PardoLive 69° Festival del film Locarno
Wednesday · Mercoledì 10 | 8 | 2016
PardoLive Partner:
Carlo Chatrian • Artistic Director
Highlights Day 8 The pleasure of the narrative, in its purest form. The pleasure of surprising the viewer with colours, scripts, characters, forms. The pleasure of feeling emotions, between seduction and fear. The pleasure of entertaining, of holding together viewers and actors, united by the same way of looking, the one that still leaves the door open to wonder. Roger Corman (cover). The quintessence of American cinema.
Salt and sugar. Like good and evil, they are the essential components to a story. In Comboio de Sal e Açucar, the journey of a convoy through rebel lands plays on divided characters, like in a Western, and identifiable roles, while the real evil is a shadow fluttering at the edge of the frame.
The worlds seen in Godless, from Bulgaria, and 300 Miles, from Syria, no longer have a point of equilibrium. In the first, the story is led into a circle of hell through the catatonic expression of its lead character. The second tries to escape the hell of a war without references thanks to the words of some resisters.
«I am an invention of Oliveira, it’s useless to invent theory, there’s not much to say. His films are enough.» So said Leonor Silveira. But João Botelho attempts the impossible: writing a letter to the great Portuguese filmmaker, he asks the actress to once again be the muse in a story by the master.
With four highly regarded films behind her and a talent whose breadth has already been revealed, Angeliki Papoulia is one of the actresses of the moment. Two years on since the provocative A Blast, she’s now back in Locarno as a jury member for the Concorso Cineasti del presente. She and the other jury members will have the task of identifying the finds of #Locarno69.
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PardoLive 10 | 8 | 2016
Piazza Grande, Comboio de Sal e Açucar, 10 | 8 | 2016 – 21.30
Il cavallo di ferro lorenzo esposito
Un orologio che non segna più l’ora. La cinepresa scopre en plongée la banchina di una stazione sperduta. Un nutrito gruppo di persone, soprattutto donne e bambini, vi sosta silenzioso e in attesa. Alcuni operai, guardati a vista da un ingente reparto militare, lavorano a fortificare un treno in partenza. Comboio de Sal e Açucar, il nuovo film di Licínio Azevedo, tratto dal suo romanzo omonimo, inizia come un western di Sergio Leone. Ma siamo nell’epico West americano? No. Mozambico, 1989. Il Paese è stremato da una guerra civile lunga dieci anni. Manca tutto ormai, anche le materie prime. Alcuni convogli tentano un disperato passaggio nel vicino Malawi per scambiare sale con zucchero. È il modo in cui le donne mozambicane cercano coraggiosamente di sostenere le proprie famiglie. Sì, è un western, ma un western africano. Siamo su un treno di amore e guerra in viaggio verso l’inferno o il paradiso, dove le donne si devono difendere dalla rabbia dei soldati, anche se alcune se ne innamorano e danno alla luce i loro bambini sotto i paesaggi mozzafiato dell’Africa lontana. La strada da percorrere è lunga e pericolosa, oltre settecento chilometri che odorano di sangue e di morte, interrotti dai continui sabotaggi: assalti di milizie irregolari agli ordini dei signori della guerra, attacchi suicidi di truppe senza volto. Potrebbe essere un film di John Carpenter: Ghosts of Mozambique. Ma l’intelligenza e la bravura di Azevedo sta nel non esacerbare i toni, nel non trasformare l’impresa spettacolare in un inutile grand guignol. I picchi di violenza, le morti più dolorose, i duelli stessi è come se anelassero una via d’uscita nel fuori campo, trattenuti non perché anti-spettacolari, ma per raccontare la malinconica dignità di un popolo defraudato dei propri sogni, delle proprie speranze.
PardoLive 10 | 8 | 2016
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Sapevo che il mio film sarebbe stato un western già mentre scrivevo il libro da cui poi è stato tratto. Mi sono ispirato ai grandi classici americani, soprattutto a un grande regista come George Stevens licínio azevedo
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PardoLive 10 | 8 | 2016
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
Focus on Licínio Azevedo
A Fistful of Salt adriano ercolani
Let’s start from the very beginning. When did the idea for Comboio de Sal e Açucar start? At the end of the war I did a lot of interviews in Mozambique, I got so much good material that I decided to write a novel. Even though all the characters are fictional, they are based on real people. The book is a mix between realism and magic atmospheres. And when did you start feeling this was a Western? When I was writing the novel. I got inspired by all the classic Westerns, especially the ones by George Stevens. You usually work with non-professional actors, but for this movie you also used professionals… Sure. Melanie Rafael is a 22-years-old talented actress living in Portugal. She started acting at 14. The funny thing is she stars in a TV series in which she’s a doctor, and in my movie she’s a nurse, so in some way I downgraded her! Matamba Joaquim, Mário Mabjaia and some others are professionals too. Playing soldiers they had to do a lot of military training, while the guys playing the train machinists had to learn how to drive a train… In Comboio de Sal e Açucar there’s also a magical side, one character is very close to be a sorcerer… During the war there was a special force composed of 50,000 soldiers, fighting almost naked, without weapons. I got inspired by them to create that character. Yes, we can call him a sorcerer, he can talk with birds and stuff like that. Animism is a very important thing in Mozambique, even today. It belongs to everyday life, not only among army men or soldiers. Do you think this movie will be able to help African movie production? In Mozambique the industry is still weak, we produce a series every year and a feature film every 5/6 years. But we have a lot of talented people, maybe in South Africa where a lot more movies are made every year they could find a way to express it.
