PardoLive 69° Festival del film Locarno
Monday · Lunedì 8 | 8 | 2016
PardoLive Partner:
Viviamo insieme
momenti indimenticabili.
La Posta è 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
Carlo Chatrian • Artistic Director
Highlights Day 6 The French girls in Le Ciel attendra become foreigners to their parents, opaque and impervious to the life that still pulsates around them, fragile enough to make themselves easy prey for charlatans. This drift towards indifference, towards a closure to everything and everyone, is the worst threat facing Europe’s youth.
The roots of the present lie in history. And if there is a director who has educated us with some of the best “long shots” on the past, it is undoubtedly Edgar Reitz (cover). The creator of masterpieces of considerable length, this year instead he has taken on the challenge of coming to Locarno to judge the “pardini” of the future.
The past that does not pass: that’s the linchpin of the films in competitions today. The family past described by Milagros Mumenthaler, whose roots go back to the Argentine dictatorship, is much more than just memory. So too is the generational past in Angela Schanelec’s Europe and the political past of the poet who disappeared under Suharto in Istirahatlah kata-kata (Solo, Solitude).
It was one of the most impressive and lasting waves. Then, silence, until the brilliant achievement of Ida. Now in Poland a rich contingent of new directors is springing up around Pawlikowski. This is reflected by the movies selected for the Semaine de la critique (two this year) and the clear, alienating reading of Camus’s The Stranger proposed by the Sasnals. First Look is also focusing on this promising new landscape.
Not just Piazza Grande. Apart from the Polish film, tomorrow evening offers a difficult dilemma: rediscover Scorsese’s rereading of Bonnie & Clyde, the Corman-produced Boxcar Bertha, or relish being scared by the black magic of Suspiria?
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Piazza Grande, Le Ciel attendra, 8 | 8 | 2016 – 21.30
From Ideals to Ordeals aurélie godet
One evening, as you’re making dinner for your daughter and you find her particularly grumpy, you just tell yourself «Oh boy, teenagers». Tomorrow’s another day. She won’t say what’s wrong, anyway. Tomorrow, though, will be too late. It is the day she disappears, for good, leaving you with the maddening burden of grasping it all at once. Your own flesh and blood has succumbed to ISIS’s jihad propaganda for weeks. She is probably already abroad, on her way to Syria, convinced that she is joining the prince charming who promised her divine purity and bliss during their countless chats online. Worse even, she has played an active part in converting a few more girls, some as young as 12. The use of the second person above isn’t innocent. The idea that it could happen to any of us underlies Marie-Castille Mention-Schaar’s tense psychological drama. The clueless mothers (beautifully) embodied by Clotilde Courau and Sandrine Bonnaire in Le Ciel attendra (Heaven Will Wait) would tell you so much. When the film opens, 17-year-old Sonia is arrested just before reaching the point of no return, whereas Mélanie is a balanced high school student, and a gifted cello player. But within the familiar environment of Facebook, she forgets about the old command not to talk to strangers. A shockingly efficient method turns the peace-and-love kind of ideals of this sensitive teen into hatred against the Western world. France being a hotbed of these campaigns, the filmmaker took on the subject carefully. A prominent expert on deradicalization plays herself here, surprising the lost sheep with her approach. In fact the film, as its title suggests, is an optimistic reminder that if we dare understanding the logic ISIS unfolds, it is possible to fight back with the same, deadly weapon. Ideas? Sure. Mostly, though… love.
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We started shooting the day after Bataclan attacks, with all the difficulties from the state of emergency. During the police raid scene people were scared, they thought it was all real. marie-castille mention-schaar
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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
Focus on Le Ciel attendra
Cinema tempo presente sara groisman regista
marie-castille mention-schaar “Abbiamo iniziato a girare il giorno dopo gli attentati al Bataclan, con le difficoltà legate allo stato d’emergenza. Durante la scena del raid con i poliziotti le persone che ci vedevano erano spaventate, pensavano a una vera retata”
attrice
naomi amarger “Per il film ho imparato a recitare le preghiere, fare le abluzioni… e suonare il violoncello. Invece non ho voluto vedere video sul reclutamento prima delle riprese: ho preferito scoprirli con il mio personaggio”
attrice
clotilde courau “Da adolescenti si ha bisogno di assoluto: queste ragazze si lasciano presto convincere che il mondo occidentale, che non propone loro abbastanza valori, sia impuro. Questa crisi identitaria dei giovani sta esplodendo nelle mani della nostra società” attrice
noémie merlant “Per capire il personaggio di Sonia ho parlato con una giovane che s’è fatta reclutare e si sta “disintossicando”. Il ruolo è stato un modo per non restare bloccata nella paura”
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Focus on Edgar Reitz
Special Reitz lorenzo buccella
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Edgar Reitz, you are one of the most famous authors in the world for having directed such a great cinematic utopia as Heimat, but you came here to become president of the jury for the short films competition. What value should one give to time in filmmaking?
