film Locarno e il vostro sodalizio condividono? L’associazione Ticinomoda collabora con il Festival di Locarno riconoscendo nella manifestazione internazionale del cinema una visione attenta ai cambiamenti sociali e ambientali per un Ticino attivo e aperto al mondo. Questa visione si compenetra bene con quella della nostra associazione che promuove uno sviluppo territoriale responsabile e preparato alle sfide future.

Panorama Suisse

The Chinese Lives Of Uli Sigg Michael Schindhelm

Documentary, 2016, 93 min. Switzerland

Monday, 11:15, FEVI

Pardi di domani – Concorso nazionale

PROGRAM 2

The Sap, Iceberg, The Lesson, Genesis Monday, 14:00, La Sala Concorso internazionale

Marija

Michael Koch Fiction, 2016, 100 min. Germany, Switzerland

Monday, 16:30, FEVI

Swiss Highlights in Locarno on Monday, August 8 Semaine de la critique

Cahier africain Heidi Specogna

Documentary, 2016, 119 min. Switzerland / Germany

Monday, 18:30, L’altra Sala

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www.swissfilms.ch

Concorso Cineasti del presente, Afterlov, La Sala, 8 | 8 | 2016 – 18.30

I started describing a love story of a young couple from its end backwards, in an effort to stress the creation of a meta-love story between the two stergios paschos

L’amore Un campo da battaglia lorenzo esposito Non è in fondo ogni storia d’amore la storia di tutte le altre? Una coppia non è sempre inconsciamente impegnata in un’eterna seduta di auto-analisi? E il luogo della conversazione non assomiglia a un ininterrotto campo di battaglia? Afterlov però non si limita a porsi nel punto in cui una love-story in crisi sprigiona desiderio, ossessione, incomunicabilità, tenerezza. Al suo primo lungometraggio il greco Stergios Paschos fa qualcosa di più. Fa in modo che gli attori (i due giovani e sorprendenti Haris Fragoulis e Iro Bezou, già diretti da Paschos nel corto Elvis einai nekros), denunciando il loro ruolo di personaggi, fuoriescano da sé e davvero raccontino la loro storia d’amore. Solo che questa storia è anche per forza la storia del film che stanno facendo. Si chiudono, si auto-imprigionano in una gran-

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de villa, che diventa set abissale e metaforico, puro Kammerspiel in cui la caméra non fa altro che guardarsi allo specchio così come i due amanti fanno i conti con se stessi. Porte che si aprono e si chiudono, chiavi che scompaiono, pareti, finestre, scorci di natura: tutta un’architettura del desiderio dove in realtà l’unica storia è quella del film stesso che si auto-psicanalizza (Afterlov avrebbe potuto intitolarsi Afterfilm). Ma attenzione, non siamo in un freddo caso di metalinguismo, al contrario è proprio l’idea stessa del film che viene messa al centro della battaglia, attaccata da tutte le parti, scarnificata fino a fare a meno della sua banale interpretazione. Ciò che resta sono due corpi senza sceneggiatura che girano un’ultima memorabile sequenza: sesso a due con cinepresa.

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Yesterday’s prize draw winner: Robin Jaunin