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Focus on Roger Corman
Pop Corman massimo benvegnú
Mr Corman, you were the youngest director to ever receive the honour of a retrospective at the Cinémathèque française. And at the same time you are known for having discovered an almost infinite amount of talents. Was it difficult to alternate between being a director and a producer?
One of the most successful enterprises of your career have been the numerous adaptation of Edgar Allan Poe, and here in Locarno we will screen The Masque of the Red Death (1964) which is a perfect example of your work as a director. What drawn you to Poe, and did you expect that canon to be so relevant fifty years later?
There are some difficulties combining the two roles because of the clashes between the jobs of producer and director. When you are the director, you have to focus all of your energy into the actual work of directing. The producer’s responsibilities are quite different, making it difficult to perform both jobs simultaneously. However, these challenges are offset by the fact that as a producer/director I can function more clearly as an auteur. Ultimately, I can make the decisions myself and shape the final product, and I enjoy that freedom.
I was drawn to Poe through my interest in the unconscious mind. I’ve long been interested in Freud and psychology. Poe explored these ideas long before Freud, writing about repression, desire, and other aspects of the human psyche. As far as these films being relevant today, I think that’s proof of the power of Poe’s intense psychological themes. Horror is a product of the unconscious mind, and that’s as true now as it was 50 years ago.
The first big change is that producing films is easier today than it’s ever been because of the advancements in technology. Lightweight equipment and not having to shoot on film have opened up filmmaking in a major way. The second change is that theatrical distribution is much harder for low-budget films. When I started my career, any film that was decent would get a theatrical release, but now it’s harder to get low-budget films in front of audiences. While the business has changed in many ways, the importance of creativity and storytelling always remains the same. Your wife, Julie, is an acclaimed producer. Who runs the show at home? And did you ever discuss with her about the role of women in Cinema, before and after the camera? Our children run the show at home. My wife and I have discussed the role of women in cinema, and Julie is very active in promoting women in film. I, myself, have helped start the careers of a number of women as producers, writers, directors, actresses and in technical areas such as camera, editing and sound. On the other hand, Julie still blames me for the treatment of women in 19th century Egypt!
PardoLive 10 | 8 | 2016
The award Locarno will give you is related to the Locarno Filmmakers Academy. What advice would you give today to a first-time filmmaker? If possible, go to film school. When I started in this business, there were very few film schools, but then a generation of filmmakers who went to film school began to revolutionize the industry. If you can go, that’s still the best option. If you can’t go to film school, try to get a job working on an independent film and use the job as a film school – look around and see what everybody is doing, ask questions, and learn as much as you can. If neither of those options is possible for you, simply watch films. Watch the same film several times to see how it was made. Orson Welles claimed to have watched Stagecoach over 40 times before making Citizen Kane. Read literature on films. And then just start shooting to get an inexpensive film. It’s easier than ever before to get hands-on experience because of the changes in technology. Films can be shot on iPhones these days. © Alessio Pizzicannella
Your career spans over seven decades. What have been the biggest changes in filmmaking, and what has remained the same?
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Il fatto che i miei film vengano considerati ancora oggi rilevanti è la prova della forza psicologica dei temi trattati da Poe: lui ha esplorato il subconscio molto prima di Freud, scrivendo di desiderio e repressione. L’orrore è un prodotto della mente inconscia, è una verità oggi come lo era 50 anni fa
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PardoLive 10 | 8 | 2016
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Grandi eventi meritano di essere realizzati
Concorso internazionale, Godless, Auditorium FEVI, 11 | 8 | 2016 – 14.00
God Forgives, History Doesn’t sergio fant
Bulgaria, oggi. Là dove gli abusi e l'umiliazione sono gli unici mezzi per sopravvivere, fare la cosa giusta sembra essere possibile solo quando tutto è perso ralitza petrova
Even if we could see the modern glass buildings in the distance, a sign that almost 30 years have passed since capitalism arrived in Bulgaria, the fog reveals only the closest cement houses, and a shabby, mournful urban landscape, probably unchanged since the 1960s. This is one of the rare lacerating wide shots in a film otherwise constructed on a human scale, starting with the 4:3 format, ideal for concentrating on faces and their low gazes, particular the dark expression of the remarkable lead, Irena Ivanova, and on the connection of the human figure with space and very close relationships, unavoidably marked by violence and exploitation. Many films that tackle the hangover of the Eastern European regimes either choose a period setting for a still-short leap back in time, or narrate the misadventures brought about by a rapid up-
dating to new values and ways of life. Godless instead gives the rare and powerful impression of managing to depict the painful legacy in the life of people who have experienced the transition, in every generation: from one who still remembers the German SS with nostalgia to another abandoned as a child in an escape across the Iron Curtain. Whether these characters are missing God, as the title suggests, or democracy, rights and morality, the world that has been left for them to live in is all too similar to their souls: grey and merciless, loaded with looming pain, but something they have become accustomed to enduring. The only attempt to break the cycle, turning to something that could resemble love, or even just a desperate attachment or need for pleasure, is doomed: God might be able to forgive, but history cannot.