L'invito a presiedere la giuria dei Pardi di domani mi ha stupito: mi conoscono per aver prodotto i film più lunghi della storia del cinema! Ma anch’io 50 anni fa ho esordito con dei corti e ho partecipato all’“Oberhausener Gruppe”. È dal cortometraggio che è poi sorto il Nuovo Cinema tedesco
When I first got Carlo’s invitation for the short films jury, I was surprised, having been known for decades for making the longst films in the history of cinema. Then again, over 50 years ago even I started out making shorts, and I was part of a movement, the “Oberhauser Gruppe”, a gathering of short film directors. That’s where New German Cinema was born. So you have taken your first steps with short films. Which memories do you have of that period? Naturally, the situation was completely different in the early ‘70s. To me, the foremost thing was experimentation. I felt like I was part of a generation of pioneers, I wanted to discover “the language of cinema”. To me, the camera was a tool used to investigate social mechanisms. I immediately believed that you could show mankind a new vision of the world through the art of filmmaking. Although you immediately gave your personal touch to your works, what is your opinion about German cinema productions of the Fifties, chosen as subject of the Locarno’s retrospective?
© Alessio Pizzicannella
Like most directors of my generation, I had no interest in German films back then. I loved the great Italian filmmakers (Rossellini, De Sica, Visconti and Fellini), and I admired Truffaut, Godard and Malle. To me, German films were nothing but the expression of Adenauer’s age of restoration. My rejection was so strong that I hardly know any of the films shown in the retrospective, and looking back that attitude is probably unfair.
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Talking again about Heimat, you said that (after your previous experiences) you wanted to do something that fully reflected your idea of cinema. Consequently, you didn’t put any limits on your movie. But can limits also have a positive value for you?
always been important to me. However, I find that cinema is only now starting to lose its early restrictions. Only now do we acknowledge the possibilities of great, epic storytelling. Literature, which has existed for millennia, is much further ahead in that regard. There’s the short form of verse, the dramatic structure of theater, the scope of novels… We still have many borders and taboos to break. You have said that literature has always been your main form of inspiration, in particular Proust’s great novels. But can literature be a referent for short stories or poems, or even for cinema in its shorter forms? I love Proust and Dostoyevsky, but I would never try to put great literature on film. I think every art has its own laws and themes that cannot be transposed elsewhere. No art can be the starting point or substitute for others. There are several contemporary authors who, although in a different way from yours, have returned to work on long cinema formats. I think for example to the Filipino director Lav Diaz. How do you judge these experiences? In 1980, with Heimat, my aim was to combine the experiences of a lifetime in a great narrative form. My main thesis was that a human being can be observed in a realistic fashion only if you consider the time and places of his existence as important as his attributes. I’m glad that today many filmmakers tread the path of epic storytelling – successfully, too. Which advices would you give to young filmmakers, who use short film as a gym to access subsequently to something bigger? Is it a necessary step? You mustn’t underestimate shorts: it’s much more than a gym for new talents. It can be as much of a great work of art as a feature film, even though the commercial world doesn’t see it that way. I suggest to all young filmmakers to view their shorts as an expression of their entire selves.
Every artistic endeavor has “limits”: facing the borders of possibility has
PardoLive 8 | 8 | 2016
I’ll have
what she’s having. Which movie is it? A: Love & Other Drugs I B: P.S. I Love You I C: When Harry Met Sally… 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.
Concorso internazionale, La idea de un lago, Auditorium FEVI, 9 | 8 | 2016 – 14.00
L'uomo della fotografia aurélie godet
The film had to be based in two axes: one, the documented material, and the other one, the memory, where imagination and remembrance mingle and break into the present milagros mumenthaler
Milagros Mumenthaler torna a Locarno cinque anni dopo aver vinto il Pardo d’oro con Abrir puertas y ventanas, delicato racconto della perdita vissuta da tre sorelle. Quando il vento soffiava attraverso la loro casa, era come sentire il respiro di un fantasma, che le invitava ad aprirsi e a crescere attraverso quell’esperienza. A essere libere. La idea de un lago affronta ancora una volta il tema dei rapporti familiari e di un’assenza dolorosa attraverso la storia di Inès (Carla Crespo), una donna che, da bambina, ha vissuto la scomparsa del padre, una delle tante vittime della “guerra sporca” argentina. Con una libertà gioiosa nella mise en scène che contrasta con la desolazione derivante dal tema del film, la regista approfondisce l’analisi delle travagliate sensazioni di coloro che rimangono quando qualcuno se ne va. Che si tratti di segreti impulsi a sfuggire i turbamenti o della difficoltà di mantenere un rapporto, Inès ha deciso di affron-
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tarli nel modo in cui fa tutte le cose: frontalmente (forse troppo), ma con un istinto che procede a colpo sicuro. La narrazione avanza libera, seguendo il flusso dei suoi pensieri e ricordi, e così facendo supera un ostacolo fondamentale allo sforzo di ricordare chi si è perduto: il tempo. Mumenthaler delinea un ritratto commovente non solo di questa donna, ma anche della madre e del fratello, sebbene siano meno presenti sullo schermo. Qualcosa di straordinario accade quando il loro senso di perdita ci viene trasmesso: anche noi, in maniera molto naturale, iniziamo ad avvertire la mancanza di quell’uomo giovane e attraente, catturato dall’obiettivo mentre abbassa lo sguardo sulla sua bambina in una bella giornata incorniciata dal sole. La verità di Inès – l’unica verità, in realtà – diventa la nostra. Possiamo forse aiutarla a guarire?
