PardoLive 66° Festival del film Locarno
Tuesday · Martedì 13 | 8 | 2013
JeanStéphane Bron
Margaret Ménégoz Thomas Imbach Kiyoshi Kurosawa Zhengfan Yang Deroo and Pistone
Pardo Live Partner:
Microcosmos | Winner of the Prix du Public UBS in 1995 | Marie Perennou and Claude Nuridsany, directors
You are the Jury. Award the prize, win a prize in the Piazza Grande. www.pardo.ch/ubs
Piazza Grande, L’Expérience Blocher, 13 | 8 | 2013 – 21:30
Christoph si è fermato a Locarno Si può filmare un uomo dalle idee antitetiche senza ridurlo a macchietta o farne un eroe, seppure a tinte fosche? Si può filmare senza catturare un’immagine o farsi catturare da questa? L’Expérience Blocher racconta questa sfida: è al contempo un film che traccia la parabola del controverso leader politico svizzero – noto per le sue posizioni antieuropeiste – e l’indagine su un paese che per questo uomo spesso si è spaccato in due.
Nel 2003 Jean-Stéphane Bron aveva realizzato un altro documentario che, seguendo l’iter costitutivo di una legge, descriveva le regole della democrazia svizzera. Concentrato in poche stanze Mais im Bundeshuus – le génie helvétique si apriva a raccontare la pluralità di una democrazia quasi preoccupata di nascondere segreti. L’Expérience Blocher è il frutto di un movimento opposto: un film a forma di imbuto dove la varietà dei luoghi e delle tipologia di incontri (pubblici, privati, colloquiali, formali) è incanalata in una sola figura. Filmato quasi sempre fuori dalle stanze del parlamento, in compagnia della silenziosa e carismatica moglie, più che un politico, Blocher appare un uomo d’affari. E’ lui a dettare le regole, i tempi, i modi e i contenuti del film. Bron segue il suo personaggio, sembra sottostargli, salvo poi con una soluzione classica (la narrazione in off), riposizionarsi rispetto alle immagini. Non tanto per riequilibrarle ma per consegnarle alla loro naturale ambiguità, dal momento che la voce narrante invece di prendere per mano il racconto lo spezza, lo analizza, lo mette in questione. Dieci anni sono trascorsi in Svizzera, in Europa e nel mondo e la simpatica commedia sul parlamento sembra essersi rovesciata in un film noir. carlo chatrian
Fermo immagine Carlo Chatrian Artistic Director “Information is not memory. It is not for memory that it accumulates; it labours only for its own profit. And this profit is that everything is immediately forgotten for the affirmation of the sole abstract truth of the present.” I’m quoting these words of Jacques Rancière as an introduction to one of the most unclassifiable El futuro films of this program, El futuro. The future in question is imagined on an evening in 1982, when euphoria swept through Spain following dramatic political change. Now, 30 years on, what remains of that festive evening in an ordinary flat? Born in 1938, Artavazd Pelechian has made a body of work that is often cited but rarely seen. Defined as documentaries out of convenience, his short films are visual poems that exalt the filmed subjects through a unique use of montages. His films have a purity, with no dialogue, no actors, no script, films in which the rhythm constructs the narrative. Whether linked to his native Armenia (Menk) Menk) or adventures Menk in space (Mer dare), Pelechian’s films transcend and heighten realistic facts.
Palmarès: Open Doors
I premi del futuro prossimo Armenia, Azerbaigian, Georgia: il Caucaso del Sud, a 20 anni dalla caduta dell’URSS, è stato scelto dal laboratorio di coproduzione Open Doors, centro pulsante e vivaio del cinema del futuro, come luogo da cui scegliere 12 progetti (su 100), i cui autori e produttori, in 4 giorni, potessero essere aiutati dal Festival a trovare le risorse per i loro film. La giuria ha stabilito un dominio georgiano: due premi – per complessivi 26.000 franchi svizzeri – per il film bellico See You In Chechnya (Georgia/Francia/Estonia/Olanda), quello per la produzione e quello di Arte. I riconoscimenti allo sviluppo e alla post produzione, 15.000 franchi ciascuno, vanno rispettivamente all’armeno Abysm e al georgiano Madona, mentre i 7.000 del premio CNC sono appannaggio del georgiano Sleeping lessons. Tra i sette film cileni in post produzione in corsa per il Premio Carte Blanche 2013, invece, il trionfatore è To kill a man di Alejandro Fernandez Almendras che porta a casa un assegno di 10.000 franchi. boris sollazzo 3
Concorso internazionale, Mary Queen of Scots Auditorium fevi, 14 | 8 | 2013 – 14:00 Her gaze lost beyond the horizon, her hair tangled by the wind, the young Queen Mary has withdrawn into an indecipherable expression in the same way that she has wrapped her body in a ruby-red cloak. The surrounding sea, like a prison, enhances the sense of encirclement. The tragic rise and fall of Mary, recounted by an outstanding storyteller like Stefan Zweig and retold with a “modernist” mise-enscène by Thomas Imbach, is caught in a moment of transition, which is at the same time strongly symbolic. Pardo
Piazza Grande, L’Experience Blocher, 13 | 8 | 2013 – 21:30
Jean-Stéphane Bron Director of L’Expérience Blocher What made you decide to make a documentary on a politician as controversial as Christoph Blocher ? After Cleveland contre Wall Street, which was about a trial, and went to the heart of the sub-prime crisis, I wanted to make a film about the consequences of that crisis. A film which would be a kind of follow-up to Mais im Bundeshuus – le génie helvétique, revisiting the arena of politics and democracy, some years later. What had changed? It was also the time the federal election campaign was just starting, with the polls predicting massive victory for the UDC in the coming elections. I thought it was time that film, with all the means it has at its disposal, took on Christoph Blocher, the historical and hitherto unchallenged leader of that party. What was your image of Christoph Blocher, then, and afterwards, and did it change? Apart from a political judgment, the image I had of him was that which anyone might have got from reading the papers, listening to the
The arrivals of the day, thanks to SWISS
Abel Ferrara, director Daniel Schmidt, director Gilles Deroo, director Kiyoshi Kurosawa, director Isabel Ruth, actress Jeremy Saulnier, director
