13 | 8 | 2015 – PardoLive – day 9 by Festival del film Locarno

PardoLive 68掳 Festival del film Locarno

Thursday 路 Gioved矛 13 | 8 | 2015

Walter Murch Jean Douchet LEE Chung Carmen Maura Milcho Manchevski Brian Reitzell Hamaguchi Ry没suke PardoLive Partner:

Festival del ﬁlm Locarno

Lore Winner of the Prix du Public UBS in 2012 Saskia Rosendahl, actress

Prix du Public UBS Vote and win: choose your favourite ﬁlm in the Piazza Grande and win an iPad Air. www.pardo.ch/ubs

Fermo immagine Carlo Chatrian Artistic Director

Piazza Grande, Qing tian jie yi hao, 13 | 8 | 2015 – 22.45

For Francis Ford Coppola, listening to Walter Murch is like following a path marked by titbits of wisdom which, like Hansel and Gretel’s trail of bread crumbs, represent both guidance and nourishment. The trails left by Murch are found not only in his extraordinary book about editing (In the Blink of an Eye), which I recommend every young person to read, but also in the many films he laid his hands on, giving them a form they would never have had without his contribution.

Lui, lei e gli altri Non ci sono fantasmi, senza ombre. E le ombre crescono a dismisura quando la luce scappa via, anche se è potente. Qing tian jie yi hao (The Laundryman) è questo, ha un continuo rimbalzo tra storia e sottotesto, metafora e (iper)realtà. È un dialogo essenziale, elementare e continuo tra corpi, ma anche e soprattutto tra sentimenti. Come la tela del ragno sembra creata da un movimento apparentemente semplice e invece estremamente complesso nella realizzazione e nel risultato, così l’opera di Lee Chung, in seconda serata in Piazza Grande, ha le stesse caratteristiche. Il cineasta di Taiwan sa tessere insieme i lati oscuri della coscienza con la spettacolarizzazione del cinema di genere; in quella lavanderia che nasconde lo sporco della società, attività illecite e omicidi, c’è tutta la lezione tarantiniana (a sua volta appresa da Quentin, ma in parte, prima, anche da Scorsese, dall’Estremo Oriente) sul colpire con violenza e passione gli spettatori, giocando sul paradosso. La sposa di Kill Bill, feroce ossimoro umano, non è diversa da questo luogo e dalla sua proprietaria, che cadono in un gorgo impos-

Apocalypse Now The main reason I’m proud we’re hosting this artist is that it allows the Festival to focus attention on sound, an aspect of cinematic art that often languishes in the background. And by sound I don’t mean the music that often comes in to cover an imperfect link or to give the right rhythm to a sequence. In the films on which Murch has worked, the composition of a soundtrack is not a decorative addition but part of the

The Conversation

sibile da combattere. E così a una regia creativa e allo stesso tempo pop – nei ralenti come nei duelli coreografati –, attenta e di grande qualità, si alternano momenti intimisti, virtuosismi di macchina e interpretativi, come nel prologo e nell’epilogo, che denunciano il doppio piano di pensieri e immagini che viaggiano sul sentiero di Qing tian jie yi hao, non senza qualche scossone. E così le presenze oscure che infestano gli antieroi diventano elementi di una coralità colorata, movimentata e inesorabilmente dolente di un esordio sorprendente. boris sollazzo 3

main body of the work. Think of Apocalypse Now and the famous throb of helicopter blades, which becomes the expression of a mental obsession. Or The Conversation with that fantastic opening scene in which Gene Hackman attempts to decipher a dialogue, a real homage to sound as a tool for interpreting reality. Walter Murch, who over the years also became an extraordinary editor, began recording and layering sounds when he was just a boy. I have no doubts that hearing him talk about the various components of his work – recording, mixing and sound design (a term he coined to define the furnishing of a space with sound) will be an unmissable event at a Festival that wants to be a constant discovery of the mysteries and power of cinema.