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Grandi eventi meritano di essere realizzati
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Concorso internazionale, Der traumhafte Weg, Auditorium FEVI, 9 | 8 | 2016 – 16.30
Lost in Expectation mark peranson
Mi impegno a preparare con accuratezza ogni frase e ogni gesto, ma sempre con l'intenzione di far apparire ogni cosa come involontaria angela schanelec
Angela Schanelec’s first feature since 2010 is the much-anticipated Der traumhafte Weg, a serious work that is deliberately constructed image upon image and allows the viewer to read a seemingly realistic, yet artificially created world as it is being experienced, yet ultimately works against any simple narrative comprehension. The best way to tackle Der traumhafte Weg is to proceed, scene by scene, with a description of the shots, of how within the shots the characters are framed, how the characters gaze, how they hold their bodies… In other words, it is an Angela Schanelec film, where attention is required and rewarded, and the characters are at the mercy of the elements of chance. Again working with master cinematographer Reinhold Vorschneider, Schanelec employs familiar arthouse tropes (the use of ellipsis, natural light, Bressonian editing and framing) to tell the some-
what intertwined stories of two couples who experience alternate bleak realities, wracked by pain and sadness: the young backpacking lovers Kenneth and Theres, who meet in Greece, and, 30 years later, a contemporary husband and wife living in Berlin, Ariane an actress (played by Tatort regular Maren Eggert), and David an anthropologist. But this Bressonian familiarity belies a narrative strangeness: are the young lovers, as they appear in the second half, “dreamed” by one of them? Or is this strategy definitively based on the act of “unknowing” reality? Whatever works, you might say, when faced with an unsolvable puzzle – because being in the presence of such accomplished formal precision that speaks to reality, at a time where filmmaking has generally been diluted, is in itself a reward.
Spensierati all’evento e prevendita alla stazione FFS. RA_392_Typo-Inserat_Tessin_FiFL_186x17_i.indd 1
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20.06.16 14:17
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Concorso Cineasti del presente, Istirahatlah kata-kata (Solo, Solitude), La Sala, 9 | 8 | 2016 – 11.00
La poesia di Wiji Thukul è diretta, quasi ingenua, ma così efficace nell'intercettare la storia e nel raccontare la verità contro il potere anggi noen yosep
The Resilience of Poetry mark peranson A lyrical evocation of life in internal exile under dictatorship, Istirahatlah kata-kata (Solo, Solitude) is based on the last-known events of the life of influential Indonesian poet and activist Wiji Thukul, who was forced to leave his family after being targeted by the government following anti-Suharto, pro-democracy protests in July 1997. Anggi Noen Yosep’s second feature, following 2012’s Vakansi yang janggal dan penyakit lainnya (Peculiar Vacation and Other Illnesses, which also premiered in Locarno’s Cineasti del presente) traces the poet’s escape to Borneo for eight months on a peculiar vacation of his own, moving from stranger’s house to house and changing identities. First in a constant state of fear, his features often obscured by a floppy hat, Wiji Thukul becomes acclimatized to his new, quiet way of life, but doesn’t forget his wife, Sipon, and his two children, still living in Solo, in central Java, under constant government surveillance.
A great leap forward in terms of filmmaking for Anggi Noen Yosep, the deeply affecting Istirahatlah kata-kata (Solo, Solitude) is one of the few fiction features to tackle the last years of the Suharto regime, the ending of which by popular protest, in May 1998, enabled newfound freedoms and set the course for a contemporary democratic Indonesia and a new generation of Indonesian filmmakers. Wiji’s still-popular, accessible poetry, which is read in voiceover in the film, is constructed from everyday reality yet speaks the truth against power, and this is precisely what Anggi Noen shows us in his film. While Wiji is in hiding, the contemplative poet continues to compose, continues living – a solitary life of heroism and independence.
