10 | 8 | 15 – PardoLive – day 6 by Festival del film Locarno

PardoLive 68° Festival del film Locarno

Monday · Lunedì 10 | 8 | 2015

Bulle Ogier Rick Alverson BI Gan Philippe Falardeau Mauro Herce PardoLive Partner:

Pierre Léon Georges Schwizgebel Avishai Sivan

Festival del ďŹ lm Locarno

The Syrian Bride, The Human Resources Manager Vincitori del Prix du Public UBS nel 2004 e 2010 Eran Riklis, regista

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

Fermo immagine Carlo Chatrian Artistic Director

Piazza Grande, Guibord s’en va-t-en guerre, 10 | 8 | 2015 – 21.40

“Why… ” the brilliant lead of Entertainment obsessively asks his stupefied audience, but they don’t laugh because in the end there’s not much to laugh about. Hamburger’s dry wisecracks don’t aim to reveal through a paradoxical higher level of truth, but to create discomfort. It’s the non-verbal signals that strike us: the three cups with straws held under the arm, the fading of the voice as though the words were struggling to come out, the croaking tone…

Il Canada val bene una guerra? Il dilemma invade un intero paese: il Canada deve entrare in guerra o meno? Solo che stavolta il peso della decisione grava tutto sulle spalle di un politico di periferia (Patrick Huard), un ex-giocatore di hockey che – per una serie di defezioni del destino – diventa l’ago della bilancia per la votazione nazionale. E se la prossimità, per lui, è tutta un’escalation di strade sbarrate dalle più svariate proteste, è dalla più improbabile lontananza che gli arriva in prezioso soccorso uno stagista di Haiti (Irdens Exantus), tanto carico di intuito quanto di citazioni estratte dai libri dei grandi pensatori politici. Si lancia così, sui ritmi e i toni di una commedia satirica che trasformano il voto su una possibile entrata in guerra in una vera e propria guerra elettorale, il film che segna il ritorno a Locarno del regista québécois Philippe Falardeau. Proprio l’autore che nel 2011 con Monsieur Lazhar aveva commosso Piazza Grande, conquistandosi il Prix du Public UBS grazie alla delicata discesa con cui era entrato nel microcosmo di una classe scolastica alle prese con l’elaborazione di un lutto. Ora, invece, con Guibord s’en va-t-en guerre il registro – così come l’impianto narrativo – svolta verso l’iro-

The feeling of being unable to interpret the world’s signals is shared by both the stand-up comedian played by Turkington and the Jewish scholar in Tikkun, a film in which black and white acquire a symbolic value, given that it tells the story of a devotion that overturns into madness. The desire to leap beyond realism can also be seen in Lu bian ye can and Dead Slow Ahead, two films designed in the form of a journey where instead of a process of getting to know someone else, there is a folding in on oneself. In the Chinese film, the journey takes on imaginary contours and the explored country is like an interior scenario, while in the Spanish one, the huge Filipino freighter becomes a kind of ghost ship. As though in a film by Cronenberg, it seems to have assimilated the sailors inside its metal heart.

Deux Rémy, deux

nia di un viaggio che, tappa dopo tappa, sbeffeggia e scardina le logiche di un mondo politico fatto di ricatti, compromissioni e ricompense. Del resto, se una consultazione preventiva con i propri votanti aprirà una “finestra di democrazia diretta”, sarà altrettanto evidente che per trovare “l’argomento migliore contro la democrazia basta una conversazione di soli 5 minuti con l’elettore medio”. Tra la prima citazione di Jean-Jacques Rousseau e la seconda di Winston Churchill c’è di mezzo tutto lo zig-zag emotivo di un film in cui l’impasse su un fatidico voto può dividere o ricomporre famiglie, arrivando a raddoppiare i palcoscenici persino nell’isola di Haiti, grazie a un collegamento via Skype. lorenzo buccella 3

In debt to the great Russian literary tradition, Deux Rémy, deux takes a light approach to the theme of the double. Pierre Léon’s film is laden with a sense of suspension from reality which owes much to its stars, Pascal Cervo (the lead in Vecchiali’s film last year), Serge Bozon (who has also brought an original short to Locarno) and Luna Picoli-Truffaut, the granddaughter of the great French director.

Piazzaon Focus Grande, Philippe Guibord Falardeau s’en va-t-en guerre, 10 | 8 | 2015 – 21.30

Mocking Politics Four years after Mounsieur Lazhar screening in Piazza Grande you’re back at Locarno with a totally different movie, a satirical comedy. Mr. Falardeau, please reveal us the secret in order to make people laugh about something they should cry about… Humor occurs when you have a certain distance. I knew I would be capable of doing comedy but I needed the right subject. Politics back home right now is a little fucked-up, I thought it was the perfect ground to explore it through humor. But I had to use an internal lens because people don’t go see films to see politics, they go to see characters, so I had to internalize all the conflicts inside the family. It took me a while to have the idea but in the end it was simple: the wife is for the war, the girl is against the war and the main character is stuck between the two women of his life. Which has been for you the funniest scene to shoot in this movie? The public assembly scene. We shot in a real village up North. I had my actors with their lines in the room before the hundred extras, we rehearsed and then we brought the people, without them knowing what exactly what was going to be said. Then we filmed and they were really reacting to all those political or social issues. Using the real people, a real environment, I think helped to extract the authenticity. When did you decide to tell this story through a young Haitian’s eyes? I studied political science and international relations, I was very young when I got interested in what was happening outside, and I’m sure that what’s happening very far has repercussions on us. Having immigrants my movies, not only this last one, is interesting because you observe yourself but through another glass, through another set of frames, of culture and references. It’s a way to look at us in a different perspective. I like the idea that this guy comes from a country in which democracy is a very fragile thing, and he doesn’t take it for granted like we do. Is there any movie which inspired you when you started thinking about this movie? In the Anglo-Saxon world the political comedy is a genre. We had In the Loop a few years back, I also liked films like Wag the Dog, which takes something that’s real but spun in a way that it becomes very grotesque. I also looked at some works of Ken Loach, who did some films that were funny: Raining Stones or Looking for Eric. Ken Loach was always my reference, someone I wanted to emulate. adriano ercolani