Spensierati all’evento e prevendita alla stazione FFS. RA_392_Typo-Inserat_Tessin_FiFL_186x17_i.indd 1
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PardoLive 10 | 8 | 2016
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Concorso Cineasti del presente, Il nido, La Sala, 11 | 8 | 2016 – 11.00
Mal di paese lorenzo esposito
The sense of belonging to a clan, a community, a family is a primary need. If this doesn't happen, our identity can be broken. Focusing on that, I created Cora klaudia reynicke
Il piccolo paese di Bucco si prepara alle celebrazioni della Vergine che porta il suo nome, evento religioso che accoglie ogni anno turisti e pellegrini. Cora, interpretata dalla promettente Ondina Quadri, è una giovane ragazza tornata per l’occasione nei luoghi d’infanzia, e aiuta nei preparativi suo padre, che è anche il sindaco del paese. Le visite guidate nei boschi hanno lo strano sapore di quei posti dove la forza della natura non sembra intaccata dal misticismo che le si vorrebbe accreditare. Così già a questo punto, con pochi tocchi, Il nido di Klaudia Reynicke registra delle crepe nell’apparente tranquillità che avvolge la piccola comunità di Bucco. Saverio per esempio, anche lui appena rientrato in paese, non sembra credere al rigore religioso delle celebrazioni, né all’armonica santificazione di questi
Prix du Public UBS 13
boschi. Lentamente il film scava nel passato, si tinge di toni cupi, diffonde sospetti. Cora è l’unica a stabilire un contatto con Saverio e a seguirlo nella sua ricerca della verità. La regia accompagna senza fronzoli il progressivo sgretolarsi dei rapporti: in realtà il paese intero nasconde un grave segreto, e piuttosto è attraverso gli occhi di Cora che viene a galla la verità. Tutto il film sembra una sua soggettiva obliqua, quasi non dichiarata, che si interrompe solo quando la ragazza sarà finalmente in grado di mettere a fuoco e di portare a termine il suo personale viaggio interiore e di ribellione. Cora darà le spalle a Bucco, abbandonerà suo padre, anche lui colpevole, dirigendosi forse verso l’età adulta, mentre dietro di lei il paese brucia fra colpa e rimorso.
Vote and win www.pardo.ch/ubs
Yesterday’s prize draw winner: Dalia Gelfer
PardoLive 10 | 8 | 2016
On the road to Bikersland Lago Maggiore
ascona-locarno.com
Discover the most beautiful corners in the sad dle of your motorbik e.
Motorbike events, pa noramic tours and mo re than 30 motorcycle friendly accommod ati on s are looking for ward to welcoming you. More info: ascona-locarno.com /bikersland
Bollywood Calls, Piazza Grande Responds «The first memory I have of Locarno is the sheer love that the Festival audience made us feel for us us and our film. I know that even today many still remember it as a historical moment. In the Piazza Grande there were people dancing, clapping, smiling, and some even trying to have a dialog with us on the screen. , It was undoubtedly an event in itself, due to the warmth of the audience.» An account to savor, from an actual Bollywood star, the Indian actor Aamir Kahn. He played the lead in the film by Ashutosh Gowariker, Lagaan: Once Upon a Time in India, which in 2002 not only won the Prix du Public UBS but caused an unforgettable sensation. When the end credits scrolled down the big screen, the 8,000 people in the Piazza left, fizzy with enthusiasm, imitating the dance moves they had seen in the film or trying to sing the songs which had enraptured them
for almost three hours. «When a feeling ignites between a film and its audience, something magical happens. Even if they were not used to seeing films like that, even if they knew nothing about cricket, still, at the end, they were passionately involved with the whole story». All the more so, when the epic story told has been magnified by the extraordinary size of the screen. «When I saw that immense screen for the first time, I immediately thought that it was a wonderful place to show the film. I was, however, slightly worried about the sound output. Then, just one minute into the film, all my worries disappeared.»The wonder of the experience wasn’t only visual, it was also aural. «The music and the dialogue came across with an awesome quality. And from that moment on, I told myself: this is a place I want to come back to.»