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via Marcacci 7 - 6600 Locarno 15
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Beyond the Festival
Travelling With Style mattia bertoldi Fashion world is also a way to visit foreign countries, get closer to unknown cultures and maybe learn some new languages. Some people believe that “haute couture” and “alta moda” are expressions that can only be inflected in French or in Italian, but we just need to take a look to the list of companies which associated to Ticinomoda (the association which gathers the main fashion industries in the territory, www.ticinomoda.ch) to see how they can be wrong. The first destination is a tricky one: let’s go to Los Angeles, but following a Moroccan-born American family called Marciano. Two of their members, Paul and Maurice, founded the headquarters of Guess at the beginning of the Eighties while their Europe department is based in Bioggio, near Lugano. Let’s go to east and to another big city: New York. We have still to speak English, sacrificing (unfortunately) Arabic and Amazigh (Berber). Michael Kors was in fact born and bred in the Big Apple, and today his Swiss
headquarters are located in our Manno, some hundreds of meters from the above mentioned Bioggio. Crossing the Atlantic Ocean, we arrive to a luxury fashion house called Hugo Boss which was founded in 1924 in Metzingen, south-west of Germany. We can then speak some German there, while Hugo Boss Ticino SA was founded in 1955 in Coldrerio, near Mendrisio; its line of business includes the wholesale distribution of men’s and boys’ apparel and furnishings. Finally, Italy. Italy and Italian. Gucci was founded in Florence and it is now represented in Ticino by Kering (Luxury Goods), while Ermenegildo Zegna has its Swiss Italian counterpart in Consitex. It does not matter if you want to visit their Italian headquarters or their Ticinese branches, because – guess what: you can continue to learn and to speak Italian also beyond the borders. Even here at the Festival del film Locarno, if you want. Va bene?
Concorso internazionale
Marija
Michael Koch Fiction, 2016, 100 min. Germany, Switzerland
Tuesday, 9:00, FEVI Panorama Suisse
Late Shift – Your Decisions Are You Tobias Weber
Fiction, 2016, 70-90 min. Switzerland / United Kingdom
Tuesday, 11:00, FEVI Fuori concorso
Jean Ziegler – The Optimism Of Willpower Nicolas Wadimoff
Documentary, 2016, 90 min. Switzerland
Tuesday, 14:00, Palavideo
Swiss Highlights in Locarno on Tuesday, August 9 Concorso internazionale
The Idea Of A Lake Milagros Mumenthaler Fiction, 2016, 82 min. Switzerland / Argentina
Tuesday, 14:00, FEVI
www.swissfilms.ch
Concorso Cineasti del presente, Viejo calavera, La Sala, 9 | 8 | 2016 – 18.45
Alcohol of Mines mark peranson
Non volevamo giudicare, ma contemplare Elder mentre vaga ubriaco nella miniera. Osservare con i suoi occhi la stranezza del posto in cui deve lavorare ogni giorno kiro russo
Arriving in the dangerous Bolivian city of Huanuni, young Elder Mamaní takes the coveted place of his deceased father deep in the tin mines, thanks to the intervention of his uncle Francisco. But Elder is a complete fuck up, and could care less about this job, or any job – he’d rather drink, get high and party all night long… and with this stark of an existence, who the hell could blame him. Descending into the labyrinthine darkness, Elder soon discovers that the general condition of opacity extends to the circumstance of his father’s death, but clarity just isn’t in the cards the further down one goes into the mysterious and dangerous tin mines… The consumption of alcohol plays a significant role in Bolivian culture, especially in the mines – before entering, the workers offer a
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Rosario Bléfari, attrice Milagros Mumenthaler, regista Ralitza Petrova, regista Xavier Gens, regista
sacrifice of alcohol to the devil to atone for their exploitation of the land – and Kiro Russo’s immersive debut feature, Viejo calavera, examines this hazy state of being without any judgment. His camera prawling the inky corridors of the grubby spaces, and even editing in Vertovian inserts of mining equipment at work, Russo works hard to find the humanity sometimes obfuscated in this void, whose strangeness is seen through the often-drunk Elder’s eyes. Viejo calavera, intentionally, is a very dark film both literally and figuratively – in terms of vision and morality. With great alacrity, Russo films his non-professional actors in their familiar environment, practising a neorealistic “cinema with the people”, and shows us that, even in the light of day, danger is ever present and there are no easy solutions.
Maren Eggert, attrice Angela Schanelec, regista Tetsuya Mariko, regista Yūya Yagira, attore
Aggeliki Papoulia, attrice Licinio Azevedo, regista Albert Serra, regista Kate Moran, attrice Made of Switzerland.