Prix du Public UBS 5

Vote and win www.pardo.ch/ubs

Yesterday’s prize draw winner: Maria Stanga PardoLive  10 | 8 | 2015

Piazza Grande, Erlkönig, 10 | 8 | 2015 – 21.30

Re per u “

In my movies without dialogues I have often given the same importance to music and image. In Erlkönig I loved this piece for piano based on a poem by Goethe, and I wanted to replace the words with the pictures

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Alberi. Un uomo cavalca con il figlio malato, che sogna il Re degli Elfi in agguato per rapirlo. Nel suo ultimo lavoro, Erlkönig, l’elvetico Georges Schwizgebel prende le mosse dall’omonima ballata di Goethe e dalla musica di Liszt e Schubert, ad essa ispirate, per comporre un’opera che è summa dei suoi cortometraggi precedenti. Corti presentati in un Omaggio che, affiancandosi alla proiezione in Piazza, ci porta a un’altra cavalcata: quella tra i tratti ricorrenti nelle sue creazioni. L’inscenare un dialogo tra arti è uno di questi: l’animazione, spesso tracciata da pennellate di acrilico su celluloide, si disegna sulle

pieghe della musica e ripercorre le trame dei classici letterari (Frankenstein per Le Ravissement de Frank N. Stein, 1982; Cenerentola per La Jeune Fille et les nuages, 2000; la Storia straordinaria di Peter Schlemihl per L’Homme sans ombre, 2004…). E perché l’immagine si fonda al meglio con la musica, il regista abdica ai tagli a favore di una transizione tra scene all’insegna della metamorfosi: così già nel giovanile Perspectives (1975) la donna si fa cane e il cane uomo. Le arti sono celebrate anche tramite citazioni: se in Erlkönig si accenna a Matisse, protagonisti di Le Sujet du tableau (1989) sono altri capolavori pittorici, mentre in Frank N. Stein si omaggia il cinema.

Cinema Ex*Rex, Omaggio a Georges Schwizgebel, 12 | 8 | 2015 – 15.00

78 Tours.

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Jeu.

L’Année du daim.

una notte “

It is important to work on a subject following the ideas arising during the process. They can come from a book, a scene or a dream, feeding the ongoing project

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Quest’intreccio di forme espressive provoca una vertigine: dove siamo? È musica, dipinto, film? L’assenza di tagli accresce il disorientamento: nel flusso ininterrotto d’immagini tutto si confonde, anche spazio e tempo. Disorientamento che costituisce il vero fil rouge dell’opera di Schwizgebel: anche nella scelta dei soggetti predilige gli spaesati, i diversi: il Re degli Elfi, il daino rapito dai boschi di L’Année du daim (1995), il “mostro” di Frank N. Stein… Di questo viene adottato addirittura il punto di vista, calando lo spettatore nella sua allucinante avanzata attraverso una fuga di stanze, tratteggiate con tecniche diverse, in un catalogo delle mo-

L’Homme sans ombre.

dalità espressive cui ricorre il regista. È questo un altro tratto che lo contraddistingue: il desiderio di raccontare, nei film, non solo una storia, ma anche come l’abbia realizzata. Accade pure in Erlkönig, dove l’alternanza di stili fa da contrappunto ai punti di vista dei personaggi: dal tratto spezzato e naif delle minacciose visioni del Re degli Elfi si passa, per esempio, ai toni morbidi delle scene a cavallo. E forse proprio nella figura della cavalcata vorticosa trova una sintesi l’opera di Schwizgebel: un percorso al galoppo che batte un sentiero tracciato dalla musica, e che lo fa a passi di pennellate. sara groisman

La jeune fille et les nuages.

Le Ravissement de Frank N. Stein.

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Focus on Bulle Ogier

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La vie est Bulle “

La mia passione per il cinema non è nata da un giorno all'altro, è cresciuta a poco a poco. C'è una cosa bella nell'essere attori: siamo flessibili, possiamo addentrarci nel mondo dei registi

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Bulle Ogier, an award for a career is also a chance to look back on an artistic path. When and how did you develop your passion for theatre and film? My passion for cinema was not born overnight, it grew a little at a time. I had no intention of becoming an actress, at age 20 I was already in the middle of a divorce, with a little girl to take care of, so I was more concerned about figuring out how to survive and raise my child. Then I met Marc’O. He took me to his atelier where 50 people were learning the craft of acting on stage, but the acting that Marc’O taught us was a bit different from the traditional style. Then I met Pierre Clémenti, Michel Moretti and Jean-Pierre Kalfon, and we formed a group. That’s how it all started! What was your relationship with Jacques Rivette like? We did five years’ worth of plays on stage, and one day Rivette, who was another theatre director, showed up and chose to put Marc’O’s group in L’Amour fou. So it wasn’t that hard for us because we all knew each other really well. And with Marguerite Duras? That was a unique experience. I was very lucky to be close for years to a genius bursting with tenderness and love, lucidity and culture, which she gave to me as a gift. It was like a family. In terms of the craft, she taught me how to express words differently, to make each word be felt in an intense and precise manner.