lucasdesign.ch | Foto: © Festival del film Locarno

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

Focus on Chung Lee

Fun in a Taiwanese Laundry Chung Lee, Qing tian jie yi hao (The Laundryman) is your first feature film, and it screens tonight in Locarno for its World Premiere, in front of thousands of people. How does it feel? It’s very exciting, but I am also a bit scared. The film opens in Taiwan in a week, so this is the first time ever that an audience sees it, and I also still haven’t seen the final product after I finished it. It’s such a big screen! How did you come up with the original idea for the film ? The story began with one simple concept: I wanted to do a story about a killer, but one where the audience could like the main character and identify with him. And how do you make an audience symphatize with a killer? That’s when I first thought about using the ghosts. And then I decided to add the love story as well, so it became a mix of genres. Do the ghosts have to do with spirituality? Yes, but more of an ethical belief than a religious one. The ghosts are the symbol of his conscience, and the same time they add a comical element to the story. I tried to make the ghosts very human in this film. What about the Taiwanese release? The film will open in 85 screens – it is a general commercial release for an independent action picture. When we found a budget for the project we were conscious in trying to make a film that would appeal to audiences.

As a first time filmmakers, who inspired you, and what were your models for Qing tian jie yi hao?

www.fondazionebally.ch

I would say the Coen Brothers, but at the same time no one knows how to write dialogue like the Coen Brothers. Another film that comes to mind is Leon – The Professional, and the cinema of Luc Besson in general. And then my greatest inspiration is Taiwanese filmmaker Edward Yang – even if this film cannot be directly associated with his work, he is my role model as a director. massimo benvegnù

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.

PardoLive  13 | 8 | 2015

Piazza Grande, La Vanité, 13 | 8 | 2015 – 21.30

Friends to Die For The last stop-off in a motel, one night and three characters shut up in those closed spaces where the relationship between inside and outside becomes that closer and more subtle relationship between life and death. With La Vanité, Lionel Baier once again takes over the Piazza Grande screen (after Les Grandes Ondes (à l’Ouest) in 2013), taking on a cinematic challenge through the coexistence of a “what” and a “how” that seem worlds apart. Because while it’s true that the heavy weight of the film immediately seizes on the theme of suicide, the light tone with which the whole affair is sketched out has the bittersweet

flavour of a comedy, able to set in motion a whirl set to a rhythm of misunderstandings, surprises and coups de théâtre. The aim is not to wring belly laughs from a taboo, but to support an ironic reflection on existence that involves and blurs together the solitudes of the three characters, gathered together by fate: a lonely, sick man who wants to die (Patrick Lapp), a woman who has lost her husband (Carmen Maura) and a Russian gigolo (Ivan Georgiev), dragged by fate into the role of witness. Inside an interior made up of red curtains that lead to sudden glimpses of life in flashback and vanities reproduced in Holbein the Younger’s paintings,

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the visual and interpretative equilibrium is played out tightly enclosed within that Huis clos dimension which, being inside a motel, can’t help but evoke cinematic moments from Hitchcock and Lynch. All the more if the theatrical dimension of a three-hander meets a lively staging that brings an entire microcosm into conflict, shifting gazes and perspectives. And so the appointment to bring an end to the voids of life suddenly becomes crowded, seeking those heights that a rediscovered hope can bring. lorenzo buccella

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Piazzaon Focus Grande, Carmen La Maura Vanité, 13 | 8 | 2015 – 21.30

Carmen Chameleon “

I will always prefer a full theater than a good review. Audience laughing or weeping, clapping, is something unique, something we work for. It’s the core of cinema. I love Locarno for this: in Piazza Grande there is love for movies and popular taste, it’s a place for everyone

Carmen Maura, la musa di Pedro Almodóvar. Ma la femminilità seduttiva e il talento esplosivo di quest’attrice hanno portato anche molto altro nel linguaggio cinematografico, da Saura a de la Iglesia passando da Gitai e Trueba a Buñuel, sparigliando le carte del sistema, scegliendo esordienti e a volte snobbando maestri. È a Locarno per La Vanité di Lionel Baier, in Piazza Grande.