radio, or watching TV. But for me, all that matters is the image produced by the film. And that image is built up, constructed over the course of 100 minutes, in what is visible in the film, but also in what lies beneath, the more obscure aspects. But I think your real question is: is this really a construction? Or is it a deconstruction? On the one hand, the danger of lapsing into caricature. On the other, the danger of turning Blocher into a hero. What point of view did you adopt to avoid these pitfalls? Making this film was a matter of trying to work out a challenge that was both human and political. What kind of distance was needed to film a man whose ideas I did not share? And what perspective to take on someone who I wanted, despite that ideological gap, to probe in depth. For the film’s subject, in the end, is a man’s unconscious, what drives him, shapes him. His passions, convictions, contradictions. In drawing on tropes from fiction, and at times from genre films, I wanted to give a fable-like dimension to this story. But I also sought to contextualize
Christoph Blocher within a larger story. In his own way, he is part of the major changes of the era, of capitalism and its violence, of democracy. It seems that several auteur filmmakers of your generation want to deal with political issues, but with a less dogmatic approach than that of previous generations. What’s your position on this? Perhaps that’s so. What is incontrovertible is that a rupture occurred in the 1980s and 90s that saw the advent of a focus on the more personal, investigating the private realm, the family unit, the body, illness, thanks to the revolution of small digital cameras which allowed exploration of new territories, new processes, and over long periods of time. It was definitely a desire to break with a more directly militant kind of cinema, but it also reflected a real tendency in society: the end of collective utopias, the triumph of the individual. Nowadays, there is clearly a new aspect to politics, a reconfiguration in new forms, quite simply
Macon Blair, actor Júlio Bressane, director Mehdi Dehbi, actor Margaret Ménégoz, producer Marianne Pistone, director Werner Herzog, director
Spensierati all’evento e prevendita alla stazione FFS. PardoLive 13 | 8 | 2013
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© Alessio Pizzicannella
because it is a new era and there are new issues at stake. That gives rise to films which are rediscovering the political gesture, but which are also fed by this more individually oriented approach to cinema. L’Expérience Blocher is part of this tendency. With Mais im Bundeshuus, you made a fable-like thriller about the back corridors of power, examining an episode in Swiss parliamentary politics. Now, with L’Expérience Blocher, might the Swiss case once again become universal, and resonate beyond national borders? Maybe the answer lies in the film itself. But what can be said with certainty is that it leaves viewers free to make up their own minds. And that it can be read on different levels. There is certainly a mirror effect for the Swiss. So yes, the story of Christoph Blocher tells us solorenzo buccella mething about our era.
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PardoLive 13 | 8 | 2013
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Vogliamo tutto il meglio del cinema. Tom, Anna, Roger: appassionati di cinema
a spettiv o r t e r tner r e par Locarno o s n o Sp del film l a v i t s Fe
La nostra passione per il cinema entusiasma ogni anno oltre 310’000 spettatori.
Per i clienti piĂš esigenti del mondo.
© Denis Manin
Five questions to …
Margaret Ménégoz
Premio Raimondo Rezzonico
“
È impossibile prevedere se un film si rivelerà un successo o meno, ma l’esperienza mi ha insegnato che l’originalità paga quasi sempre
”
How did you get into film production? I started as an editor, in Germany. Then I met at the Berlinale a French documentary filmmaker and married him, also becoming his work partner. After our children were born, we moved to Paris and I applied for a job with Barbet Schroeder, who had founded Les Films du Losange with Éric Rohmer. Both were preparing a film at the time, Die Marquise von O for Eric and Maîtresse for Barbet, and they needed a production assistant, or rather a bonne à tout faire (a handywoman) who would hold the structure together! I was later promoted to manager, then partner, and so on. In the years that followed, would you say that you developed a certain “trademark” as a producer? I would rather say that I have principles. Essentially: view each collaboration as unique and never drag a baggage from previous projects when approaching an auteur. You should be at the service of his or her own objectives and not try to impose practices on the grounds that they worked with others.
Is this one of the secrets behind your company’s longevity? Certainly. Besides, I’ve always considered underperforming films as a form of property you would be wise to preserve, as their value could appreciate over time. We didn’t really know then that films would end up enjoying such long lives. But indeed, with the booming of distribution channels, our catalogue has proved strong enough to keep us afloat with no need to rush into unconvincing projects.
The world was more or less split between “commercial cinema” and the barely tolerated ghetto of “auteur cinema”. But multiplexes themselves understood that it was in their best interest to offer a real diversity in their programs, and we now hear about the recently baptized “high potential auteur films”. Indeed, there is no reason to think that a film of artistic value couldn’t also be a box office success. aurélie godet
What successes are you most proud of? I know for a fact that you can never predict if a film will succeed or fail. But experience taught me that originality tends to be rewarded. A good example of this was our collaboration with Jean-Claude Brisseau. Rohmer had discovered his short films totally by chance, by entering the wrong theater. And after a couple of films made together during his time off from work, I convinced Jean-Claude to quit his job as a school teacher in order to dedicate himself to directing Noce Blanche. The film was a box office hit and changed his life.