When one thinks about you, one sees a season of cinema that corresponds roughly to the 1960s: the films you made with Barbet Schroeder, but also directors like Fassbinder and Buñuel, who represent very different kinds of cinema and have ideas about filmmaking that one needs to access. Fortunately, actors are flexible. We can enter the director’s world, that’s what we’re made for! In the late ‘60s and early ‘70s there was the idea of belonging to a certain kind of cinema. How do you view that today? I don’t think young people today can choose the same paths or have the same wishes as we did in 1968. Take a young fashionable actor everyone knows, like Louis Garrel, for example. I’ll always tell him: “If you’re going to make 800,000 Euros, do your commercial!” It would be ridiculous to turn it down today. Back then, however, we did not do such things. In relation to Swiss cinema, your collaboration with Alain Tanner produced La Salamandre, one of the films you hold closest to your heart. It’s a wonderful film, and your character Rosemonde has made quite an impression. Yes, Rosemonde has travelled all around the world. I always say there are three Swiss people in my heart: Barbet Schroeder, Daniel Schmid and Luc Bondy. But one shouldn’t forget I’ve also worked with Michel and Francis Reusser. And most recently I’ve worked with Lionel Baier as well. carlo chatrian PardoLive  10 | 8 | 2015

Scoprite il leopardo che c’è in voi. Scaricate la app «Locarno68», create un selfie Pardo e il vostro volto da leopardo è pronto. Procuratevi subito la app e raccogliete molti «mi piace» per il vostro selfie. Con un po’ di fortuna vincete un Samsung Galaxy S6 edge. #IAMPARDO Benvenuti nel paese delle possibilità.

Condizioni di partecipazione: al termine di ogni giornata del festival viene assegnato un Samsung Galaxy S6 edge al partecipante, il cui selfie ha raccolto il maggior numero di «mi piace». In caso di parità si procede al sorteggio. Una sola vincita per persona. Le condizioni dettagliate del concorso sono visibili nella app e devono essere accettate online dai partecipanti.

Concorso internazionale, Tikkun, Auditorium FEVI, 11 | 8 | 2015 – 14.00

Miraggi oscuri Avishai Sivan è riuscito a portare il suo film a Locarno, e così Locarno non ce l’ha fatta ad entrare nell’esilarante collezione di lettere di rifiuto che il regista israeliano archivia metodicamente sul suo sito web. Peccato, ma Tikkun era davvero troppo convincente per rinunciarvi, la conferma che il percorso avviato con Ha’Meshotet (The Wanderer), presentato alla Quinzaine del Festival di Cannes 2010, si ribadisce al secondo lungometraggio maturo e coerente. Già in Ha’Meshotet i colori dominanti erano il bianco e nero, unici permessi nel guardaroba del protagonista dalla comu-

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In a scene of the film, HaimAaron speaks about having to worship god through one’s body, explaining that he hates his own body. I, like him, would like this battle between body and soul to escalate, in order to enrich life or discover possible meaning avishai sivan

nità ebraica di cui fa parte. Con Tikkun la norma prende il sopravvento sull’intera tavolozza del film, e Sivan crea un universo monocromatico organizzato secondo i rituali della setta chassidica di Gur, uno dei più radicali movimenti ebraici ortodossi. Haim-Aaron però è il personaggio sbagliato per una banale ribellione: figlio prediletto e allievo modello di una scuola teologica, il suo percorso di liberazione non può che manifestarsi inizialmente in forma di muto disagio “buster-keatoniano”, nello stesso silenzio e con la stessa espressione perplessa con cui noi spettatori lo osservia-

DAS Festival IN KÜRZE > 570

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mo. Lo scollamento dalla norma educativa e familiare, la resa alle pulsioni che nessuna ortodossia potrà vietare, spalancano a Haim-Aaron la scoperta di quel mondo dal quale era sempre stato protetto. Il percorso dal quartiere di Me’a She’arim, uno dei più antichi di Gerusalemme, ai bassifondi di Tel Aviv diventa così uno sprofondamento (o elevazione?) visionario, un miraggio oscuro in cui la religione è un deserto, e il desiderio la sete. sergio fant

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Concorso internazionale, Entertainment, Auditorium FEVI, 11 | 8 | 2015 – 16.30

Stay Angry Stay Foolish Not a film that aspires to be loved, liked, or even enjoyed in the slightest – good basis for an afternoon at the cinema, right? – Rick Alverson’s disturbing Entertainment sets out to discover the two-bit comedy clubs of the American West and finds a country with far too much space on its hands. Our kind-of guide into this widescreen Antonionian world takes the form of a highly alienated Gregg Turkington, who also co-wrote Entertainment with Alverson and frequent collaborator Tim Heidecker. An eccentric performer, Turkington takes the stage – when there is one – transformed into his repulsive comic persona Neil Hamburger,