PardoLive 8 | 8 | 2016
Semaine de la critique
I magnifici 7 della Semaine Ancora uno sguardo sulla Polonia molto forte, ma il filo rosso della selezione è un'attenzione profonda per i processi di trasformazione di uomini e luoghi, per i viaggi fuori e dentro di sé in un mondo costretto a fare i conti con una modernità troppo spesso distruttiva boris sollazzo
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Le lunghe file al Kursaal, a L’altra Sala, storie diverse che declinano in mille modi e moti espressivi il genere documentario, il terreno cinematografico più fertile degli ultimi anni. Questo e molto altro è la Semaine de la critique di Locarno. Lo sa bene il delegato generale Stéphane Gobbo, così come chi l’ha preceduto alla guida di questa sezione che si dedica totalmente al cinema della realtà, intuendone prima di altri le avanguardie, i nuovi territori di scoperta, gli autori più talentuosi. Quel cinema polacco, ad esempio, che negli ultimi anni ha trovato anche un Oscar, qui ha vinto l’anno scorso e torna con due opere quest’anno. Come sempre sono sette i lungometraggi che si metteranno alla prova di fronte a un pubblico affezionato e competente, fedele ed esigente. E come sempre ci troviamo di fronte a creatività multiformi, a ispirazioni differenti, a strade che si incrociano, a esperienze che si realizzano sul grande schermo e sono frutto di incontri speciali. In un mondo non più chiuso in se stesso, possiamo trovare un’opera girata in Repubblica Centrafricana da uno svizzero, da un olandese in Tunisia, da un polacco in Thailandia. Cahier africain, grazie al coraggio e alla forza della cineasta Heidi Specogna, apre letteralmente il quaderno delle violenze con cui Jean-Pierre Bemba, nel 2002 leader del Movimento per la liberazione del Congo, massacrò la sua terra; della sua condanna e, in mezzo, di una nuova guerra civile. Sette anni di lavoro, un racconto incredibile. Storia di una transizione, di una guerra ma interna è anche Bezness as Usual, autobiografia documentaria del regista, Alex Pitstra, un tempo Karim Alexander Ben Hassen. Il suo approdo in Tunisia è un ritorno al passato, per conoscerlo davvero, oltre le parole di una madre che l’ha cresciuto da solo. Monk of the Sea mette di fronte il polacco Rafał Skalski al passaggio della linea d’ombra di un giovane uomo in Thailandia. Ball, che ha una vita movimentata e sregolata, decide di cercare la maturità nella permanenza per due settimane in un monastero. Il regista rimane in disparte a guardare contraddizioni e divertenti discrepanze tra la modernità e l’immutabilità buddista, il monastero diventa luogo di vita, di cambiamento e anche di cinema unico. Il senso profondo del viaggio, è forse questo il filo rosso che lega questo trittico, ad esempio, a Zavtra more (Sea Tomorrow), sguardo su un altro passaggio epocale, quello dell’immenso Lago Aral che da mare interno diviene deserto salato, con un paesaggio lunare, da fantascienza distopica a puntellare uno scenario apocalittico. La regista Katerina Suvorova lo percorre cercando dettagli, situazioni, piccoli momenti di umanità. Ancora l’acqua protagonista ne El Remolino: qui scelte scellerate hanno provocato però l’inondazione del villaggio dell’autrice Laura Herrero Garvín. E pure lei cerca gli interstizi di vita di uomini e donne normali. In Secondo Me troviamo ancora altre umanità apparentemente invisibili ma fondamentali: il moldavo Pavel Cuzuioc cerca nei teatri di Odessa, Vienna e Milano Nadezha, Ronald e Flavio, finalmente protagonisti dopo anni ai margini dal palco, colonne portanti mai illuminate dai riflettori. Finora. Ai margini è infine anche Nikodem: autistico, si prepara alla sua Komunia (Communion), alla sua Prima Comunione. Regista sensibile e antropologa attenta, Anna Zamecka parte da una cintura per chiudere il cerchio di una famiglia e soprattutto della sfida di vivere. Eccoli i magnifici sette, pronti a conquistare Locarno.