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Cosa cerca quando recita? A una buona critica, alla vittoria a un festival preferirò sempre una sala piena. Il pubblico, che piange, ride o applaude, è qualcosa di unico, è il cuore del cinema: non dimentichiamo che quest’arte è anche industria e la sua natura è piacere. Locarno è bella per questo: nella Piazza Grande c’è cinefilia e gusto popolare, è un luogo per tutti. Questo non le impedisce di fare scelte coraggiose

Cos’è la vanità per lei? Non è un sentimento che conosco, sono sincera. Forse perché al successo sono arrivata tardi, a 50 anni, a quell’età non c’è tempo per essere vanitosi. Mi emoziona più chi mi offre un bel ruolo che il tappeto rosso. Ha tante donne dentro di lei. In due anni è passata da La madre all’infermiera di Baier. Come fa? A tutt’oggi non ho ancora capito cosa faccio e come, per essere un’infermiera non passo un mese all’ospedale. Sono camaleontica. Prendo lo script, lo leggo e a un certo punto succede: entro nelle donne che dovrò essere. Mi aiuta l’importanza che do al testo e alla messa in scena. Le parole, il senso della narrazione, il genere dell’opera che affronto mi danno il tono, la musica, l’atmosfera del mondo in cui tuffarmi. Il regista in questo percorso deve capirmi, guidarmi: so obbedire se te lo meriti.

Ricordo la fatica degli inizi e per questo faccio ancora cortometraggi e opere prime. Ho ancora in testa tutti i lungometraggi che Cannes rifiutò ad Almodóvar prima di farlo arrivare sulla Croisette. Parlo dei suoi primi capolavori: vinceva e vincevamo premi in tutta Europa ma loro ci ignoravano. Noi avevamo il pubblico dalla nostra. Cos’ama di più del cinema? La commedia. È più difficile, devi avere talento e fiuto per cavalcare certi ritmi. Far ridere è affidato a meccanismi che han qualcosa di magico. Devi avere qualcosa in più, come Lionel. Avreste dovuto vederlo sul set: calmo, nonostante avesse scelto un genere difficile per il tema trattato. Lo guardavo ammirata, come quando mio figlio prende l’iPad e risolve un problema per me insormontabile solo toccandolo.

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Pedro Almodóvar. Com’è nato il suo rapporto artistico con lui? Lui lavorava alla compagnia telefonica, io venivo da un ambiente snob che mal sopportava la mia carriera di attrice. Mi raccontava bellissime storie, mi ha fatto ridere come pochi altri nella mia vita e ha saputo mostrarmi al mondo in una maniera sorprendente anche per me. Con lui è sempre stato speciale: Volver è arrivato dieci anni dopo l’ultimo lavoro insieme, passati senza parlarci o vederci. E dopo la prima battuta sbagliata, le sue prime indicazioni, tutto è tornato come prima. Ora, però, è finita, almeno sul grande schermo: succede alle relazioni lunghe, è stato bellissimo ma non credo lavoreremo più insieme. Siamo su strade diverse. Un sogno, un regista con cui desidera lavorare ce l’ha? Un tempo rispondevo Woody Allen. Ora, invece, mi preoccupo di chi evitare: il regista che parla troppo. Rischia di annoiarmi e se questo accade, è finita. boris sollazzo

Yesterday’s prize draw winner: Matteo Rossi 8

PardoLive  13 | 8 | 2015

Focus on Walter Murch

The Wizard of Sounds and Visions Mr Murch, you are considered the father of the discipline of “sound design”. How did it happen? I think it was a natural evolution. The significant modification that we did in the late 60s with the Zoetrope Studio (founded by Francis Ford Coppola and George Lucas) was to allow the sound editor to also be the mixer of sound. Until Apocalypse Now, for example, I worked in monophonic sound and, suddenly, not only there was the stereo sound but a completely new format on six tracks. My challenge was to design the sound in this new space. In 1980 you won the Academy Award for Sound on Apocalypse Now. What was it like working with Coppola? And since we showed American Graffiti in Locarno in 1973, what was it like working with Lucas? I have loved working with both of them, they’re very different. Francis is a great delegator of responsability, he does not get involved all the way through in specific definitions even if he sees what you are doing. George, more specifically, wants to be involved at every step of the evolution of the sound. In American Graffiti we were always together, sometimes staying up until three o’ clock. If we think about a movie, our thoughts instinctively dwell one of its distinctive scenes. Which scene lives most vibrantly as you look back on your career? It is always a hard question, because my perspective is not always the perspective of the audience, but the Valkyries attack section in Apocalypse Now was a huge amount of work – both picture and sound editing. I think the moment the music is playing very strongly and then suddenly it cuts to the Vietnamese school, and it is quiet and you’re just hearing the singing of the Vietnamese children, and you’re starting