Festival del film Locarno
Prix du Public UBS Vote and win: choose your favourite film in the Piazza Grande and win an iPad Air. www.pardo.ch/ubs
Lagaan: Once Upon a Time in India Winner of the Prix du Public UBS in 2001 Aamir Khan, actor and producer
Fuori concorso, O Cinema, Manoel de Oliveira e Eu, La Sala, 11 | 8 | 2016 – 16.15
Querido Manoel… lorenzo esposito Manoel de Oliveira, probably the most anomalous and visionary cineaste in the history of cinema, is a case impossible to contain in a single exploration; even worse is making the critic’s mistake of simply placing him in the pantheon of classics. João Botelho starts precisely from here: the problem of Oliveira is that in almost a century of cinema he has been the Classic, not once, but five, six, seven, ten times. Each of his films bears the indelible mark of an undying invention (a movement, a detail, a light: all skilfully isolated and examined by Botelho). From the title – O Cinema, Manoel de Oliveira e Eu (Cinema, Manoel de Oliveira and Me) – Botelho makes his
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choice: Oliveira is cinema, in the middle between the image and us. A photo from 1980 shows Oliveira dressed as a priest with a protective arm around the shoulders of the young Botelho on the set of Conversa Acabada, in which the young filmmaker had cast the great master. From here, an intimate diary unfolds, made up of ideal gratitude and a meticulous study of the master’s images. Botelho keeps alive their memory and at the same time gives them a new clarity, up to the homage that concludes the film, a silent short that shows one of Oliveira’s unrealized ideas, Prostituição ou a Mulher que passa, which Botelho entitles A Rapariga das Luvas.
PardoLive 10 | 8 | 2016
Beyond the Festival
Ticinomoda, A Necklace For All Our Pearls mattia bertoldi Among the more than 40 societies which are associated to Ticinomoda (www.ticinomoda.ch), there are small pearls which demonstrate how vital and active is fashion business in our Canton. Companies which often bear the name of the families who founded them, because the story of a success is always a story full of passion and love for this economic sector. Let’s take for example the Beca Ferretti, founded in 1877 in Bioggio, near Lugano. It has been specialized in manufacture of uniform caps for policemen, soldiers, music band members and agents of the security services, but now it masters also the art of needlework. Carristar in Arzo (near Mendrisio, a few kilometres from the Italian borders) is instead dedicated to handmade shirts. It was founded in 1939 by Domenico Carri, a successful entrepreneur from Ticino who wanted to pro-
duce superior quality shirts using only the best Swiss and British fabrics. Almost 70 years after the industry is still in the hands of the Carri family and the symbol of Carristar logo – a pointer called “Laos” – reflects ideas such as calmness, work ethic and fidelity. La Facoma is working on suits, shirts and uniforms in Massagno since 1948, while Cruna is specialized on work clothes in Chiasso. And also Longhi’s story goes back to 1960, when Ermanno and Annuncita founded the company in the same city. Innovation and passion, tradition and modernity: each one of their stories is made of these elements, building a bridge between what we were and what we are going to be. The same goal of Ticinomoda, the necklace which collects all of them.
Panorama Suisse
Köpek
Esen Isik Fcition, 2015, 98 min. Switzerland
Thursday, 11:00, FEVI
Swiss Highlights in Locarno on Thursday, August 11
Concorso internazionale
The Idea Of A Lake Milagros Mumenthaler Fiction, 2016, 82 min. Switzerland / Argentina
Thursday, 11:00, Palavideo
Concorse cineasti del presente
The Nest
Klaudia Reynicke Fiction, 2016, 78 min. Switzerland / Italy
Thursday, 11:00, La Sala
www.swissfilms.ch
Signs of Life, 300 Miles, PalaVideo, 11 | 8 | 2016 – 21.00
Fantasmi e macerie lorenzo esposito Non era facile aspettarsi l’opera prima forse più radicale sul conflitto che affligge la Siria dal 2011. 300 Miles di Orwa Al Mokdad (già presente a Locarno con il corto d’esordio nei Pardi di domani 2014) è insieme un film militante, un documentario di guerra, un diario di famiglia in forma di poesia. In un colpo solo coglie il punto politico e umano di maggiore divisione, l’accecamento personale e collettivo, l’ottusità fredda della guerra, un barlume di speranza. Tutto girato on the ground fra un’Aleppo spettrale e quel che resta della cittadina di Daraa, misura la distanza fra tre storie parallele e fra queste e il mondo. Un membro dell’esercito ribelle ridotto insieme a un pugno
Proudly presents the latest arrivals swiss.com
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Barbara Sarafian, attrice Spencer Bogaert, attore Cristophe Van Rompaey, regista Seong-Hun Kim, regista
di compagni a difendere un fazzoletto di terra senza più un obiettivo preciso (né politico né militare), stretto tra estremismi islamici, il regime e mercenari di ogni tipo. Un gruppo di attivisti pacifici della prima ora che si aggirano come fantasmi fra le macerie. Una bambina (la nipote del regista) che spedisce allo zio delle video-lettere da Daraa, dove vive isolata da tutto. E poi c’è la soggettiva del filmmaker, che filma sotto le pallottole, interroga e discute con i suoi personaggi, trema e prende fiato insieme al ritmo sanguinoso della guerra. Alla fine restano solo due bambini che parlano al tramonto e una carrellata su una terra troppo bella e troppe volte tradita.