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Industry
First Look After Colombia, Mexico, Chile, Brazil and Israel, the focus heads for the first time to an already organized and internationally strong European industry. A challenge that the festival and Poland itself won and that confirms the excellent state of health of its cinema boris sollazzo
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After four years in South America and Israel, in its sixth year First Look lands in Europe and picks Poland, whose cinema is on the rise, in terms of both art and production, beyond huge successes like Cialo (Body) by Malgorzata Szumowska, the Academy Award won by Pawel Pawlikoski’s Ida, or the Silver Bear awarded to Tomasz Wasilewski. A strong signal about the strength of an industry which started showing to the world its movies and directors, completing the very important work done by the Polish Film Institute and Fundacja Polskie Centrum Audiowizualne. They are fundamental partners also for First Look, which always looks for complete agreement with the festival – the choice to look at Poland has been developed together with the director Carlo Chatrian, born from the attention to this Country already expressed in several festival sections all over last years – and with the guest Country. Six movies in competition, a jury composed of relevant figures of festival management (international festivals with a focus on independent and art cinema like Toronto, Rotterdam and Istanbul), shown to a few dozen selected professionals: vendors, buyers, programmers and post-production support fund salesmen fight trying to meet high profile preview works, in an advanced postproduction state. The best movie will receive 65.000 euros from Cinelab Romania, to use in order to finalize the picture: the winner will be able to manage the movie independently. «Ours is a first look – affirms Markus Duffner, section Project Manager – a bet on authors and movies even before the movie is completely finished. Hence the change from Carte Blanche to First Look.» This year’s main challenge is dealing with an industry that is already strong and well structured – the South American ones were in development, the Israeli is formed but limited in its scope – as the Polish one, and it’s no coincidence that the filmmakers who are involved this year have an astonishing international résumé. In the previous years this section represented a huge help for the selected industry – I’m thinking about the Israeli Sufat Chol (Sand Storm), awarded at Sundance, or the Brazilian Que Horas Ela Volta? (The Second Mother), a very important trampoline for Brazilian cinema – now the journey is parallel and the partnership more balanced, an extraordinary challenge for both parties. First Look’s work, finally, is even more fascinating when we can see the strong choice, in a chauvinist cinema like that of today, of focusing on movies directed by women with different backgrounds and high-level profiles. «First Look has become a lynchpin of the Industry Days, thanks to the quality of the selected movies in post-production, the high level of the participants, the efficient partnership between the partners and the professional support of Markus Duffner» confirmed Nadia Dresti, Head of International and Festival del film Locarno Artistic Direction Delegate. And we can’t blame her: First Look, concurrently with the great work Industry section has done in the last few years, represents the deep meaning of Festival del film Locarno, always an important window not only for independent cinema but also serving as a powerful engine for film art and production.
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PardoLive 8 | 8 | 2016
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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Programmes in English & Italian
ARCHITETTURA / ECONOMIA / COMUNICAZIONE / INFORMATICA BACHELOR / MASTER / PHD / EXECUTIVE MASTER USI Lugano/Mendrisio - studyadvisor@usi.ch
An additional sceening is set aside Proiezione supplementare è prevista Un Juif pour l'exemple 9 | 8 | 2016 RIALTO 2 11.30 Slava 9 | 8 | 2016 RIALTO 1 09.00
Donald Cried 9 | 8 | 2016 RIALTO 1 14.00 The Monk 9 | 8 | 2016 RIALTO 1 18.30
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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Residenza Mon Désir, Orselina
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Signs of Life, The Sun, the Sun Blinded Me, PalaVideo, 9 | 8 | 2016 – 21.00
Stranieri per sempre sergio fant La trasposizione è pratica costante nel lavoro pittorico di Wilhelm Sasnal, i cui quadri sono spesso elaborazioni di fotografie che realizza lui stesso o sceglie online. Insieme alla moglie Anka, che ha invece una formazione letteraria, giunti alla quarta collaborazione cinematografica fanno convergere metodo e interessi, adattando (dopo Visconti) Lo straniero di Albert Camus. I loro precedenti It Looks Pretty from a Distance (2011), Aleksander (2013) e Huba (2014) hanno definito uno stile che, pur dichiaratamente ispirato a Dumont, Seidl e Haneke, è estremamente specifico, e segnato da un oscuro e austero naturalismo. Come in pittura Sasnal lavora tradi-
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zionalmente con tela e colori, così il film privilegia i fondamentali del cinema: pellicola, luce, quadro, angolazioni, movimenti, ottiche; la natura del linguaggio cinematografico torna a essere evidente, paradossalmente in un lavoro tratto da un testo letterario. Ma della vicenda del Meursault camusiano, omicida per caso, i Sasnal aggiornano anche il potenziale politico, trasferendola in una Polonia ordinariamente razzista, paranoica e sinistra: un paese in cui molti, dalla rimossa complicità con lo sterminio nazista, fino alla stretta illiberale e clericale del potere attuale, non hanno smesso di vedere stranieri ovunque.