Yesterday’s prize draw winner is: Bertholds Melissa, CH – 6653 Verscio Pick up your prize at the UBS branch, Largo Zorzi, Locarno.
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How strong is auteur cinema today?
Conte d’été La Sala, 16 | 8 | 2013 – 14:00
Noce Blanche by Jean-Claude Brisseau PardoLive 13 | 8 | 2013
Concorso internazionale, Mary Queen of Scots Auditorium fevi, 14 | 8 | 2013 – 14:00
Una regina sotto scacco Mary Stuart, la regina che perse tre regni, la moglie che perse tre mariti, la donna che perse la testa. Ma soprattutto il profilo di figura femminile (Camille Rutherford), strattonata dalla storia e scavata nelle ombre intime di un’infelicità che ha combattuto con fierezza contro gli urti del destino. Sceglie la strada di un ritratto, raffreddato e chiuso in una messinscena in costume ai bordi dell’oscurità, da cui filtrano solo i riflessi di luce degli eventi, il nuovo film Mary Queen of Scots con cui il regista lucernese Thomas Imbach riapproda a Locarno. D’altra parte, la sua è una filmografia che ha fatto spesso sponda al Festival visto che qui, dopo il lungometraggio d’esordio Well Done (1994), è tornato a più riprese: con Ghetto nel 1997, Happiness Is a Warm Gun (2001), Happy Too (2002) fino a Lenz nel 2006, un’opera di finzione ispirata a un racconto di Georg Büchner che narrava un episodio della vita di un poeta tedesco del XVIII secolo. Affaccio e affresco storici che avvengono anche in Mary Queen of Scots, sulla scia della biografia della regina scritta da Stefan Zweig, col tuffo visivo che stavolta sprofonda nei tormenti del XVI secolo. Là dove una bambina di appena 6 giorni può diventare regina di Scozia, a 17 anni regina di Francia per poi ingaggiare un rapporto controverso con la cugina e rivale Elisabetta che siede sul trono a Londra.
È alla sovrana nemica, infatti, che la voce sussurrata fuoricampo di Mary Stuart scrive missive confidenziali, oscillando tra francese e inglese, mentre gli spazi privati e semibui delle sue abitazioni sovrane vengono sconquassati dagli intrighi provocati dalle faide religiose e politiche che marcano i grandi contrasti del tempo. L’epoca moderna alle porte, il mondo medievale che muore, in mezzo il destino sentimentale di una regina travagliata che con la tragedia nasce e con la tragedia muore. lorenzo buccella
Concorso internazionale, Real Auditorium fevi, 14 | 8 | 2013 – 16:30
The Labyrinth of Consciousness Originally it was to be called A Perfect Day for Plesiosaur, but ultimately Kiyoshi Kurosawa’s new work is simply entitled Real. For a film about a coma, repressed experience and the unconscious, it’s not such an obvious choice. Though the rejection of the prehistoric monster (which still appears in the second part of the film) will be the subject of much discussion, Real does not disappoint expectations. It’s pure Kurosawa. Which could seem a paradox, because the poetics of this filmmaker, so prolific in the past and who now distils his work into different media, is characterized by the contamination between genres and languages. In the movie, science fiction and ghost stories intermingle in a tale whose first half has the precise visionariness of David Lynch, and whose second half develops into a specifically Japanese melancholy, as it speaks of
childhood, the sea and the past. Suspended between memory and tradition, Real is also journey to the origins of an art that with just a few strokes can give shape to anxieties and phantasms. If the cinema does not in and of itself have the purity of manga (the drawing style used in the comics), it can still pay trib-
ute to it with its spiralling movements that court the real and which the further they enter into the labyrinth of consciousness, the more the more they pretend to be its faithful mirror. carlo chatrian
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. Inviate la vostra candidatura a:
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Concorso Cineasti del presente, Mouton La Sala, 14 | 8 | 2013 – 11:00
Shopping
Spiaggiati dal destino di una notte
PELLETTERIA GABY by Gaby Scettrini
Prima scena. Mouton firma il suo atto di libertà di fronte agli occhi della madre che non si capacita della scelta. Divisa in due luoghi, attigui ma separati, la sequenza gioca sulla distanza tra i personaggi per evidenziarne l’incomunicabilità. I corpi sono ripresi come fossero opachi ai sentimenti. Questa distanza si ritrova anche nei segmenti successivi dove pure il corpo di Mouton è filmato in un pedinamento ravvicinato. Film di rottura con un linguaggio abituato a descrivere per scene, Mouton è per buona parte un dialogo serrato con il suo protagonista e il suo percorso di apprendimento per diventare cuoco. Anche quando lo sguardo si allarga ad abbracciare il gruppo di amici, l’impressione resta quella di una documentazione dall’interno, fino a quando in quella che potrebbe essere una parabola documentaria la finzione irrompe. In maniera drammatica. Ecco allora che il film compie una scelta sorprendente, che permette di leggere la scena d’apertura sotto una luce diversa: perde di vista il suo protagonista e rimane nel piccolo villaggio in riva al mare, focalizzandosi sul gruppo di amici che continuano la loro vita. Nonostante tutto. Mentre la trama della possibile fiction si dissolve tra le placide onde del nord. Come una lettera scritta tra la nostalgia e la stanchezza. E forse mai inviata. carlo chatrian