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he of the delirious, watered-down combover, dated tuxedo, and awkward, nasal delivery. (His jokes, typically skewering celebrity culture are, it can be argued, hilarious. But don’t piss him off.) In between gigs he tries in vain to contact his daughter on the phone, visits local sites of interest such as airplane graveyards, and shacks up for a few nights at the estate of his well-off cousin’s (John C. Reilly). What starts off as a slightly off-kilter,

realistic encapsulation of the rank depressions and banalities associated with a lonely life on the road transforms into angry surrealism, a series of bizarre episodes linked only by death. Alverson’s film is edited so radically that as we follow Turkington deeper into the rabbit hole, its scenes bounce up against each other with a certain amount of violence; eventually the structure devolves into something bordering on the Lynchian. The societal alienation of the performer, especially one who refuses to give the people what they want, is here a manifest expression of the filmmaker’s. mark peranson

Alverson Comedy “

Il mio scopo è offrire un contrappeso alla tradizione del cinema popolare americano il cui solo scopo è creare spettatori passivi. Nella decadenza delle sale e nella sicurezza dei salotti, la vitalità dello spettatore dovrebbe essere accresciuta, non attenuata

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Rick Alverson, how did you meet Gregg Turkington, who plays the Comedian in Entertainment? Why did you want to make a film about and with him? And is the standup comedy component of the film essential? I met Gregg through Will Oldham when I was casting my last film The Comedy. I was familiar with his stand up persona, Neil Hamburger, who we ultimately borrowed for the Comedian’s on-stage persona. Gregg and I shared a mutual distrust of a lot of corporate and cultural terrors and got along well. The film, for me, is just as much a formal experiment about viewership as it is an expression of my exhaustion with culture. The comedy component, although outside my world really, seemed to perfectly sum up an individual’s effort to reach out into the world:a man on a stage, in a tuxedo, coughing and crying into a microphone. Your film is relatively demanding and leaves a lot to interpretation.Do you have a specific take on the film? I don’t know much about interpretations, I’d prefer to think about experiences. Is there a wrong experience? Not likely. I wouldn’t insist another person take away from the film what we put in it, at least not in regards to our reasons for making it. I’d hope it would become something broader, more varied and open. That having been said, I think a lot about audiences and their passivity, there’s a lot of that in the film. It’s also a lament, from my perspective, of the American experiment gone awry, but, then, it couldn’t have gone any other way.

What is the place of morality in your cinema? I don’t believe in a moral universe. I don’t believe in morality in art. I think it’s dangerous. I do believe in fundamentally altering perception, I believe in a gravity and power of media, and I suppose there is a responsibility in that. But from my perspective, that responsibility would be one of form and integrity and attention and experience over politics or social engineering. What is most “American” about Entertainment? In a way it subverts the cliche of the American Dream. The film plays a lot with the idea of an American popular audience. It’s a cat and mouse game. It toys with our sense of privilege, with our grotesque concept of exceptionalism. It’s also just as much an homage to the American cinema of the 70’s and that dispossessed view of a lost ideal, of a betrayal, that was so honest and clear. Lastly, what entertains you? Interviews. m. p.

Spensierati all’evento e prevendita alla stazione FFS. 13 RA_363 Typo-Inserat Event (i) 186x17, FiFL.indd 1

20.06.14 11:22 PardoLive  10 | 8 | 2015

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Concorso Cineasti del presente, Lu bian ye can, La Sala, 11 | 8 | 2015 – 11.00

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Ero disoccupato quando ho scritto questa sceneggiatura, mi mantenevo facendo il fotografo ai matrimoni. Per questo motivo, ho inserito uno spezzone di 40 minuti in Lu bian ye can, sono immagini così vicine alla vita reale che propongono un linguaggio cinematografico da sogno, dando un tocco poetico bi gan

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Poetry Travelling Kaili City, the center of minority Miao culture, is located in the verdant subtropical province of Guizhou in southwestern China. Far from the industrial zones, it’s an area rarely seen in indie cinema, and in Lu bian ye can (Kaili Blues), director Bi Gan creates a poetic entry point to his home region, with a mysterious, sometimes mystifying film steeped in Miao culture (Lim Giong’s score relies on traditional Lusheng pipes). Chen, the film’s protagonist, shares a medical practice with an older woman, who hears that an old lover living in Zhenyuan is on death’s bed. She requests that Chen deliver him some items from their past, as he’s headed that way to search for his young nephew, Weiwei. A selection of Chen’s poetry provides for an enigmatic voiceover, featuring couplets like “Human enzymes are stubborn. The enzymes of the soul are like water lilies.” (It’s director/ writer Bi Gan’s own work; his collection

www.fondazionebally.ch

Roadside Picnic provides the Chinese title.) Bi Gan’s long-take style begins with circular pans, moves to long tracking shots from moving vehicles, and finds its apex when Chen stops in an otherworldly town named Dangmai, with a tour de force, 40-minute plan-sequènce that commingles his past, present and future (it’s no coincidence the film’s opening quote comes from the Diamond Sutra). This magic realist showstopper traverses multiple kilometers, and features no less than four modes of transportation, impossible camera movements, the reappearance of multiple characters, two version of the same Chinese pop song (one live), and all the geographical information you’ll ever need to know about Kaili. Let it not be said that Bi Gan and cinematographer Wang Tianxing took the easy road in their stunning debut. mark peranson

Fondazione Bally per la Cultura ricerca ogni anno un artista ticinese attivo nel campo delle arti figurative (pittura, scultura, fotografia e grafica) che avrà l’opportunità di essere sostenuto e supportato a livello internazionale da uno dei Brand più famosi nel settore del lusso.