PardoLive  13 | 8 | 2015

to hear from the back the Valkyries theme... It was not in the script, it was created in the editing of the sound. I am very happy when that moment happens, because I remember the struggle to get there. Working with pictures and sounds, you have a clear vision of how sound is related to the plot and the general atmosphere of a movie. Could you cite an example of how you have maximized the relationship in your work? Well, certainly the sudden cut to silence in Apocalypse Now we just talked about. Francis’ original intention was to break the Valkyries’ theme tape, he wanted to stop the sound of music. I knew what he wanted, but I knew there was another way to get that idea. I felt that the emotion of the film at that point with the music was so big that going into a breaking moment could be counterproductive. Then I tried to pitch this to Francis, and he liked it. We know that today you are very much involved in teaching, but who were the teachers that most impacted your life? What is the main teaching you’ve ever received? The filmmakers that inspired me to go into film were my big teachers: Fellini, Bergman, Kurosawa, Godard, Truffaut... I was also inspired in sound with the school of musique concrète in Paris: Pierre Schaeffer and Pierre Henry. I heard their work when I was very young, I was 12 years old. At that age I dedicated myself to try to do the same thing they did, looking at the world of cinema. About the teaching there is a motto from the I Ching, a Chinese divination book. It says, in English: “Perseverance Furthers”, that means: keep going, don’t stop. And that has been a big lesson for me at many, many times in my life. mattia bertoldi

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Concorso internazionale, Happy Hour, Auditorium FEVI, 14 | 8 | 2015 – 14.00

Parole di donna Prima considerazione. Happy Hour non è una serie televisiva ridotta (si fa per dire) a formato cinematografico. Non ingannino il linguaggio di Hamaguchi Ryûsuke e la sua scrittura di base: la presunta linearità del suo stile e il soffermarsi a lungo sulla definizione dei personaggi hanno valore se messi in relazione con la durata complessiva del film. Il racconto delle quattro protagoniste e delle loro relazioni con i rispettivi compagni è concepito come un lungo fluire con corsi e ricorsi, salti e rimandi che danno il senso (tragico) del tutto. Il tema di fondo di questo coraggioso lavoro è il linguaggio. Il film attraversa il linguaggio non verbale (nella lunga scena dedicata al workshop), affronta la parola giuridica (la sequenza nel tribunale è uno dei suoi punti di snodo), incrocia la testimonianza (l’incontro con la donna nel pullman), sfiora la parola letteraria, mette in scena la parola domestica (quella che si pronuncia solo dentro le mura di casa). Nel film i personaggi si dicono le cose in faccia o all’opposto si prendono in giro con bugie evidenti, come mai accade in un cinema

molto codificato come quello nipponico. Senza voler svelare il mistero della femminilità, Hamaguchi costruisce un ritratto prospettico della donna giapponese vista in quattro sue variazioni: Sakurako, che vive con il marito preso dal lavoro, la suocera e il figlio adolescente, Fumi, elegante e silenziosa compagna di un giornalista innamorato di se stesso, Akari, l’infermiera sicura di sé e dei suoi sentimenti, Jun, che non riesce a ottenere il divorzio dal marito. In Happy Hour, che all’incongruenza della vita s’ispira, non ci sono vincitori né vinti. Solo ferite da leccare. E il desiderio di portare con sé questi personaggi, incontrati in un frammento della loro esistenza. carlo chatrian

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This film is like a letter which waits to be read by you. A long letter. I believe what is written in it is important, but hard to be said briefly. So I had to send it to you in this form. I hope you receive it hamaguchi ryûsuke

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PardoLive  13 | 8 | 2015

Entdecken Sie den Leoparden in sich. App «Locarno68» herunterladen, Pardo-Selfie machen und fertig ist Ihr Leopardengesicht. Holen Sie sich jetzt die App und sammeln Sie fleissig Selfie-Likes. Mit etwas Glück gewinnen Sie ein Samsung Galaxy S6 edge. #IAMPARDO Willkommen im Land der Möglichkeiten.