PardoLive 8 | 8 | 2016
Fuori concorso: Art Basel, Where Is Rocky II?, La Sala, 9 | 8 | 2016 – 16.00
In the Name of Rocky sergio fant There are contemporary artists who come to film with a mimetic immersion in the codified role of director, putting their wealth of visions and strategies at the service of a style. Then there are others who find in the form of the feature film and the conventions of the genre new material to expand work already started in other areas and formats. Pierre Bismuth is an exemplary representative of the latter, something he had already demonstrated by ranging with gusto and endless adaptability from graphic interventions on frames of Hollywood classics and Disney appropriations to an Oscar in 2004 for the Eternal Sunshine of the Spotless Mind screenplay, shared with Michel Gondry and Charlie Kaufman. Inevitably his directing
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debut, the result of six years of obsessive research, has become an ambitious labyrinth that unfolds between the art system – focusing on the elusive figure of the great Ed Ruscha and his mysterious work – the modern investigative documentary, the re-enactment of a classic thriller, land art and the writing of a proper action film inspired by the same story, packed with shootouts and explosions, whose imaginary trailer becomes part of the film itself. «The hidden artwork is true», promises the private eye, but the doubt insinuates itself that even Ruscha and all of his work could be part of Bismuth’s diabolical fantasy.
PardoLive 8 | 8 | 2016
PARDO
LIFE
La cerimonia di premiazione degli European Casting Director Awards
Xelo Cagiao, attore di O Ornitólogo
Margarita Breitkreiz, attrice di Marija
Il Presidente Marco Solari
Michael Koch, regista di Marija Il cineasta Vimukthi Jayasundara
La giuria del Concorso internazionale
Jacqueline Lentzou, regista di Alepou
PardoLive 8 | 8 | 2016
Il regista Stergios Paschos e il cast di Afterlov
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Il Pardo alla carriera Mario Adorf e il cineasta Dario Argento
Il concerto di Abel Ferrara a laRotonda.
Pierre Bismuth,.regista di Where Is Rocky II?.
Eduardo Williams, regista di El auge del humano.
João Pedro Rodrigues, regista di O Ornitólogo.
Sebastian Mihailescu, regista di Apartament. interbelic, în zona superba, ultra-centrala.
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Hadas Ben Aroya, regista di Anashim shehem lo ani.
PardoLive 8 | 8 | 2016
Beyond the Festival
Tutte le strade portano a laRotonda mattia bertoldi
Da tutto il mondo
Non mancano le sorprese tra le oltre cinquanta bancarelle dell'Outdoor-market: dalle creazioni della Signora degli Anelli alle scarpe del Continente nero di African Handmade Shoes, senza dimenticare i prodotti artigianali provenienti da Marocco, India e Oriente. Il giro del mondo con pochi franchi.
Brindisi serali Siete tra i primi ad animare laRotonda? Volete vincere una bottiglia di vino al Wine Bar? Partecipate al concorso WINE NOT. Basta postare un selfie su Instagram (@filmfestlocarno) con l'hashtag #laRotonda tra le 18 e le 20.30 e sarà sorteggiato un fortunato vincitore. Buona fortuna!
Histoire(s) du cinéma
Capolavori da rivedere I film delle giurie, La Sala, 9 | 8 | 2016 – 21.00
Suspiria È un vero proprio classico dell’horror che ancora, a quasi 40 anni dalla prima uscita in sala, non smette di farci paura. A Locarno potrete riprovare il brivido alla presenza dello stesso autore, Dario Argento. Bastano solo le prime sequenze, la notte t empestosa, l’arrivo di un donna sola e subito l’azione si fa incalzante sprofondandoci nell’atmosfera di un incubo visionario che non ci lascia tregua per tutto lo sviluppo del film.
Prix du Public UBS PardoLive 8 | 8 | 2016
I film delle giurie, Cinema Rialto 1, 9 | 8 | 2016 – 21.00
Boxcar Bertha Una rilettura di Bonnie & Clyde (1972) filmata da Martin Scorsese e prodotta da Julie Corman. Tra i film meno noti del maestro newyorchese, ma uno di quelli che più di tutti merita di essere riscoperto.
Vote and win www.pardo.ch/ubs
Yesterday’s prize draw winner: Luzius Hafen
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Academy Screenings, New Eyes, Cinema Rialto 3, 9 | 8 | 2016 – 19.00
La collaborazione è Realness Seguendo lo spirito di scoperta del Festival, la Locarno Filmmakers Academy (LFA) va alla ricerca di talenti emergenti in tutti gli angoli del mondo. Tra le regioni più eccitanti del momento vi è il continente africano, una realtà dinamica ma difficile da monitorare. Per questa ragione, da quest’anno la LFA inaugura una collaborazione con Realness, un workshop organizzato da Elias Ribeiro di Urucu Media che scandaglia continuamente tutte le realtà cinematografiche africane, selezionando ogni anno cinque talenti tra i più promettenti. A questi giovani registi viene offerto un workshop di scrittura di un mese in Sudafrica dove poter sviluppare i loro progetti, successivamente presentati da Realness nei principali festival europei e mediorientali per trovare sinergie che portino alla realizzazione dei film. Per inaugurare questa collaborazione la LFA ospita la regista etiope Hiwot Admasu, di cui potrete scoprire il corto New Eyes (presentato alla Mostra del Cinema di Venezia nel 2015) durante la sessione Academy Screening di martedì 9 alle 19.00 al Cinema Rialto 3.