Katsuya Tomita, regista Ken Loach, regista Howard Shore, compositore Ahmad Kiarostami
Ondina Quadri, attrice Catherine Corman, regista Subenja Pongkorn, attore Dave Johns, attore Made of Switzerland.
PardoLive 10 | 8 | 2016
Panorama Suisse
Undici e lode mattia bertoldi
La sezione indipendente Panorama Suisse ci porta a spasso per la Svizzera e oltre, facendoci conoscere le migliori opere prodotte nell’ultimo anno
PardoLive 10 | 8 | 2016
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Il voto del Festival del film Locarno alla produzione cinematografica elvetica dell’ultimo anno? Dieci, anzi no: undici. Con lode. Grazie alla sezione Panorama Suisse anche gli spettatori locarnesi possono godere delle migliori opere svizzere, accuratamente selezionate da una commissione composta da rappresentanti delle Giornate di Soletta, dall’Accademia del cinema svizzero e di SWISS FILMS. Una sezione indipendente composta da undici titoli (cinque lungometraggi, altrettanti documentari e un cortometraggio d’animazione) attraverso la quale (ri)scoprire la Settima arte di casa nostra. Le sfide a cui siamo chiamati quotidianamente dalle nostre famiglie rappresentano uno dei temi più battuti: in Aloys, di Tobias Nölle, un uomo affronta la vita attraverso il confortante filtro di una videocamera, un equilibrio sconvolto dalla morte del padre che lo obbligherà a bucare l’obiettivo. Un papà, la sua prole e una videocamera sono anche al centro di Das Leben drehen – Wie mein Vater versuchte, das Glück festzuhalten, in cui la regista Eva Vitija racconta di come ha ricevuto dal genitore (il cineasta Joschy Scheidegger) un lungometraggio dedicato alla sua crescita. Un’eredità per lei sconvolgente, con la quale verrà a patti solo dopo la morte del padre. E mentre il padre di Nichts passiert (scritto e diretto da Micha Lewinsky) deve gestire moglie, figlia e la figlia del suo capo in una vacanza tra le Alpi svizzere, Bei Wind und Wetter (il corto d’animazione firmato da Remo Scherrer) vede un bambino di otto anni in lotta con l’alcolismo della madre. Coralità, conflitto e collaborazione sono ritrovabili anche in Amateur Teens, nel quale Niklaus Hilber ci trasporta in una scuola media di Zurigo per conoscere un gruppo di adolescenti alla ricerca della verità, tra quotidianità e tragedia. La morte di un immigrato calabrese in Svizzera lancia invece Calabria di PierreFrançois Sauter, costruito sull’incontro-scontro tra due impiegati della società di pompe funebri che si occupa del trasporto della salma verso il sud Italia: Jovan, di origini serbe, che crede nella vita oltre la morte e José, un moderno San Tommaso. Sfora i confini nazionali anche Köpek, diretto da Esen Isik, ambientato a Istanbul e della serie “tre film in uno”: c’è Cemo, che vende fazzoletti per strada e si innamora a solo dieci anni; Hayat, sposa schiava delle gelosie del marito ed Ebru, prostituta transessuale che vive i suoi sentimenti tra luci e ombre. Il viaggio prosegue verso Teheran grazie ai DJ di Raving Iran (la regia è di Susanne Regina Meures) che negli scorsi giorni hanno animato anche il palco de laRotonda; e il nord del Portogallo, in cui Silva – un mariachi europeo dal folto baffo e l’avvincente storia – riempie lo schermo di Rio Corgo (di Maya Kosa e Sérgio da Costa). Altrettanto interessante il profilo di Uli Sigg, di origini svizzere ma grande collezionista ed esperto d’arte contemporanea cinese (The Chinese Lives of Uli Sigg, di Michael Schindhelm), mentre il mondo dell’arte ingloba anche il pericoloso vortice in cui un furto ai danni di una casa d’aste londinese getta un giovane studente di nome Matt; il film è Late Shift, il regista Tobias Weber. Come andrà a finire? A deciderlo è stato il pubblico martedì, grazie all’applicazione interattiva CtrlMovie con la quale ha guidato il protagonista nel corso del film, decidendone le sorti.