Teilnahmebedingungen: Am Ende jedes Festivaltages wird jeweils ein Samsung Galaxy S6 edge an den Teilnehmer mit den meisten Selfie-Likes vergeben oder bei gleich vielen Selfies verlost. Jede Person ist nur einmal gewinnberechtigt. Die detaillierten Wettbewerbsbedingungen sind in der App abrufbar und müssen von den Teilnehmern online akzeptiert werden.

The Hour of Women

Focus on Hamaguchi Ryûsuke

Happy Hour deals in an intimate and not too stereotypical way with the relationship between four friends in their thirties. How did the project start ? The film was born out of a theatrical lab. In the city of Kobe, I have given an acting workshop as part of the KIITO art residence, from September 2013 to February 2014. There were seventeen participants, of which four very charming women. I have made them work not in general classes on acting, but more focusing on their own experiences and making natural answers coming out of their physical reactions. We started from an everyday life story that I wrote with a friend of mine, but in the group I was particularly taken by the performances of the four young women and it was through this collaboration that the subject for the film was born. We met every weekend, for a total of 23 times, until we presented a public reading of what would then become Happy Hour. The movie has a very peculiar rhythm, with some scenes taking place in almost real time. How did you manage to find the pace of the film? Since in the group, and especially the four protagonists, there were no professional actors, we wrote a story that would incorporate our acting method. For this reason, we have very long scenes where the emotion builds, and others which are shorter and more immediate. We developed them in this way, but there’s no improvisation in the film : everything is the result of long hours of working with actors, who took time to enter their characters. In the film, the weight that Japanese society puts on women’s independence comes out strongly. Definitely Japanese society is extremely harsh towards women, it’s difficult for them to find financial and emotional freedom. But my film does not want to criticize, but just tries to enter deeply in the soul of these four friends, who are busy in matching the image others have of them with who they really are and what they actually want. daniela persico

Proudly presents the latest arrivals

Marco Bellocchio, director Todd Burns, producer Olivia Cooke, actress RJ Cyler, actor

Valérie Dréville, actress Fabio Gullane, producer KIKUCHI Hazuki, actor Sérgio Machado, director

Thomas Mann, actor Brian Reitzell, composer KAWAMURA Rira, actress Athina Tsangari, director

PardoLive  13 | 8 | 2015

Focus on Milcho Manchevski

PardoLive  13 | 8 | 2015

Coffee with Milcho We had the pleasure of speaking with director Milcho Manchevski (Before the Rain, Dust, Shadows, Mothers) while sipping an espresso in his hotel lobby. Mr Manchevski, you are here at the Festival as the President of Jury for the Pardi di domani selection. Your own International career started in a festival, the Venice Film Festival edition of 1994, where your first feature film, Before the Rain, received the Golden Lion. How did it feel like ? It felt like vindication. And relief. First of all, it was a success just to get the film made and get it shown in Venice. The production on that film was very difficult, the camera arrived half a week later than the day of start of principal photography, then we lost some footage, and we had some further problems in financing, so completing the film was an award in itself. Of course then it went on to Venice, which was my

very first film festival ever, where it received ten awards, including the main award. How did things change for you after that? Like a collision with a train. Before that, I would send a script to producers, and they wouldn’t even read it, because I didn’t have an agent. Then all of a sudden Robert Redford wanted to be my producer. And it’s amazing that still a lot of people relate to that film, and they tell me how they are moved, or inspired to become filmmakers themselves because of it. Do you feel a responsability now, handing awards to young filmmakers, and put them on collision with their own train? No, I never think of that, because I always have a pure relationship with the material. I only relate to the films, whether I make them, I judge them, or when I teach.