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Concorso Cineasti del presente, Dead Slow Ahead, La Sala, 11 | 8 | 2015 – 19.00

Lost in Navigation The freighter Fair Lady, adrift at night in the ceaseless ocean, placeless, nationless, out of space but also, perhaps, out of time. Though the power and the beauty of the high seas at times rages on, the ship mostly traverses desolate, pseudo-post-apocalyptic landscapes drained of color. It is manned by a Filipino crew of seamen lacking any sense of their individuality or their humanity, drones of late capitalism, trapped oceans apart from their loved ones, cogs in a machine that devours them. In this unfamiliar world dialogue is for the most part absent, words replaced by a constant murmur, the howls of wind and the blips and bleeps of metal machine music. That is, until an unexpected disaster strikes in the form of an intrusion from the natural world, which is only when we realize the actual purpose of their mission. The labyrinthine interior car-

cass of the (space)ship is lit like a film set, tinted red and green; the camera very slowly tracks the corridors and the snaking pipes, creating an atmosphere more familiar to an antiquated sciencefiction or horror film, hypnotic and hallucinatory. Is the Fair Lady a seafaring version of The Black and White Lodge from Twin Peaks? Are these outtakes from a remake of Alien? Because we might as well be in outer space. Spanish cinematographer Mauro Herce has named his debut feature Dead Slow Ahead, probably the most earnest and apropos title in this year’s festival. This transfixing film about a sea journey is also an allegory for capitalism itself, an ideology that finds itself lost at sea, but keeps on keeping on, slow, slow speed ahead… mark peranson

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Volevamo girare un documentario sulla vita in mare come se si trattasse di un film di fantascienza nello spazio. Perché il confronto tra questa vita e quella su un’astronave del futuro non è così distante. Il futuro sta già accadendo oggi mauro herce

Proudly presents the latest arrivals

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Rick Alverson, director Aaron Traitel, actor Fabrice Aragno, director Serge Bozon, director

Pascal Cervo, actor Julie Desprairies, director/coreographer Matthias Günter, director

Andy Herzog, director Pierre Léon, director Mario Martone, director Gregg Turkington, actor

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Vivere momenti commoventi: la Posta Ă¨ anche questo. La Posta fa molto piĂš di quanto si pensi. Noi patrociniamo vari festival cinematografici svizzeri. Favoriamo la cultura per permettervi di vivere momenti unici: posta.ch/sponsoring Sponsor e partner retrospettiva Festival del film Locarno

First Look

Locarno Got the Look Never judge by appearances, they say. But most of the time, Industry professionals know the value of a project straight away. It just takes a first look. This is the philosophy behind First Look, the section of the Festival del film Locarno, where a participating country is invited to bring a number of projects at different stages of post-production for sellers, buyers and festival scouts to glimpse at and make an early decision to commit. “The original idea is to support filmmakers and help them in finding a seller, and at the same time find new films for the festival, while still in post-production”, says Nadia Dresti, Delegate of the Artistic Director and Head of International. This year the spotlight was on Israeli cinema, a filmography that has a long legacy with Locarno, since through the years it showcased a number of films that represent its different cultures and stories. “Each time we try to pick a country that has a yearly production big enough, and at such level that we can find and select five to seven films that are in their finishing stages”, continues Dresti, “The choice of films focuses on trying to highlight different styles and showing the different geographic areas of the chosen country.” 19

In the current shape of the Film Industry, it is essential to create joint ventures early on in the process, what with the enormous competition among titles for an available slot. “Sellers, usually, engage on a film at screenplay level” says Dresti, “or when the film is still not finished, in order to develop a launch campaign along with the producers, that would allow the film to receive maximal exposure and therefore generate a better sale.” The films of this year’s selection “are at different stages – some had no definitive color correction or mixing. Others are still in the editing process. At the same time, it is essential that they are still not finished, otherwise they could not benefit from the prize offered by post-production facility Rotor, worth 60,000 Euro” questions Dresti. “It is definitely a pretty good sum of money for an independent producer.” Other partners in the First Look initiative included the Israel Film Fund and the magazine Le Film Français. massimo benvegnú

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Semaine de la critique, The Ground We Won, Teatro Kursaal 13 | 8 | 2015 – 11.00

Poland of Trecentosessanta film. Documentari. Arrivati quest’anno, a Locarno, per la Semaine de la critique. A riempire gli occhi, le orecchie, i taccuini di chi li seleziona e del delegato generale Stéphane Gobbo, a cui spetta l’ultima parola. E che ha deciso di scommettere su una cinematografia come quella polacca, presente con ben tre opere nella selezione che, come sempre, conta sette lungometraggi. Una scelta forte, coraggiosa, come avviene da 25 anni (e 26 edizioni) a questa parte in zona Kursaal (ma anche L’altra Sala e PalaVideo, il giorno dopo) e che assicura alla sezione file di spettatori in attesa delle proiezioni.