Concorso Cineasti del presente, Yuan Fang, La Sala, 14 | 8 | 2013 – 18:30
Exploring Loneliness
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The coastal city of Zhenhai, once a small fishing village 1500 kilometers away from the capital of Beijing, began its process of industrialization in the 1980s, and now exists as a special economic area in a nowburgeoning Chinese economy. Zhengfan Yang’s debut feature is set in Zhenhai, his hometown, whose process of historical change the director has elected to depict by way of 13 long, “distant” takes, the camera situated far away from his “characters,” with little discernible connections between each scene: Yang focuses on subtle moments wherein the city’s residents suddenly are forced to confront modernity, finding themselves lost in transition. Yang’s highly esoteric and beautifully photographed work 11
evokes both Chinese landscape painting, as well as filmmakers as diverse as James Benning and Roy Andersson – each long take – a building block, if you will – contains confidently choreographed action, in turns tragic and farcial, all in the name of exploring the psychological and political distance felt by its alienated characters, who persist with their lonely lives in a rapidly industrializing geography, with no control over their destinies or their culture. mark peranson
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Host Broadcaster
PardoLive 13 | 8 | 2013
Programme 14 | 8 | 2013
11.00 La Sala & 15, 16 | 8 | 2013
An Hour with 10.30 Spazio Cinema
Forum: Premio Raimondo Rezzonico
Conversation with Margaret Ménégoz
11.00 L’altra Sala & 13, 15 | 8 | 2013
Hosted by Anthony Bobeau
Auditorium FEVI & 13, 15 | 8 | 2013
09.00 La Sala & 13, 15 | 8 | 2013
09.00 PalaVideo & 13 | 8 | 2013
Historia de la meva mort
Dead End Dir.: Tonia Mishiali Cyprus · 2013 · DCP · Color · 15’ · o.v. Greek · Subt. English, French
Fuori concorso: Focus Syria
Light Horizon
Dir.: Randa Maddah Syria · 2012 · DVD · Color · 7’ · no dialogue
Dir.: Hisham Al-Zouki Syria/Norway · 2013 · Beta digital · Color and Black and White · 46’ · o.v. Arabic, English · Subt. English
(Our Curse) Dir.: Tomasz Śliwiński Poland · 2013 · DCP · Color · 27’ · o.v. Polish · Subt. English, French
11.00 Cinema Ex*Rex
Cinema Ex*Rex
Retrospettiva George Cukor
Edward, My Son
11.00 Teatro Kursaal & 15 | 8 | 2013
11.30 Auditorium FEVI & 15 | 8 | 2013
11.00
Concorso internazionale
Tableau noir
Dir.: Yves Yersin Switzerland · 2013 · DCP · Color · 117’ · o.v. French · Subt. English
Z1 Dir.: Gabriel Gauchet United Kingdom · 2013 · DCP · Color · 33’ · o.v. English · Subt. French, Italian
14.00 Cinema Rialto 1 & 13 | 8 | 2013
Appellations Suisse
Auditorium FEVI & 15, 16 | 8 | 2013
14.00 PalaVideo
Concorso internazionale
Mary Queen of Scots
Schools Without Borders – Young Filmmakers Training in Switzerland and Italy, Program 1
Mendrisio and lower Ceresio bathing offers
le merle siffleur
Retrospettiva George Cukor
The Actress
Open Doors Screenings
Gaigimet
(Keep Smiling) Dir.: Rusudan Chkonia Georgia/France/Luxembourg · 2012 · DCP · Color · 91’ · o.v. Georgian · Subt. English
16.15
Concorso Cineasti del presente
L’altra Sala & 13, 15 | 8 | 2013
The Stone
16.15
Fuori concorso
La Sala & 15 | 8 | 2013
Dir.: Se-rae Cho South Korea · 2013 · DCP · Color · 113’ · o.v. Korean · Subt. English, French
Se Eu Fosse Ladrão... Roubava Dir.: Paulo Rocha Portugal · 2012 · DCP · Color · 87’ · o.v. Portuguese · Subt. English
16.15 Cinema Rialto 1
Histoire(s) du cinéma: Pardo alla carriera Otar Iosseliani
Iko shashvi mgalobeli
(Once Upon a Time There Was a Singing Blackbird) Dir.: Otar Iosseliani ex USSR · 1970 · 35 mm · Black and White · 78’ · o.v. Russian · Subt. French
Dir.: Thomas Imbach Switzerland/France · 2013 · DCP · Color · 120’ · o.v. English/French · Subt. English, French
Short films of the CISA, SUPSI, SSS _ AA and the Centro Sperimentale di Cinematografia students Free admission
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14.00 L’altra Sala
Frühzug
Dir.: Delia Hess Switzerland · 2012 · DCP · Color · 5’ · no dialogue
Otar Iosseliani,
Dir.: George Cukor USA · 1953 · Beta digital · Black and White · 90’ · o.v. English