How’s the jury work going so far? I have to say that I am particularly happy in regards of the selection in Locarno, because this festival focuses on so many different aspects of filmmaking in terms of narratives. This year the festival presented Michael Cimino with the Pardo d’onore Swisscom, and he famously had problems working within the studio system. You also had a fair share of struggles there. Does the struggle continue? It’s simply not worth it. It’s not worth the time and energy to deal with the suits. They don’t have a single creative bone in their body, and they want to influence your creative vision. It’s like if someone would buy a painting from a famous artist, and then decide one day to change the color of the sky. massimo benvegnù

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Cerco di mantenere una relazione pura con il cinema – quando dirigo, quando lo guardo o quando lo insegno

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PardoLive  13 | 8 | 2015

Focus on Brian Reitzell

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Sono soprattutto un amante della musica, in tutte le sue forme: reggae, sinfonica, punk, opera… Aiuto i registi con cui lavoro a raccontare una storia creando l’atmosfera, solo che poi io la porto a casa con me. E a volte l’horror chiede un tributo al mio sonno brian reitzell

PardoLive  13 | 8 | 2015

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The Music of Chance You are in Locarno to hold a masterclass organised by Red Bull Music Academy about your work as a composer and music supervisor. And you have really a lot to tell since you’ve worked on many important scores, ranging from comedy (Stranger Than Fiction) to drama (Lost in Translation), from horror (Red Riding Hood) to thriller (the TV-series Hannibal), to period pieces like Marie Antoinette. How do you choose the right tone for a film? I like to go really deep and experiment: it’s the most challenging part of my job. It’s like designing a menu. The story, time and place suggest so much as do the characters. Once this is cracked then it’s all about execution, which is the easy part. I am above all, a music fan. I can appreciate all styles of music as long as it’s good, from Reggae to Raga to Symphonic to Punk to Opera and everything in between and beyond. Many of my favorite directors were adept at going from drama to horror to comedy…; for me it’s the same. I’m helping them to tell a story and create mood and atmosphere, except I do take them home with me. And sometimes horror takes a toll on my sleep! What’s the challenge for a musician in tackling a score? To find the sound, to create something that is special and unique to the project, because every project requires it’s own sonic identity. Everything flows from there. Once the voices and the instruments are in place, the composing begins. With which directors did you feel the most affinity? I have felt in synch with every director I have worked with, but I would say that Sofia Coppola, Gus Van Sant and David Slade have been the most natural collaborators for me. Your collaboration with Coppola has given birth to many

acclaimed soundtracks, like Lost in Translation and Marie Antoinette. For this one you made an audacious choice: to adopt electronic and rock music for an historical drama. How do you decide if the music acts as a complement or as a counterpoint of the visuals? It depends on the scene. Sometimes the music is at the forefront and others is more textural, tonal or rhythmic – guiding the story along. With Marie Antoinette, Sofia and I from the very beginning knew we wanted to get across the feeling of adolescence and to do so in a way that would translate to our audience. We just felt that Gang of Four, New Order, Bow Wow Wow and Adam Ant did that better than Boccherini, Vivaldi, Rameau... Though all of these composers are part of the soundtrack. Marie Antoinette gets much attention for the 80’s New Romantic and post Punk music but it equally contains historically correct ‘period’ music and it’s this contrast that makes it all work. Do you prefer to create the score before the scenes are shot or afterwards? With Sofia I often start during the writing process so the music plays a larger role in the overall development. The actors, cinematographer, etc. can all be listening to some of the music as they prepare which creates a nice cohesive universe for all the players to live in. With something like Hannibal I prefer to have a locked picture so I can go straight in and begin scoring the first time I see the episode. So I can capture my first response, which I find to be the best way to score horror. I don’t want to overthink anything, I want to get my first instincts and capture the same response that the audience would feel. sara groisman

Forum: Red Bull Music Academy presents

A Conversation with Brian Reitzell Hosted by Todd Burns

14 | 8 | 2015 – 13.30 Spazio Cinema (Forum)