Il programma è molto eurocentrico, proprio in nome di una libertà di scelta che porta sempre la Semaine alla ricerca di ciò che è nuovo e alternativo, senza essere mai schiavi di un facile esotismo. Conta “lo sguardo laterale” come afferma lo stesso Gobbo, che ricorda come “il cinema

polacco abbia già fatto parlare di sé, con 15 Corners of the World, qui anche premiato”, a sottolineare come nulla vi sia di casuale nel percorso doc di Locarno. E da Varsavia e dintorni si è partiti per costruire questa edizione. “Body che vince l’Orso alla miglior regia a Berlino, poi l’Oscar con Ida: in Polonia si è fatto un grande lavoro, a livello artistico ma anche istituzionale, le nuove scuole di cinema e gli investimenti nel settore hanno portato a una nuova generazione di cineasti e di artisti visivi in genere. Basta guardare alla nouvelle vague polacca nella fotografia”. Ma nel poker rimasto c’è ancora

YOUR APP FOR MOVIE THEATRES & MOVIES SCHEDULE I TRAILER I MOVIE REVIEWS

PardoLive  10 | 8 | 2015

Plenty molto. C’è “la rivoluzione in atto in questi anni nel genere documentario, la capacità di andare in luoghi un tempo tabù, come la morte. A Nyon il festival ha aperto con il racconto di un uomo che osservava la madre morire, qui a Locarno in Concorso troviamo James White, che tratta un tema simile. E anche noi proviamo a introdurci in comunità e narrare ciò che è forse sconosciuto anche a loro”. Nell’intimità dei due fratelli del polacco Bracia; nel viso, nella fatica, nel dolore dei figli degli alpinisti morti nella spedizione del 1986, raccontata in K2. Touching the Sky; nella Lampedusa in Winter, in uno stato di isolamento politico costante che diviene letterale, fisico, nel particolare momento catturato nel film. E ancora scopriamo un nonno, medico a Hiroshima nel 1945, indagato dalla nipote regista nello svizzero-finni-

co Als die Sonne vom Himmel fiel, e una bella quarantenne che combatte contro la sua famiglia per essere se stessa, cambiando sesso, in Mów mi Marianna. Hanno nascosto troppo a lungo qualcosa di enorme, entrambi. E anche quando le comunità si allargano come in My Name is Gary (dove vediamo sopravvivere una città fantasma) o in The Ground We Won (dove la campagna neozelandese diventa il ruvido spogliatoio di una squadra di rugby perdente e pugnace), quel senso di vicinanza non ti lascia. Non sei uno sguardo terzo, ma partecipe. Il privato è pubblico, il privato è politico. “Non a caso andiamo a Lampedusa e Gary, in cui la questione razziale, ora centrale nel mondo, esplode da anni in tutte le sue contraddizioni”. Raccontare se stessi, per raccontare tutto. boris sollazzo

K2. Touching the Sky

Brothers

Als die Sonne vom Himmel fiel

Mów mi Marianna

My Name is Gary Teatro Kursaal 11| 8 | 2015 – 11.00

Lampedusa in Winter Teatro Kursaal 12 | 8 | 2015 – 11.00

pressbooks.ch 21

PardoLive  10 | 8 | 2015

Fuori concorso, Contre-pouvoirs, La Sala, 11 | 8 | 2015 – 16.15

Prima pagina Algeria All’inizio c’è la notte. E la voce del presidente, l’anziano Bouteflika, che nasconde la sua immagine di uomo in sedia a rotella dietro una campagna dalle tinte forti. Sullo sfondo, Algeri appare una città in transizione verso una modernità fatta di palazzi e nuove infrastrutture. Già la prima inquadratura, divisa tra immagine e parola, informa di un film che si china a confrontare le due facce della stessa medaglia.

Malek Bensmaïl ci ha abituato a ritratti complessi e per nulla compromessi sul suo paese. Qui sceglie di posizionarsi nella sede di un giornale, “El Watan”, e da lì testimoniare come la discussione a più voci interna alla redazione del quotidiano possa riflettere un paese in preda a un cambiamento. Scandito del percorso che precede le elezioni presidenziali, Contre-pouvoirs è un film che sceglie di stare dentro

e fuori il giornale, nelle sue stanze dove si decidono titoli e si commissionano vignette, e per le strade, dove la gente comune esprime il proprio dissenso verso una politica considerata perduta. Il giornale, dunque, come filtro per leggere la realtà, lasciando in fuoricampo l’esplosione delle news fai dai te, che non interpretano il reale ma lo manipolano. carlo chatrian

Signs of Life, Deux Rémi, deux, PalaVideo, 11 | 8 | 2015 – 21.00

One Rémi too Many Rémi is an ordinary guy. As harmless and discrete as a wandering cat. His very normalcy, however, is what a writer would find of particular interest. How tempting indeed, to disturb his daily routine with an element of chaos. For example, a perfect double, appearing out of nowhere. The resulting variations of imbroglios and confrontations are infinite. Pierre Léon returns to Locarno with an original adaptation of Dostoevsky’s The Double, rich with joyous twists and turns PardoLive  10 | 8 | 2015

that unfold at a swift rhythm and exult in vibrant contrasts of light and color. Léon’s intimate knowledge of the Russian master allows him to make many a judicious choice here. Primarily, he detaches himself from the gloom usually relied upon by authors less imaginative than the duo he forms with co-writer Renaud Legrand. Cheering up the Doppelgänger scenario, they give Rémi’s adventures a freer emotional balance and grant their characters more credit. The female lead thumbs her nose at temptations

to make her the mere object of seductive manipulations, improvising instead a very Doinelian investigation. The double himself is more intriguing than spooky and Pascal Cervo’s great dual performance titillates the viewer’s curiosity more even than their loyalty. Trust characters to reveal their full potential for fantasy and they won’t disappoint. aurélie godet