Big Men
Dir.: Alina Marazzi Switzerland/Italy · 2012 · DCP · Color and Black and White · 84’ · o.v. Italian · Subt. French, German
14.00
14.00 Cinema Ex*Rex
Semaine de la critique Dir.: Rachel Boynton USA/United Kingdom/Denmark · 2013 · DCP · Color · 99’ · o.v. English/ various African dialects · Subt. English
Histoire(s) du cinéma
Dir.: Julie Bertuccelli France · 2006 · Beta digital · Color · 92’ · o.v. French · Subt. English
Two-Faced Woman
Tutto parla di te
Dir.: George Cukor USA · 1949 · 35 mm · Black and White · 112’ · o.v. English · Subt. Spanish. PalaVideo & 12, 13 | 8 | 2013
(6 Big Fish) Dir.: Stefan Constantinescu Sweden · 2013 · DCP · Color · 14’ · o.v. Swedish · Subt. English, French
Retrospettiva George Cukor Dir.: George Cukor USA · 1941 · 35 mm · Black and White · 90’ · o.v. English · Subt. French, Dutch Introduced by Enrico Ghezzi
Zabad (Ecume) Dir.: Reem Ali Syria · 2008 · DVD · Color · 41’ · o.v. Arabic · Subt. English
6 stora fiskar
Nasza klątwa
O Corpo de Afonso Dir.: João Pedro Rodrigues Portugal · 2013 · DCP · Color · 32’ · o.v. Galician · Subt. English
Dir.: Ivan Tan Singapore · 2013 · DCP · Color · 12’ · o.v. English · Subt. English, French
Versailles
Concorso Cineasti del presente
Untold Stories
09.00
Tadpoles
Dir.: Ricardo Alves jr. Brazil · 2013 · 35 mm · Color · 14’ · o.v. Portuguese · Subt. English, French
Fuori concorso: Shorts
La strada di Raffael
Concorso internazionale 4
Tremor
Dir.: Eric Baudelaire France · 2013 · DCP · Color · 101’ · o.v. Japanese/Lebanese/English/ French · Subt. English, French
Concorso internazionale 5
Pardi di domani
Dir.: Albert Serra Spain/France · 2013 · DCP · Color · 148’ · o.v. Catalan · Subt. English, French
The Ugly One
Pardi di domani
Dir.: Alessandro Falco Italy/Spain · 2013 · DCP · Color · 24’ · o.v. Italian · Subt. English, French
Dir.: Monia Chokri Canada · 2013 · DCP · Color · 29’ · o.v. French · Subt. English, Italian
Concorso internazionale
Dir.: João Pedro Rodrigues, João Rui Guerra da Mata Portugal · 2013 · DCP · Color · 36’ · o.v. Portuguese · Subt. English
L’altra Sala & 12 | 8 | 2013
Dir.: Gilles Deroo, Marianne Pistone France · 2012 · DCP · Color · 100’ · o.v. French · Subt. English, Italian
14.00 La Sala & 15, 16 | 8 | 2013
Quelqu’un d’extraordinaire
Mahjong
09.00
Mouton
Dir.: Carlos Conceição Portugal · 2013 · DCP · Color · 20’ · o.v. Portuguese · Subt. English, French
Films 08.45
Concorso Cineasti del presente
16.30 Auditorium FEVI & 15, 16 | 8 | 2013
Concorso internazionale
Real
Dir.: Kiyoshi Kurosawa Japan · 2013 · DCP · Color · 127’ · o.v. Japanese · Subt. English, French
16.30 Cinema Ex*Rex
The Wild Blue Yonder
(Fin) Dir.: Artavazd Pelechian Armenia · 1992 · Blue Ray · Color · 8’ · no dialogue
Dir.: Werner Herzog USA/United Kingdom/Germany · 2005 · 35 mm · Color · 81’ · o.v. English
16.30 Cinema Rialto 2
(Vie) Dir.: Artavazd Pelechian Armenia · 1993 · Blue Ray · Color · 6’ · no dialogue
Cinéastes de notre temps: Conversation avec George Dir.: André S. Labarthe, Hubert Knapp France · 1969 · Beta digital · Black and White · 42’ · o.v. English/French · Subt. French
16.45 Cinema Rialto 3
21.00 L’altra Sala & 12, 13 | 8 | 2013
Open Doors Screenings
Saroyanland
PalaVideo & 12, 13 | 8 | 2013
18.30 La Sala & 15, 16 | 8 | 2013
18.30 Cinema Rialto 1 & 16 | 8 | 2013
18.30 L’altra Sala & 13 | 8 | 2013
19.00 Cinema Ex*Rex & 17 | 8 | 2013
19.00 Cinema Rialto 2
Dir.: Guillaume Brac France · 2013 · DCP · Color · 106’ · o.v. French · Subt. English
(Distant) Dir.: Zhengfan Yang China · 2013 · DCP · Color · 88’ · no dialogue
21.00
Earth’s Golden Playground
Dir.: Werner Herzog USA · 2013 · DCP · Color · 56’ · o.v. English · Subt. French
PalaVideo & 15 | 8 | 2013
(Au début ) Dir.: Artavazd Pelechian ex USSR · 1967 · Blue Ray · Black and White · 10’ · no dialogue
(Notre siècle) Dir.: Artavazd Pelechian ex USSR · 1982 · Blue Ray · Black and White · 50’ · no dialogue
nt on u o c dis ion 30% s admiss rt reso
23.30 Cinema Rialto 2 & 12, 13 | 8 | 2013
Fuori concorso: Shorts
Los Andes
Dir.: Cristóbal León, Joaquín Cociña Chile · 2012 · DCP · Color · 4’ · o.v. Spanish · Subt. English Fuori concorso: Signs of Life
El futuro
Concorso internazionale
L’Étrange Couleur des larmes de ton corps
23.30 Cinema Ex*Rex & 11 | 8 | 2013
Concorso internazionale
Sangue
Dir.: Pippo Delbono Italy/Switzerland · 2013 · DCP · Color · 92’ · o.v. Italian/Genoese dialect · Subt. English, French Appellations Suisse
Argerich
Dir.: Stéphanie Argerich Switzerland/France · 2012 · DCP · Color and Black and White · 95’ · o.v. French · Subt. German, French Concorso Cineasti del presente
Manakamana
Dir.: Stephanie Spray, Pacho Velez USA/Nepal · 2013 · DCP · Color · 118’ · o.v. Nepali/English · Subt. English Retrospettiva George Cukor
Gaslight