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Focus on Cameron Bailey

Cameron con vista massimo benvegnú

Cameron Bailey, artistic director of the Toronto International Film Festival, you’re involved in the different activities of the Industry Days, first of all you’re a juror for First Look, Locarno’s works in progress sidebar, focusing on Poland this year. Jury duty is going well so far – we have to watch six films. It’s a good opportunity to see films that might be coming to us in submission on a later stage. I have been in a lot of juries over the past few years, rarely in one like this where all films come from the same country., it’s actually an interesting opportunity especially from me – we have a very good Polish selection in Toronto which is handled by our CEO, Piers Handling, he travels to Warsaw every year, so I typically don’t get involved in the Polish selection. It’s great to catch up with what’s going on right now. You also take part in the Match Me! Lunches. What goes on at the tables? We just chitchat, really! It’s very causual, there is no formal agenda, and it’s really the best way to meet. In festivals like Locarno you get to know people and maybe later there will be something more concrete that you will do together, but right now it’s just human contact. How important is it to have that human contact at festivals? You think about it: why do we even have festivals – we can see films now on our computers, we can get them out to audiences at their home, or on their mobile devices – but we have festivals because human beings like to gather together, especially in very beautiful places like Locarno, and there’s something useful that comes out of that, it’s really a matter of trust. You know, so much of this business is based on trust, you have to know each other, see each other, spend time, time over lunch, dinner, drinks, karaoke… Karaoke is very popular at festivals… These things matter, because when you’re trying to make decisions, decisions which are almost always subjective later on, because we’re not dealing with just numbers here, we’re dealing with taste and opinion, you want to understand where someone else’s coming from. Locarno and Toronto seem to share the same model of being “city festivals” where the whole community gets involved as well. From what I have seen so far, I like the fact that you can see the Leopard print everywhere, the whole city seems very excited about

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the festival. We really take advantage of this as well in Toronto – when you land at the airport the people checking your passport ask you what films you’re going to watch. You also were a speaker for StepIn, talking about the current state of the film industry. What did you talk about? Nothing I hope too controversial – I talked a lot about new technologies and the new ways people see movies, through streaming services, and what it does to the film industry – people either are very optimistic or pessimistic about it – people will stop going to the movies, the industry will change fundamentally or collapse. I am an optimist instead, and I honesty think it’s a good thing. With all of these choices people have more opportunities to see and discover different things they may never have known to like. And that is not going to stop people from going to the movie theaters necessarily. What are the most important assets a film festival should have? Some festivals have a very big industry component, but not all need that. Some festivals have a lot of media, but they might not need that. The two main things a festival needs are a connection with its audience, you need to know people are going to be there and they want to see the films you selected, and then I think you need some kind of judgement, discernment, a sense of what you think is important in Cinema, a curation. And I think every festival has its kind of character when it comes to that. But these are the two things that define you – the connection with your audience and the principals behind your curation. What is the best and the worst thing about being a film festival director? I love the fact that I can see so many films – be current with what’s going on in Cinema, I love that I can travel as much as I do, because I think the contest where you see films is very important. The worst thing – but which is also sometimes the best – is just the weight, the importance that is given to one person’s taste and judgement. As a festival director there’s a lot of people looking at you after you’ve seen a film, waiting for your response. There’s a lot of responsability on the decision you make about their film, which can affect their career, their business, their life.

Industry Days

The Heart of Film Industry is Beating in Locarno In the last 16 years the Industry section of Locarno has been committed to create a bridge between arthouse films and the film industry. Over time it has been playing an always more important role for the entire Festival, also growing in numbers. During Industry Days – created by Nadia Dresti – Locarno is in fact promoting a long series of initiatives, all focused on the actual and real needs of film industry. At the same time, in the same area, it was launched a specific training and innovation program (Industry Academy). It is a success story made possible by friendly nature that has always characterized the Locarno platform and the ease with which one can develop networking discussions. Everything was made with only one goal: trying to extend life and visibility of the films screened along the Festival. pardo.ch/industry

239 Participants

37 Screenings

66 Countries 21

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USI Università della Svizzera italiana

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Small classes, an international atmosphere. Starring 2964 students from over 100 countries in 40 programmes

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Per aggiornamenti e modifiche del programma, consultate www.pardo.ch To keep updated on any changes of the programme, connect to www.pardo.ch

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Fuori concorso, Zaineb takrahou ethelj (Zaineb Hates the Snow), La Sala, 8 | 8 | 2016 – 16.00