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Histoire(s) du cinéma, Versus: The Life and Films of Ken Loach, PalaVideo, 11 | 8 | 2016 – 16.15
I, Ken Loach boris sollazzo Ken Loach lo studente. Ken, il giovane idealista. Ken, il regista televisivo. Ken, il cineritrattista della classe proletaria che prova sempre ad andare in paradiso, ma alla fine, se le va bene, rimane in purgatorio, magari ridendo amaro. Il più grande pregio del docubiopic Versus, The Life and Films of Ken Loach di Louise Osmond – una che da giornalista e da regista condivide l’impegno e l’impeto morale e civile del cineasta – è proprio quello di dirci, fin dall’inizio, chi è Ken Loach. Uno che si mette in pensione nel 2014, dopo mezzo secolo di immagini in movimento e di movimenti in immagini, per poi tornare sui suoi passi perché i Tories sono tornati al potere. E lui deve fare qualcosa. Ricominciare. Vincere una Palma d’Oro,
ad esempio, o tornare al Festival del film Locarno con il suo film forse più impietoso sul capitalismo cannibalesco di questa modernità decadente, I, Daniel Blake. E questo passaggio di carriera e di vita risulta naturale ed evidente in tutta la sua potenza solo se vedi i quasi 90 minuti che Louise dedica a Ken, con lo stile BBC fatto di un montaggio grammaticalmente perfetto, una musica onnipresente, una fotografia classica. E quel Loach che timidamente si fa riprendere seduto, a disagio perché lui è abituato a guardare il mondo, non a essere osservato. Ken, il rosso. Per una volta non solo politicamente, ma anche per l’emozione di chi non è abituato a raccontarsi, ma a raccontare.
Histoire(s) du cinéma, Verfluchte Liebe deutscher Film, PalaVideo, 11 | 8 | 2016 – 14.00
Cursed Love massimo benvengnú Seen in premiere on the Berlinale screens this year, the documentary Verfluchte Liebe deutscher Film by directors Dominik Graf and Johannes Sievert is a love essay for the German genre films, packed with visuals, anecdotes, nostalgia and passion. Since we are talking of Germany and exploitation, we could not miss people like Roland Klick, Klaus Lemke, Rainer Knepperges, Mario Adorf and Atze Brauner, but also some forgotten directors such as Roger Fritz, Wolfgang Büld and Eckhardt Schmidt, and they are all in the
documentary talking about the phenomenon, unfortunately limited in time, of the success of popular German cinema, which started after the war until the Sixties, when the producers’ taste and those of the audience were aligned, creating a zenith difficult to achieve and repeat, and rightly celebrated also by the Locarno retrospective this year. A second part of Verfluchte Liebe deutscher Film is now in development, to continue writing the supposed “cursed” love letter between this Cinema and its audience.
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PardoLive 10 | 8 | 2016
Focus on Angeliki Papoulia
The Dreamlife of Angeliki mattia bertoldi
PardoLive 10 | 8 | 2016
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Angeliki Papoulia, two years after A Blast’s screening in Locarno (taking part in the Concorso internazionale), you are back as a member of the Concorso Cineasti del presente jury. How is it? A different experience. Two years ago we spent three days in Locarno and our schedule was full, since the movie was presented as a World Premiere. I do not remember much, there were so many events to attend! This year, I have much more time to enjoy the Festival and the city of Locarno. A beautiful city, I have to say. Do you think that every actor can be a good juror? Or is there a special attitude one should have? I think that everyone can be a good or a bad juror, it depends on many factors: sense for aestetics and visual intelligence, for example. But it is not something about the work you are doing and definitely not something about liking or not liking a movie. It is the way you think about movies, which defines you. What’s your way to judge a movie? Well, I do not like the verb “to judge”. I am here to try to understand directors’ vision of cinema. Their intentions, their way of thinking, if they are taking risks or not. I want to see how far a movie goes according to what it wanted to be, the director’s way to express something on a very personal way not following a pattern or copying something else. This is also why I am so happy to watch the movies enlisted for the Concorso Cineasti del presente, since they are experimental and are showing very different point of views on cinema. All those directors are really proposing something and I am fascinated to discover their vision, their personality, the universe they are starting to show in their first movies. Being a juror means also to discuss with the other members of the jury...
To me it is fundamental. My first criterium in my career has always been choosing interesting people to work with. If I feel I am connecting with a director’s way of thinking, if I am sharing his/her same vision, I also know we can accomplish our objectives together. Shooting a touching movie, discovering something... It always has to do with people. Festival del film Locarno is screening The Lobster, your third collaboration with the director Yorgos Lanthimos. I was glad to be asked to take part in his first English-speaking feature. Working several times with the same director permits you to witness the expansion of his vision, and The Lobster made it much bigger, that’s for sure. I have to admit that on the set, me and Yorgos do not talk a lot but I have always tried my best to understand his intentions, analysing my character, her psychology, all the smallest details. He does not give any precise indications, however: he prefers seeing you act while you are searching for something. It is more about instinct, with him. What do you remember of that set? It was... strange! We all lived together in the same hotel in which the movie is set, in the middle of nowhere, and there was no place to go outside that building. Then we could have been shooting in a hallway, and the very next day we were walking and chatting in that same hallway during our spare time. It was kind of absurd, mixing fiction with real life so much. If you were to give a piece of advice, only one, to a young actress, what would it be? (she thinks about it) It is very personal, but I would tell her to work constantly on several levels and that everything is up to her. Her entire career, I mean. Improving or quitting does not really depend on external factors, but on internal ones. One has to work the way she wants to work, and does not have to stop.