Dir.: George Cukor USA · 1944 · 35 mm · Black and White · 113’ · o.v. English · Subt. French, German
Dir.: Luis López Carrasco Spain · 2013 · DCP · Color · 67’ · o.v. Spanish · Subt. English
Menk
Nach vek
23.00 Cinema Rialto 1 & 13 | 8 | 2013
Douglas Feldman
Nacalo ou skisb
(Nous) Dir.: Artavazd Pelechian ex USSR · 1969 · Blue Ray · Black and White · 30’ · no dialogue
23.00 La Sala & 13, 15 | 8 | 2013
Darlie Routier
Retrospettiva George Cukor
21.00
Premio Cinema Ticino to Amka Films and Ventura Film Vision Award - Electronic Studio to Douglas Trumbull
Dir.: Hélène Cattet, Bruno Forzani Belgium/France/Luxembourg · 2013 · DCP · Color and Black and White · 102’ · o.v. French/Danish/Flemish · Subt. English This film features scenes that could shock the sensitivity of some viewers
Death Row II - Portrait:
Death Row II - Portrait:
Open Doors Screenings: Artavazd Pelechian
23.00 PalaVideo & 12, 13 | 8 | 2013
Fuori concorso: Death Row
Dir.: Andreas Horvath Austria/Canada · 2013 · DCP · Color · 106’ · o.v. English · Subt. French
It Should Happen to You
Wild Is the Wind
Dir.: Sebastián Lelio Chile · 2012 · DCP · Color · 104’ · o.v. Spanish · Subt. English, French
Dir.: Werner Herzog USA · 2013 · DCP · Color · 55’ · o.v. English · Subt. French
Semaine de la critique
Retrospettiva George Cukor
Gloria
Dir.: Jan-Eric Mack Switzerland · 2013 · DCP · Color · 19’ · o.v. Swiss German · Subt. English, French La Sala & 17 | 8 | 2013
Dir.: Thom Andersen, Noël Burch USA · 1996 · Beta digital · Color and Black and White · 112’ · o.v. English
Dir.: Kaspar Schiltknecht Switzerland · 2013 · DCP · Color · 19’ · o.v. French · Subt. English, Italian
Alfonso
Premi speciali: Douglas Trumbull
Red Hollywood
Bonne Espérance
Dir.: Lawrence Blankenbyl Switzerland · 2013 · DCP · Color · 11’ · o.v. Swiss German · Subt. English, French
Yuan Fang
Dir.: George Cukor USA · 1954 · 35 mm · Black and White · 87’ · o.v. English
Piazza Grande
Skinny Boy
Concorso Cineasti del presente
Dir.: Douglas Trumbull USA · 1972 · DCP · Color · 89’ · o.v. English
21.30
Dir.: Mauro Carraro Switzerland/France · 2013 · DCP · Color · 13’ · o.v. French · Subt. English, Italian
Tonnerre
Silent Running
Lui, Hitler et moi
Histoire(s) du cinéma
Dir.: George Cukor USA · 1957 · 35 mm · Black and White · 109’ · o.v. English · Subt. French, German
Concorso nazionale 2
Hasta Santiago
Concorso internazionale
21.15 Cinema Ex*Rex
Pardi di domani
Dir.: Nathan Hofstetter Switzerland · 2013 · DCP · Color · 30’ · o.v. French · Subt. English, Italian
Dir.: Lusin Dink Turkey/Armenia/France · 2012 · DCP · Color · 75’ · o.v. English/Armenian/Turkish · Subt. English
18.30
Cinema Rialto 2 & 13 | 8 | 2013
Kiank ou zizn’
Histoire(s) du cinéma
Cukor
21.15
Konec ou vertch
Premi speciali: Werner Herzog
21.00 Cinema Rialto 1 & 9 | 8 | 2013
Premi speciali: Victoria Abril
¡Átame!
(Tie Me Up! Tie Me Down!) Dir.: Pedro Almodóvar Spain · 1990 · 35 mm · Color · 101’ · o.v. Spanish · Subt. French, German
Entertainment, refreshment and plenty of delightful spots Info: 0840 852 852 or www.postbus.ch/leisureclick Webcode 10641
Sarida Bossoni Agency for Directors of Photography Kalchbuehlstrasse 169 CH-8038 Zurich +41 (0) 79 279 11 99 welcome@saridabossoni.com www.saridabossoni.com
Images last longer than words.
V13_Ins_pardo news_V13 24.07.13 17:38 Seite 2
JERRY LEWIS, «THE LADIES MAN», USA 1961
OCTOBER 24 — NOVEMBER 6, 2013
AUSTRIAN FILM MUSEUM • VIENNALE
RETROSPECTIVE JERRY LEWIS OCTOBER 18 – NOVEMBER 17
WWW.VIENNALE.AT PardoLive 13 | 8 | 2013
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Fuori concorso: Signs of Life, El futuro PalaVideo, 14 | 8 | 2013 – 21:00
Retrospettiva George Cukor
A Piece of Underrated Art
Nel futuro degli Anni Ottanta Un film come una rudimentale ma efficientissima macchina del tempo, un titolo apparentemente paradossale per immagini quasi interamente ambientate da qualche parte negli anni ‘80, durante un party casalingo di quelli davvero ben riusciti, che i partecipanti ricorderanno a lungo. Mentre nell’appartamento suona ad alto volume il meglio della musica new wave iberica, e si chiacchiera, si posa con il taglio di capelli giusto e un drink in mano, si balla e si flirta, fuori dalla porta un paese da poco uscito dal Franchismo si apprestava a diventare di moda e popolare, migliorare le proprie condizioni, crescere, crescere. Ma il destino mal immaginato da quei ragazzi è corso troppo veloce diventando il presente dei loro figli, se mai ne hanno avuti: stessa età forse, ma tutt’altra musica, nelle orecchie come per le strade, tra i palazzi del boom brutti oggi come allora, dove la calma apparente sarà presto rotta dagli slogan di una nuova generazione, costretta a immaginare un otro futuro. sergio fant
Ordina ancora oggi il nuovo catalogo 2013/2014 su fly.ch e sii il primo a riceverlo!