Best Friends Almost Forever aurélie godet Preteens are fascinating. Continuously giving away how much they belong to childhood, while leaping ahead toward an adult world they both question and mimic. Give them a smartphone and they are on top of the world. They are full of opinions and passions. Girls especially are uncompromising: they’re not just friends, they’re BFF, but a quarrel implies hatred. In Kaouther Ben Hania’s delightful third film Zaineb takrahou ethelj (Zaineb Hates the Snow), which follows a family over several years, two young ladies of the same age are made sisters by the marriage of their respective parents. The pairing is less spontaneous for the girls, who are like oil and water, or rather, sand and snow. Zaineb

is an emotional girl whose sense of loyalty to her deceased father, her homeland of Tunisia and Islam is exacerbated by a forced relocation to Québec. Wijdene, on the other hand, never learned to speak Arabic. A deliberate kind of thinker, she’s happy to share her bedroom but challenges Zaineb’s ways. They are aware of their freedom, as Zaineb joyfully shouts in one of the film’s most unforgettable moments. Freedom to fall out and rekindle, for example. Seeing these 12 year olds debate with both conviction and open-mindedness on national identity and religion, one is tempted to request a drastic lowering of the voting age. Kate Wiltenson, queen of England, would certainly approve.

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Focus on Arturo Ripstein

I didn’t think about it, it’s up to her (he points his wife and screenwriter Paz Alicia Garciadiego), I thought it was impossible to put this story in images and being believable. Everyhting started with an article talking about the death of two midget wrestlers. It was a good example of that kind of sensationalistic pieces you can overtake only with another more disgusting or disturbing story. For so many journalists sky is the limit. I felt it was impossible to realize cinema from it, but she insisted, we argued a lot about it. A week later I understood we could make a movie from it, starting with black and white. In your previous movie ethic an aesthetic are always connected. Is it the same in this one? To me black and white in this case was essential to investigate reality, I needed something else than the flat realism of color. Aesthetic choices are always ethic as well, and the other way around. Look at the technology discovers in movies all over the years: sound, color, brought changes not only in the look but also in storytelling and contents. Think about contemporary cinema, more democratic because of cheaper production costs. The end of the exclusive idea of director changed ethic and aesthetic in movies, didn’t it? An astonishing career is also made of astonishing encounters. What can you tell to us about Luis Buñuel and Gabriel Garcia Márquez? I want to clarify I’ve never been Buñuel assistant, I was way too young. But I watched him and we talked a lot. He was almost completely deaf but he could hear my words, if pronounced with a lower tone. He could understand me and this encouraged our conversations. He talked with his mind but also with his gut, still today he’s a human role model to me, even if my cinema it totally different. I think we found in each other someone to talk with, something we couldn’t find in our families or somewhere else. What he said to me has been fundamental in my life. About Márquez I don’t have the same kind of memories. A common friend introduced us, I worked on a couples of his books. But power, money and fame changed him completely. He was a great man before becoming a star. I need to be honest, even today I can’t understand the cultural phenomenon he became. Gabo, Vargas Llosa and Almodóvar are the only pop stars in Spanish culture. And this has consequences. About Márquez not the best ones I would say. I have not good memories about him…

Is it more difficult for a director fighting the industry windmills and common sense today or in the past? It’s difficult to understand how the things are today. I like nowadays democracy in cinema, but perhaps it’s more difficult make movies outside industry system and with the ambition to reach the audience, willing to compete other than simply exist. Today they invest less in real art, real independent directors fight knowing they’re going to loose, but it’s a war still worth fighting. But Cuarón, Iñárritu e del Toro succeeded in Hollywood, bringing in American heart and vision a small piece of Mexico… I don’t think so, Mexican cinema doesn’t really exists, go figure if it can go to Hollywood. Murnau, Lubitsch, Lang: Hollywood has always embraced foreign directors, hungry for talents. But as long as they didn’t come to realize German movies, but better American ones, it’s not happening that Brad Pitt is going to shoot a Mexican movie. They are simply Mexican guys crossing the border, helping the industry and American vision with their astonishing talent. Maybe this isn’t the case of Iñarritu, he has more creative autonomy being called from Hollywood, he didn’t ask to come. I’m happy for them, but a real point of view about our Country is still missing, and our cultural heritage is someway artistically sacked: everyone tries to leave to look for success, no one stays to recreate a vision. Once it was called cultural colonialism, today it’s called open market… Are film festival important to defend cinema from all these issues? Festivals are truly important if, just like Locarno, they focus on alternative cinema, on different kind of authors. Director who are not the result of homogenization of taste, usually directed by the Americanization of the aesthetic. In this way they just become bulimic happenings. Locarno is different, here we have research and intellectual curiosity, trying to help real art to grow up. This is why I’m so happy to be jury president here, even if is a difficult and ungrateful job, in the end I’ll have a new friend and tons of new enemies. Evaluate a movie in a festival, expressly for his many-sided nature, is just like decide who’s going to get a gold medal between all the Olympic participants in every sport: soccer, volleyball, swimming etc. I really hope to find someone capable of thrilling me, not only with emotion but most important with originality, with courage. You are a master to many. Who have been your masters? Fellini, Visconti, Kurosawa, Ford, Lang. Not Buňuel, he’s been light to me. I’m not a master, the thing that makes me happy today is I’m still learning…