Fuori concorso, Topophilia, PalaVideo, 11 | 8 | 2015 – 16.15

Chasing the Pipeline Few moving-image artists can claim to have developed and practiced their own recognizable genre, but in the three feature-length pieces he has made since 2010 – Psychohydrography (2010), Tectonics (Special Mention, Concorso Cineasti del presente, 2012), and now Topophilia (2015) – Peter Bo Rappmund has done just that. His work realigns the way we look at linear geographical landmarks, (the Los Angeles River, the Mexico-U.S. border) and his

aesthetic has been consistent: a series of photographs shot with an intervalometer, which, when edited together, resemble stunning time-lapse photography, always accompanied by on-location field recordings. Topophilia (from the Greek for “love of place”) is a portrait of 800-mile-long Trans-Alaska Pipeline, which, as opposed to most of the buried pipes transporting oil through the continental United States, runs above ground for more than half of

its distance; it reconfigures the landscape that surrounds it, and vice versa. Over four years, Rappmund traveled from north to south, photographing every mile of the pipeline – amassing tens of thousands of pictures – and presents the linear structure as a continuous building that allows for an energized meditation on the relationship between industry and nature. mark peranson

PardoLive  10 | 8 | 2015

Eat different. Mediterranean Cuisine, Japanese Restaurant, Berber Tent, Lounge Bar, panoramic terrace, wide wine selection, Kid’s Corner and a keen eye for details. BLU Restaurant & Lounge Via G. Respini 9 +41 (0)91 759 00 90 www.blu-locarno.ch info@blu-locarno.ch

Concorso internazionale

Heimatland

Michael Krummenacher, Jan Gassmann, Lisa Blatter Gregor Frei, Benny Jaberg, carmen Jaquier, Jonas Meier, Tobias Nölle, Lionel Rupp, Mike Scheiwiller Fiction, 2015, 99 min, Switzerland

Tuesday, 09:00, FEVI

Panorama Suisse

Wintergast

Andy Herzog, Matthias Günter Fiction, 2015, 82 min. Switzerland

Tuesday, 11:00, FEVI

Swiss Highlights in Locarno on Tuesday, August 11 R E N D E z-VO U S D U c I N É M A S U I S S E Special event In collaboration with

Rendez-vous du cinéma suisse International film critics Peter Debruge [ Variety ], Boyd Van Hoeij [ The Hollywood Reporter ] and Anne Thompson [ Indiewire ] discuss Swiss films HEIMATLAND

[ Concorso internazionale ]

LA VANITÉ

[ Piazza Grande ]

THE DAY THE SUN FELL [ Semaine de la Critique ]

ABOVE AND BELOW [ Panorama Suisse ]

Tuesday, August 11 14:30–16:00 Spazio RSI [ Magnolia ]

PardoLive  10 | 8 | 2015

www.swissfilms.ch

Beyond the Festival

L’origine di un’emozione Che cosa distingue la Settima arte, il cinema, dalle altre sei? Per farlo, per “mostrarlo”, è necessario passare attraverso un sistema di lenti – siano esse di una cinepresa o di un proiettore – che a nulla servirebbe se non fosse alimentato dalla corrente elettrica. Le arti scaturiscono dalle emozioni umane, ma quando si parla di medium è la tecnologia a entrare in campo. La cabina di proiezione di Piazza Grande – un cubo color nero che avrete visto in decine di foto, se non sui giornali perlomeno sui media sociali – è una delle tante infrastrutture del Festival del film Locarno alimentate dall’energia elettrica garantita dall’Azienda Elettrica Ticinese (AET). Una collaborazione instaurata nel 2002 che ha portato l’azienda a divenire uno degli sponsor principali della kermesse – di nome e di fatto.

Lo slogan scelto per celebrare questa unione nel corso della 68esima edizione è inoltre uno dei più azzeccati, nel marasma di locandine, manifesti e cartelloni pubblicitari che affollano le strade della Città Vecchia e gli spazi circostanti i luoghi di proiezione. “Insieme, l’energia diventa emozione”: un processo di trasformazione che genera applausi, sospiri, grida di spavento. In attesa di quella persona, perché una c’è sempre, che a metà del film si volta verso la finestrella di proiezione e si chiede da dove arriva tutto questo. Fateci caso: di solito è un bambino. Il perché, appare evidente. mattia bertoldi

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La regista Karolina Bielawska.

La cineasta Lea Glob

Loïc Corbery, attore di Dom Juan Il cineasta Georges Schwizgebel

PardoLive  10 | 8 | 2015

I registi di Heimatland.

Il Pardo dâ&#x20AC;&#x2122;onore Swisscom Michael Cimino.

La regista Natalie Beder .

Il regista Philippe Falardeau. e i suoi attori Irdens Exantus e Patrick Huard.