“I always felt that George Cukor was a very underrated director, much like Minnelli and Mankiewicz,” American filmmaker Mark Rappaport tells us from his Paris home, en route to Locarno,”while I think his films definitely belong to the Desert-Island collection.” “The one that will introduce, and that I have written about in the catalogue, A Life of Her Own (1950), starring Lana Turner and Ray Milland, is probably the most underrated of them all. I don’t know why, but many consider it his worst film, I honestly think it’s one of his best.” “It was long-forgotten, and pratically unavailable, but I had been able to watch it first on TV, thanks to Turner Classic Movies, one of the best sources for rare films, and then finally on the big screen through a recent Cukor retrospective at the Cinémathèque française. I can’t wait to see it again!” massimo benvegnù
Edward, My Son Cinema Ex*Rex 14 | 8 | 2013 – 9:00
Two-Faced Woman Cinema Ex*Rex 14 | 8 | 2013 – 11:00
The Actress Cinema Ex*Rex 14 | 8 | 2013 – 14:00
Al Borgo
Oasi Casablanca
Max Way
Café literaire
Oriental lounge
The cosmopolitan place in town
La Rotonda del Pardo
Club Seventy7 The place to pleasure your night
Beach Lounge
Teatro La Cambusa
Semplicemente beach
Cambusindie - Music festival
Bistrot Teatro Paravento Magico giardino con concerti
Fashion 2Shé Aperò & after movie cocktail
Lido Patriziale di Ascona Bar Magnolia @ Spazio RSI
Happy Carrot Project
Music bar
Un gustoso fotogramma dal sapore etnico, naturale e creativo
Cinebar Swisscom
Rivellino Garden
Film lounge
Relaxing garden
Pardo Way 15
Pardo Way is a selection of top bars & nightspots in town. The optimal itinerary to recharge your battery between the screenings. Starting from breakfast, snacks, lunch and aperitif, Pardo Way goes on with thematic tastings, shows, concerts and nightlife that are going to amuse and keep busy our festivalgoers.The program with all the initiatives is published on the Pardo Way Facebook Page, while strategic tips and useful information are available on Foursquare.
PardoLive 13 | 8 | 2013
Le TELETEXT en déplacement, faites plus simplement.
Soyez toujours informé avec les solutions mobiles du TELETEXT! Téléchargez l’application du TELETEXT, disponible pour iPhone et Windows Phone 7, ou consultez le site web mobile (m.txt.ch) et ne ratez aucune news de dernière minute.
Os Verdes Anos Cinema Rialto 1 15 | 8 | 2013 – 21.00
Fuori concorso, Se Eu Fosse Ladrão… Roubava La Sala, 14 | 8 | 2013 – 16.15
Mudar de Vida PalaVideo 16 | 8 | 2013 – 14.00
Il fantasma dell’opera di Rocha Negli ultimi anni Paulo Rocha aveva immaginato una sorta di “ultimo film”, che portasse a compimento la sua opera. Basata sulle memorie della vita del padre, ambientato agli inizi del secolo a Porto e nel Furadouro, era anche un modo di tornare sui luoghi della sua infanzia, dove aveva girato Mudar de vida: il mondo contadino ancestrale, la vibrazione dei corpi nel paesaggio, il passaggio delle generazioni, il ciclo della nascita e della morte, la tensione escatologica verso un altro mondo. Vi aveva riunito i suoi attori (da Isabel Ruth a Luís Miguel Cintra, e la piu giovane Joana Bárcia), insieme all’équipe degli ultimi film, da O Rio do Ouro a Vani-
tas, e la fotografia di Acacio de Almeida. Terminato poco prima della morte del suo autore il film è un vero miracolo, Se Eu Fosse Ladrão… Roubava, molto più che una ricapitolazione di tutto il suo cinema: piuttosto una nuova metamorfosi cosmica della sua mitologia poetica. Jorge Silva Melo lo definisce “un immenso addio”, “un film estremamente commovente, doloroso, realizzato alla frontiera della morte, filmato in modo magistrale”. Della sceneggiatura Rocha aveva girato solo una parte (con sequenze stupende, tra cui quelle con Isabel Ruth sulla stessa spiaggia di Mudar de vida che sembrano scaturire da un’esperienza spiritica). Ben
presto nella sua mente si era fatta avanti l’idea di montare insieme al nuovo girato estratti dai suoi film precedenti secondo un’idea di rimontaggio operata sul corpo dei propri stessi film. Quest’opera magnifica e unica riunisce due pulsioni fondamentali del regista: la poetica visionaria del narratore, con le sue infinite storie popolate dai fantasmi e dalle memorie del luogo, e il collage modernista, plastico e pitturale dell’ artista fiammeggiante. Inizia da Locarno la riscoperta di uno degli autori maggiori del cinema contemporaneo. roberto turigliatto
Spazio Cinema (Forum) 15 | 8 | 2013 – 11:00
Round Table on Paulo Rocha Conversation with José Manuel Costa, Pedro Costa, Isabel Ruth, Roberto Turigliatto Hosted by Catherine Bizern
Open Doors Screenings: Artavazd Pelechian, Cinema Rialto 2, 14 | 8 | 2013 – 19:00
Pelechian Without a Word On August 14 in Cinema Rialto, Armenian director Artavazd Pelechian be celebrated by the screening of five documentaries, covering most of his career both before and after the demise of the Soviet Union (1967-1993). Now living in Moscow, Pelechian – who received a Lifetime Achievement Award at Armenia’s Yerevan Film Festival in 2006 – has described his directorial theories in several books such as Moyo Kino (My Cinema, 1988). Renowned for developing the style of distance montage, Pelechian made extensive use of archive footage, which he mixed with his own shots using music and sound effects, but no words. Besides his own production of 12 films – mostly in black&white, the longest 60 minutes – he directed archive footage for, ao, Andrey Konchalovskiy (Siberiade), and wrote scripts for Mikhail Vatanov. 17