© Sabine Cattaneo
Yes, but until now we have mostly agreed. It is really nice talking with Dario Argento and my other colleagues. We discuss, but we are also connected, in some way.
How important is establishing a connection with other people, in the cinema industry?
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PardoLive 10 | 8 | 2016
Ri-vedere Ri-scoprire I film delle giurie, The Lobster, Cinema Ex*Rex, 10 | 8 | 2016 – 21.00
Un futuro solo in coppia daniela persico Cosa succederebbe in un mondo in cui l’essere single è un tabù? Persa la moglie, il quarantenne David è costretto a seguire un “programma di accoppiamento” in un lussuoso albergo fuori città. Se entro quarantacinque giorni non troverà l’anima gemella, sarà trasformato in animale (sorte già toccata al fratello). Ma fuori dalle geometrie dell’edificio e dall’ipercontrollo sociale, c’è il bosco, uno spazio di apparente libertà dove i ribelli praticano l’arte dell’essere celibi. Al suo primo film oltre i confini greci, l’acclamato Yorgos Lanthimos dimostra di saper portare i suoi immaginari distopici oltre la lettura del presente di crisi e dissoluzione del proprio paese. In The Lobster reinventa Colin Farrell, trasformandolo in bolso uomo comune che inaspettatamente sa non arrendersi, e riesce a integrare le sue attrici feticcio Ariane Labed e Angeliki Papoulia (in giuria nel Concorso Cineasti del presente) insieme a John C. Reilly, Rachel Weisz e Léa Seydoux.
Histoire(s) du cinéma, La montaña sagrada, La Sala, 11 | 8 | 2016 – 21.00
Psichedelia in ascesa alessandro de simoni Simbolismo, ascetismo, lisergismo, filosofismo. Sarebbe interessante continuare questo gioco dei suffissi che probabilmente piacerebbe molto ad Alejandro Jodorowksy (Pardo d'onore Swisscom 2016), uomo che della vita e del suo pubblico spesso gioco si è fatto. Come con La montaña sagrada, senza nulla svelare a chi non l’ha visto, opera iniziatica, tra Dante e gli I-Ching, ispirato dal trattato spirituale La Salita del Monte Carmelo, scritto da San Giovanni della Croce. Un esperimento cinematografico figlio della psichedelia in cui Jodorowsky si getta anima e corpo, dirige, scrive, produce, interpreta, monta e scrive anche le musiche, si prepara privandosi del sonno per una settimana e assuefandosi all’uso di LSD come strumento per varcare la soglia delle porte della percezione. Riuscendoci, perchè La montagna sacra è un film che va oltre e trascende, cosa e perchè forse neanche lo si sa con precisione, ma poco importa. È un viaggio senza arrivo nè ritorno. Ma in fondo, non è il viaggio quello che conta?
PardoLive 10 | 8 | 2016
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Histoire(s) du cinéma, Hugo, Cinema Rialto 1, 11 | 8 | 2016 – 16.00
Le Voyage de Hugo max borg Paris, 1931. A young orphan, Hugo Cabret, lives at Gare de Montparnasse with his alcoholic uncle and spends his days maintaining the station’s clocks and trying to repair an automaton, the one keepsake he has left of the time spent with his late father. One day he befriends a girl his age, and learns a startling truth about the grouchy owner of the station’s toy store. Hugo is an adventure, an intimate epic about passion and creativity, not to mention a touching love letter to cinema as an art. Blessed with a superb cast, including Ben Kingsley as filmmaking pioneer Georges Méliès, Martin Scorsese imbues every single frame with youthful energy, crafting a tribute to a master of early cinema that is, oddly enough, even more moving when seen in 3D. The constant sense of wonder, a stark and beautiful counterpoint to the director’s better known, rawer instincts, is further amplified by the majestic and spectacular musical compositions of Howard Shore, this year’s Vision Award Nescens.
I film delle giurie, La calle de la amargura, La Sala, 11 | 8 | 2016 – 18.45
Arturo scatenato boris sollazzo Arturo Ripstein ha quella curiosità bulimica propria solo dei grandi autori, che azzannano la realtà per farla diventare cinema. Non il contrario, come spesso accade. Non il contrario che porta all’appiattimento di entrambe e ci offre solo imitazioni calligrafiche della vita. Due prostitute e due wrestler nani, un Messico marginale e un po’ assurdo, un Ripstein in gran forma che compone il suo Freaks tra momenti di grande verità e scene esteticamente potentissime – l’allenamento sul ring è un minuetto delizioso e doloroso –, tutto questo è La calle de la amargura. E’ un concerto di immagini e suoni, di costumi e di scenografia, il
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cast è un’orchestra in cui tutti sembrano suonare il proprio strumento in un assolo per ritrovarsi, improvvisamente, perfettamente coerenti con lo spartito complessivo. Eppure l’affresco ha diversi piani di visione e di scrittura – bravissima Paz Alicia Garciadiego –, tiene insieme melodramma, tragedia popolare e grottesco, con la forza di una visione artistica e politica unica. Ripstein rimane un innovatore, un ribelle e lo capisci qui, dove surfa sul politicamente scorretto senza paura, perché il torbido nelle sue mani diventa disperata eleganza. Come i movimenti di quei nani mascherati, come le immagini sordide di un inferno in bianco e nero.