Panorama Suisse, Late Shift, Auditorium FEVI, 9 | 8 | 2016 – 11.00
Future Crossroads
alessandro de simone
3D would have been the future of movies. Well, it’s not, but this not means cinema industry doesn’t have to offer brand new experiences to the audience. One of this experiments is CtrlMovie. The concept is simple: let the audience decide which path the story has to follow. Easier to say than to implement. But this was the great challenge of Late Shift, the first feature film built using this technology. CtrlMovie is an app, available for iOS and Android, that allowed to interact with the storyline. The plot has some junctions where the audience can decide which choice will take the main character of the film. Just like a videogame. Late Shift is a Swiss-UK co-production, a thriller about a gifted student accused of being part of a big heist. 180 turning points and 7 different storylines that can be chosen individually, watching the movie on tablet or in an immersive collective screening where the majority of the audience decides what will happen next. Definitely more fun than 3D.
Ristoranti Pardo
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PardoLive 8 | 8 | 2016
La Piazza degli insetti giganti «Non c’è dubbio, Piazza Grande è la più bella sala cinematografica del mondo. Basta pensare che come soffitto ha la volta celeste». Sono ancora incantanti a distanza di anni - i due registi francesi Claude Nuridsany e Marie Pérennou che con Microcosmos e il loro mondo popolati di insetti nel 1996 conquistarono il Prix du Public UBS. «I primi a essere sorpresi siamo stati noi « ricordano i due «perché per noi era la prima proiezione pubblica del nostro lavoro. E se fare un film è sempre come lanciare una bottiglia in mare, senza sapere come venga accolta, immaginate cosa poteva voleva dire per noi star lì, davanti a quello schermo gigantesco, pochi istanti prima dell’inizio». L’agitazione però lascia il posto alla magia, non appena la pellicola comincia a srotolarsi. E tutto, in Piazza Grande, si dilata nelle dimensioni. «Siccome nel film gli attori erano tutti dei minuscoli insetti, su quello schermo extra-large diventava-
no dei giganti e quindi noi stessi assistevamo a uno spettacolo magnifico». Una percezione individuale che pian piano diventa collettiva, grazie al potere di un cinema che all’aria aperta ritrova tutta la sua forza popolare. «Forse il fatto di essere all’esterno rende lo spettatore più libero nelle sue reazioni. Ed è qualcosa di straordinario. Senza essere degli insetti, anche noi eravamo là ed era come se avessimo delle antenne in testa per capire come reagiva il pubblico. Senti quelle risa, poi senti i respiri e poi i silenzi carichi di suspense. Non avremo mai la possibilità di recepire tutti gli stati d’animo di un pubblico in tempo diretto, scena per scena, come quella sera». Mai, a meno che non si torni proprio là dove tutto questo è avvenuto. In Piazza Grande. Quel posto e quel pubblico a cui Claude Nuridsany e Marie Pérennou non posso che rivolgersi così: «Grazie Locarno, per noi è stato un momento indimenticabile».
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
Microcosmos Winner of the Prix du Public UBS in 1996 Claude Nuridsany, director
Cool down Lavertezzo, Valle Verzasca
ascona-locarno.com
ld he emera Swim in t rs of our valleys te green wa More info: ummer arno.com/s c o -l a n o sc a
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Tout ce dont vous avez besoin pour faire un film c’est d’une fille et d’une paire de lunettes #LIndomptée #Locarno69
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cinematic
Editor Lorenzo Buccella Graphic design Dimitri Bianchini Julien Nemiccola Michela Di Savino
Writers Massimo Benvegnù Mattia Bertoldi Max Borg Alessandro De Simone Adriano Ercolani Lorenzo Esposito Sergio Fant Aurélie Godet Sara Groisman Mark Peranson
Daniela Persico Boris Sollazzo Guest photographers Alessio Pizzicannella (cover) Sabine Cattaneo Vittorio Zunino Celotto
Photographers Gabriele Putzu (TiPress) Fotofestival (Marco Abram, Pablo Gianinazzi, Massimo Pedrazzini, Sailas Vanetti)
Production logistics Luca Spinosa Advertising Raphaël Brunschwig Elisa Bazzi publicitas
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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