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Arturo Ripstein, in Locarno we’ll see your new La calle de la amargura, a surprising movie, a mix of melodrama and social tragedy. How was this idea born?

Once Upon a Time in Mexico boris sollazzo

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PARDO

LIFE

La presentatrice Giada Marsadri, il Lifetime Achievement Award Harvey Keitel e il cineasta Abel Ferrara

Isabelle Huppert, protagonista di Les Fausses Confidences.

Manon Combes, attrice di Les Fausses Confidences.

Bassem Samra,. attore di Al Ma’ wal Khodra wal Wajh El Hassan.

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Caroline Deruas, regista di L'indomptée .

Il regista Júlio Bressane e Alessandra Negrini, attrice di Beduino

Yousry Nasrallah, regista di Al Ma’ wal Khodra wal Wajh El Hassan

Il consigliere federale Alain Berset.

Radu Jude, regista di Inimi cicatrizate.

Jenna Thiam, attrice di L'indomptée

Bulle Ogier, attrice di Les Fausses Confidences.

Il cineasta Roger Corman con il suo Filmmakers Academy Guest of Honor Award

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La nuit blanche de la SSR

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Fuori concorso, Festa, PalaVideo, 8 | 8 | 2016 – 16.15

Un paese in giostra maria bonsanti Franco Piavoli ci ha abituato ad aspettare: i suoi film, pochi, bellissimi, trasformano il tempo necessario per farsi in linfa vitale, in materia cinematografica. Il pianeta azzurro (1982) è lontano negli anni, ma vicinissimo nell’anima a Festa, ultima opera dell’autore bresciano. Nel mezzo, Nostos: Il ritorno (1990), Voci nel tempo (1996), Al primo soffio di vento (presentato al Festival di Locarno nel 2002), film altrettanto unici e refrattari ad assoggettarsi ad un genere. Ma è già ai cortometraggi realizzati all’inizio degli anni Sessanta che va d’istinto il pensiero, a quel Domenica sera in cui un villaggio si animava grazie alle danze dei suoi giovani al tramonto. Da lì, da quei balli, un dolce e melanconico movimento attraversa i film di Piavoli. Musica, suoni, silenzi, incroci di sguardi e parole, incontri e solitudini: in Festa, le età dell’uomo risuonano in un unico coro. «Noi cresciamo quando lasciamo qualcosa. Via alle danze!» dice il parroco di Borgo S. Pietro, luogo delle riprese, terminando la messa. Sempre, nel cinema di Piavoli, una forma di sentimento religioso, contemplativo, è inscindibile da qualcosa di materico, concreto, talvolta sensuale. Così, in moto inverso, la giostra del paese diventa simbolo di un «gioco di relazioni umane» (Piavoli), ovvero quello che ha costantemente interessato questo poeta della natura, che ha sempre saputo guardare in fondo all’animo umano.