“One of the most important and influential filmmakers from Armenia, Pelechian was an obvious choice for this year’s focus on Caucasian movies,” explained head of Open Doors, Martina Malacrida, this year focusing on the cinema in Armenia, Azerbaijan and Georgia. The Pelechian selection includes
Skisb (Beginning, 1967), Menk (We (We, 1969), Mer dare (Our Century, 1982), Vertch (End, 1992) and Kiank (Life, 1993) – all between six-30 minutes and without any dialogue. jørn rossing jensen
UBS Chair. Join the Festival del film Locarno Community. Share your impressions at www.pardo.ch/ubschair We will not rest
PardoLive 13 | 8 | 2013
Offcuts 13 | 8 | 2013
Vincenç Altaió, actor of Historia de la meva mort
Open Doors and Carte Blanche Awards Ceremony
Pippo Delbono, director of Sangue
Pardi di domani
Bobò, actor of Sangue Julie Bertuccelli, director of Otar Iosseliani, le merle siffleur Albert Serra, director of Historia de la meva mort Pardo alla carriera to Otar Iosseliani
PardoLive 13 | 8 | 2013
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Eric Baudelaire, director, and Juliette Navis, actress of The Ugly One
Abel Ferrara, Pardo d’onore Swisscom 2011
Otar Iosseliani
Cho Dong-in, actor of The Stone
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PardoLive 13 | 8 | 2013
Enjoy the festival. TV is waiting for you. Replay from Swisscom TV lets you watch any programme broadcast in the last 30 hours. Further information and a special offer from Swisscom TV to mark the festival are waiting for you at Cinebar Swisscom.
PardoLive 13 | 8 | 2013
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Beyond the Festival
Beyond the Festival
Tutto il resto Creativity and Interaction è CISA at Their Best
Il Conservatorio internazionale di scienze audiovisive (CISA) CISA) è già nel proprio nome CISA senza confini, primus inter pares nelle due giornate delle “Scuole senza frontiere”, al PalaVideo. A cavallo della tavola rotonda con il geniale regista Maurizio Nichetti al Teatro Paravento alle 10 del 15 agosto, troveremo opere, tra schermo e realtà, di giovani studenti del CISA che apriranno e chiuderanno le 48 ore di cinema con CSC e SUPSI. FTIA – 40 anni per l’integrazione e Ritratti d’autore- handicap e arte, il 14, apriranno una finestra sul disagio fisico e mentale, il giorno dopo il rapporto genitori-figli sarà al centro di Ritorno a casa e di Di padre in figlio, come lo è il contrasto tra il Carnevale di Perdutamente e il futuro post-apocalittico de Il risanamento. In mezzo Antonia, trans che afferma l’identità che tutti le negano. Vita e Settima Arte nella sintesi nobile di giovani cineasti. boris sollazzo
Looking beyond the borders: that could be the motto of the two special days organized at the Festival with the participation of the University of Applied Sciences and Arts of Southern Switzerland (SUPSI). The event (called “Scuole senza frontiere: giovani autori in formazione tra Svizzera ed Italia”) is dedicated to a number of projects developed in the last semesters by the Visual Communication students; the courses in “Media and Interaction” generated in fact a long series of Apps, documentaries, interviews, infographics, advertisements, short movies and pieces of video art which represents our students’ creativity and multidisciplinar attitude at their best. The works will be presented ad PalaVideo on Wednesday and Thursday (August 14th and 15th at 14:00), a two-day session in which the Festival expressively focuses on Ticinese territory and its cinema and audiovisual schools. mattia bertoldi
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PardoLive 13 | 8 | 2013
The little things. That’s what we’re perfect in. Small things can be great. When you y SWISS Business, you’ll enjoy delicious Swiss cuisine, a modern entertainment system and a fully at bed. For ights to 74 destinations worldwide visit swiss.com
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Albert Serra and his cast full-frame by XL
Editor Lorenzo Buccella Graphic design Simon Smeraldi Alessandra Angelucci Jannuzzi Smith
Writers Massimo Benvegnù Mattia Bertoldi Lorenzo Esposito Adriano Ercolani Sergio Fant Aurélie Godet
Cristian Gomez Sara Groisman Jørn Rossing Jensen Mark Peranson Boris Sollazzo Roberto Turigliatto
Guest photographers Alessio Pizzicannella (Cover) Laura Chiesa (assistant) Xavier Lambours (full-frame by XL) Fabrizio Capeder (assistant)
Photographers Gabriele Putzu (TiPress) Fotofestival (Marco Abram, Massimo Pedrazzini, Carlo Reguzzi, Sailas Vanetti) Ivana De Maria Timbal
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15 March – 17 November 2013 Bernisches Historisches Museum
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The “ 8 Wonder of the World ” – now in Bern Qin – The eternal emperor and his terracotta warriors www.qin.ch