PardoLive 10 | 8 | 2016
PARDO
LIFE
L'artista Albert Serra
Anocha Suwichakornpong, regista di Dao Khanong (By the.Time It Gets Dark)
Leonor Silveira, attrice di O Cinema, Manoel de Oliveira e Eu
Matamba Joaquim, attore di Comboio de Sal e Açucar
Yagira Yuya, attore di Destruction Babies
La giuria del Concorso internazionale
Tristan Aymon, regista di La Leçon
PardoLive 10 | 8 | 2016
Nele Wohlatz, regista di El futuro perfecto
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Tshering Dorji,. attore di Hema Hema: Sing Me a Song While I Wait.
Party di domani
L'attrice Britt Bakker e Stefanie Kolk, regista di Clan.
Melanie de Vales Rafael, attrice di Comboio de Sal e Açucar.
Atchara Suwan,. attrice di Dao Khanong (By the.Time It Gets Dark).
Julien Samani, regista di Jeunesse.
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Mariko Tetsuya,. regista di Destruction Babies.
PardoLive 10 | 8 | 2016
USI Università della Svizzera italiana
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Beyond the Festival
Verso nuovi mondi a laRotonda mattia bertoldi & boris sollazzo
Caro diario… Non potete non averlo incontrato. Lui è John Pardo, il festivaliero tipo, un'illustrazione che sul sito Pardo Live ha trovato una voce e soprattutto tanti accessori, rigorosamente pardati. Lui qui ci è arrivato in treno, ha un diario in cui segna appuntamenti e desideri, un havana con fascia maculata e la barba di due-tre giorni. Se lo incontrate anche voi, salutatecelo. Magari con la fidanzata Jane.
Immersione totale Per gli amanti delle nuove tecnologie, Festival Tous Ecrans (in collaborazione con Swisscom) dà a tutti la possibilità di immergersi nella realtà virtuale, accompagnati dalle immagini di registi del calibro di Spike Jonze, Chris Milk e Bruno Dumont. Dedicato a chi vuole vedere il mondo con occhi nuovi.
Focus on
Ecumenical Echoes According to Merriam-Webster dictionary, “ecumenical” means “involving people from different kinds of Christian churches”, but also “worldwide or general in extent, influence, or application”. A definition which perfectly fits on the Festival del film Locarno, hosting also this year a very welcomed institution like the Ecumenical Jury. Since 1973, it has awarded its prize (20,000 CHF) to film directors who have been able to sensitise the viewer to religious, people-related, and social values. «The role of the jury of the Christian Churches is becoming indespensable» Charles Martig, claims director of the Catholic Media Center and member of the Jury. «We are working for peace and mutual understanding of cultures and religions. There is also a strong trend to build interreligious juries worldwide on filmfestivals. We feel the need to open up for Muslim and Jewish people. Film festivals could then become important platforms of interreligious dialogue». Next to him, in the jury there are Martina Schmidt (reverend from
Montreux) and an international trio: Werner Schneider-Quindeau from Germany, Walter Chikwendu Ihejirika from Nigeria and Paul Block from New York (USA). «We have a very good understanding in the jury discussions. Different tastes and cultural codes – as our members come from several countries – demand an open exchange. There are films that split the jury, of course. Our first step is always to try to understand the story and the formal aspects before judging the quality». The award – provided by the Reformed Churches and the Catholic Church of Switzerland – is committed for the film’s distribution in Switzerland, helping the movie to be screened as more as possible, also after the Festival. Like a long echo, able to last for months and months. «Our collaboration with Festival del film Locarno is excellent» Martig concludes. «Even if the Concorso internazionale is pushing us into new horizons, we enjoy very much the artistic quality of the selection».
Additional sceenings are set aside:
Sono previste delle proiezioni supplementari:
L'amatore 11 | 8 | 2016 Kursaal 09.00 Zavtra more 11 | 8 | 2016 Rialto 2 09.00 The Challenge 11 | 8 | 2016 Rialto 1 14.00
Bezness as Usual 11 | 8 | 2016 Rialto 2 14.30 Mister Universo 11 | 8 | 2016 Rialto 2 16.30
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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PardoLive 10 | 8 | 2016
Which movie is it? A: My Left Foot I B: Rear Window I C: Misery 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.
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#HemaHema will cast a shadow #Locarno69
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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 (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
by Vittorio Zunino Celotto
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Š UBS 2016. All rights reserved.
Enjoying together Unique moments at the Festival del film Locarno.
t l momen ia c e p s a your njoy Did you e al del film? Share iv st ts for at the Fe win ticke d n a e c n experie g night. o the closin lmlocarn lfi e ld a iv /fest ubs.com