Signs of Life, Anashim shehem lo ani (People That Are Not Me), PalaVideo, 8 | 8 | 2016 – 21.00

Gimme Gimme Gimme aurélie godet Halfway through Anashim shehem lo ani (People That Are Not Me), its lead protagonist, Joy, calls the boy she has been seeing «a little pathetic» for being overly cautious with her. Even though the scenes are disconnected, one can’t help but think back to the film’s perturbing introduction, which pictures the young woman in a pleading posture in front of her webcam, having seemingly lost her pride and begging her ex to stop ignoring her. And as Joy seeks to force her freedom from the heartache by going on rebound dates, with the appropriate level of aloofness, it becomes obvious that she may not be able to maintain the illusion when becoming intimate. Even in brief encounters, sex can be a moment of truth. First time director Hadas Ben Aroya on the other hand, who both created and embodied the confused character, demonstrates a good deal of assuredness and lucidity. Not exempt from a pleasing sense of irony and absurdity, the 28-year-old filmmaker is aware that her Joy dupes and disappoints herself more than she does «people that are not her». With seemingly simple yet subtle dialog and cunningly observed situations, often reminiscent of Lena Dunham’s Girls, she also shows a certain fearlessness in the complete and honest provision of her body and image. If Joy struggles to give something real, Hadas Ben Aroya quite unquestionably succeeds in it.

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Ying Liang, regista Clotilde Courau, attrice Marie-Castille Mention-Schaar, regista Noémie Merlant, attrice

Stanley Weber, attore Margarita Breitkreizm, attrice Barbara Sukowa, attrice Stergios Paschos, regista

Franco Piavoli, regista João Pedro Rodrigues, regista Michael Koch, regista Kaouther Ben Hania, regista Made of Switzerland.

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Beyond the Festival

laRotonda e il concerto di Abel Ferrara massimo benvegnú Il perfetto mix tra musica e schermo cinematografico questa sera sul palco de laRotonda. Alle 21.30 l’atteso ritorno sul palcoscenico musicale locarnese del regista newyorkese Abel Ferrara che, accompagnato da una band di All Stars di musicisti ticinesi, si cimenterà nel suo amato repertorio all’insegna del rock & blues tipicamente a stelle e strisce. A seguire, alle 22.30 i DJs iraniani protagonisti del documentario Raving Iran presenteranno un loro set. Perseguitati nel loro paese per aver organizzato numerosi rave party, i due DJs sono approdati da qualche tempo sul suolo elvetico, e la loro storia è raccontata dal docufilm che viene presentato all’interno della sezione Panorama Suisse.

Be Part of Our Dream mattia bertoldi Every year there are hundreds of cinephiles who are waiting for the month of August to attend the Festival del film Locarno. They have got closer to Festival people and venues, and probably fell in love with an historical place like the Cinema Ex*Rex (close to Piazza Grande) which counts almost 500 seats and turned 50 this year, even if it stopped to be a public movie theatre in 2007. Since then, it reopened just for the eleven days of our kermesse. Festival del film Locarno and Leopard Club (our Patrons Club, which collected CHF 800,000) did not want to give up on it, this is why we decided to save it from becoming an apartment complex. Among all the Festival-goers, we are sure there are many who would like to be involved in saving such a beautiful place from the slow decay of time. Now, you have your chance. Festival del film Lo-

carno is going to transform the Cinema Ex*Rex into the GranRex, not a movie theatre but a new venue where building up the next generations’ love for cinema through screenings, conferences, events and meetings all along the year. We have the project, we have a plan, we have a first lease agreement until 2031 and renovation works will start in Autumn 2016. But we still need you. For CHF 500 everyone can become a seat patron and personalize a chair with his/her name, or buy a seat of two Ex*Rex vintage theater armchairs. And for CHF 3’000 it is possible to become a GranRex Patron of the Auditorium Leopard Club and your name will be recorded permanently on the patrons wall in the foyer of the reborn cinema. Festival del film Locarno wants you. Be part of our dream. Come to see how at www.granrex.ch.

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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 Sabine Cattaneo (cover) 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

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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