Diego Balanta, attore di Siembra

Lâ&#x20AC;&#x2122;attrice Giorgia WĂźrth. e la regista Caterina Mona.

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PardoLiveâ&#x20AC;Żâ&#x20AC;Ż10â&#x20AC;Ż|â&#x20AC;Ż8â&#x20AC;Ż|â&#x20AC;Ż2015

«Eine gute Geschichte bleibt spannend bis zum Schluss.» Sorg für dich.

Swiss Life unterstützt als offizielle Partnerin der Pardi di domani Schweizer Filmtalente und bietet umfassende Vorsorge für ein selbstbestimmtes, längeres Leben. www.swisslife.ch/sorgfuerdich

Beyond the Festival

Sport, Fun & Adventure Ascona-Locarno has become an important destination for practicing a wide range of sports. Its extraordinary nature, with hills, mountains and forests, is the “ideal stage” for marvellous walks, hikes and runs. Bike lovers can easily cycle along the shore of Lake Maggiore or choose among one of the more arduous itineraries climbing up into the valleys. In addition, rock climbing is another sport activity offered by the region. The Mediterranean climate of Lake Maggiore is also ideal for playing golf all year through on one of the fantastic golf courses of the region, as for instance the 18 hole courses Golf

Patriziale Ascona or the Golf Gerre Losone. Many people and sports groups are also attracted to the Centro Sportivo, the National Youth Sports Centre based in Tenero, a true sportsman’s paradise. For adrenaline seekers there are plenty of different sport adventures to experience: the 220 meter high dam of the Verzasca Valley – famous for being the highest one in Europe as well as for being the setting of the opening scene in the James Bond Goldeneye movie starring Pierce Brosnan – is a must for all those wanting an unforgettable experience in a wonderful setting. In fact, from the Ver-

zasca dam one can enjoy a beautiful view over Lake Maggiore. Canyoning and rafting are other great adventures to be found in the spectacular mountain rivers and waterfalls of the Ascona-Locarno region. As to complete the offer, parachuting and paragliding from Cardada-Cimetta are fun and exciting ways to enjoy the region’s beauty from a different perspective. info: www.ascona-locarno.com/outdoor +41 848 091 091

Beyond the Festival Beyond the Festival

The Cameron Diaz Connection Locarno, 17 years ago: There’s Something About Mary is screened in the Piazza Grande, showing the Festival audience a brilliant Cameron Diaz who earned her first Golden Globe nomination for the comedic role. Many things have changed since that edition of the Festival and the Californian actress has not only been nominated three other times (for Being John Malkovich in 2000, Vanilla Sky in 2002, and Gangs of New York one year later), but she has also revealed that her best acting in both comedies and dramas is always characterized by her natural energy and elegance. However, that movie which screened in the Piazza Grande is not the only connection between Cameron Diaz and the Canton of Ticino. In the last few years in fact, the actress has choose to wear Akris clothing – a Swiss company founded in 1922 by Alice

Kriemler-Schoch – for film premieres and photoshoots. This fashion company, which is currently run by the grandson of the founder Albert Kriemler and Peter Kriemler is the only Swiss couture house at present and has recently decided to move part of its activity to Mendrisio, employing about 200 people – a choice which reveals the importance of fashion not only for the Ticinese economy, but also for the fashion companies themselves which can find in Ticino the best conditions to develop their undertakings. Also, thanks to Ticino Moda, an association which gathers the main industries in the territory, the Canton of Ticino is happy to declare itself as a “Fashion Valley” where anything is possible: even dressing one of Hollyood’s most important stars. mattia bertoldi

Tirate fuori gli artigli

Le gigantografie dei volti pardati che riempiono i poster ufficiali del Festival del film Locarno - trovando spazio anche su cataloghi e programmi ufficiali - non sono prerogativa di un manipolo di testimonial provenienti da tutto il mondo. Grazie all’app multimediale di Locarno68 - sviluppata con il supporto di Swisscom - ogni visitatore può chiazzare il proprio volto di giallo e di nero e condividerlo coi propri amici. Basta lanciare la modalità Pardo-Selfie, inquadrarsi e scattare. La parola d’ordine è #IAMPARDO. Più che un hashtag, un modo di vivere. m. b.

PardoLive  10 | 8 | 2015

Insieme, l’energia diventa emozione.

Azienda Elettrica Ticinese Anche quest’anno, AET e il Festival del film Locarno uniscono la loro energia per illuminare la Piazza Grande d’emozione. Buona visione!

www.aet.ch Sponsor principale del Festival del film Locarno

The Last Tweet @lorenzobuccella

Shining Nachtmahr with Carolyn Genzkow #Locarno68

www.gettyimages.com/entertainment

mov(i)e

Editor Lorenzo Buccella Graphic design Dimitri Bianchini Aris Dotti 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 Fabrizio Maltese Vittorio Zunino Celotto – mov(i)e

Photographers Gabriele Putzu (TiPress) Fotofestival (Marco Abram, Massimo Pedrazzini, Samuel Golay, Sailas Vanetti)

by Vittorio Zunino Celotto

Advertising Raphaël Brunschwig Elisa Bazzi Luca Spinosa publicitas Print Salvioni Arti Grafiche

PardoLive  10 | 8 | 2015

Enjoying together Unique moments at the Festival del ﬁlm Locarno. ubs.com/festivaldelﬁlmlocarno