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Focus on Jean Douchet

Present Peckinpah

Mr Jean Douchet, you’re here in Locarno as director – your short movie Et crac was screened in Histoire(s) du cinéma: Bulle Ogier – but above all as film critic you are introducing the Retrospettiva of the Festival del film Locarno dedicated to Sam Peckinpah. In which way did he change not only the idea of western, but also the way to conceive cinema? Sam Peckinpah was able to change the way to conceive time into the dramaturgy of a movie. The radition of western, a genre of the classic cinema, was strictly connected to the reaching of a goal: the happy ending. The traditional scheme was: the past is posing some problems, the present is used to face the crisis in order to be happy in future. At the time this model was put in question and Peckinpah continued this tradition, proposing movies based on action, but he is telling about a present which is based on uncertainty and doubts. Could you make some examples? Already in the second Peckinpah’s movie, Ride the High Country, there is not future anymore, but a very doubtful present. This innovation also changed the way to make cinema: for example it was possible to edit a movie mixing past and present, passing from continuity to a present which gives you no idea of what is coming. You cannot prepare future, future comes and you cannot be ready. People could understand that he was an important director, but they anyway did not love his cinema because they could not completely understand the way he made cinema. Thanks to the Retrospective offered by the Festival del film Locarno, I think that people can shape a new idea of what Peckinpah did. I am doing that myself. Peckinpah’s cinema was full of anarchy and nihilism, but not pessimistic. Of course not. He just put America in question, and he was fundamental from a political point of view. The problem of future was faced from a dramaturgic way. His cinema was not nihilist or pessimistic, not at all. It was full of awareness, and made people of aware. Choose three movies that could tell the future generations who Peckinpah was. I do not know, I would like that you do choose those movies. It is matter of taste, it is totally personal. I just recommend to pick up one movie from his early career, one from his midcareer and one from his last years of activity. But I can tell you this: there is one very important movie in which people fight against politics, police and institutions asking them only present, and to be present. The title was “Convoy”. adriano ercolani

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23/06/2015 12:49 PardoLive  13 | 8 | 2015

«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

Panorama Suisse, Grozny Blues, Auditorium FEVI, 14 | 8 | 2015 – 11.00

Locarno-Grozny solo andata Una nota apparentemente stonata, una musica lenta e bassa, Grozny Blues è quel pezzo che ti accompagna anche e specialmente quando il mondo smette di sorridere. E nel bel lavoro di Nicola Bellucci selezionato per Panorama Suisse, al di là della sfida formale e dei contenuti, senti la felicità di una visione e di una fluidità che cozzano contro l’amarissima realtà. Grozny è una città contraddittoria, come solo il blues più amaro sa essere. Troppo grande per essere davvero comunità, troppo piccola per non soffocarti. Moderna e piena di opportunità – dalle speculazioni edilizie alle pubblicità, tutto ci parla di un

futuro agognato e che vorrebbe essere salvifico – ma anche arcaica e selvaggia, nelle sue proteste così come in quell’anima religiosa e nell’islamizzazione fondamentalista che sta diventando la nuova corazza per sopportare l’imperialismo putiniano. E tutto questo è declinato al femminile, nell’arte, nelle Don Chisciotte che combattono per i diritti umani, nella musica. Grozny è un luogo fisico e dell’anima dove non sembra esserci riscatto per chi vuole sopravvivere, finché non senti una giovane donna, con un sorriso irresistibile, dire “abbiamo bisogno di una Woodstock”. In Cecenia. L’intuizione lacerante e stupenda, la verità imbarazzante nella sua

bellezza, lo scarto di un cinema che qui non si nasconde, anzi. Si moltiplicano i punti di vista e di visione: il riquadro di un programma di lettura video di un file su pc, skype, le telecamere spesso in campo, perché la finzione deve essere reale, senza filtri. Anche se così la (ri)costruzione è ancora più complessa, naturalmente. Poco più di 100 minuti di montato per 500 ore di girato. Un’impresa contraddittoria come Grozny: titanica e volutamente non conclusiva. boris sollazzo

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Il Ticino Ă¨ di moda.

14.00

News

Change in the Program

Concorso Cineasti del presente

Dom Juan

Rialto 1 14 | 8 | 2015 17.00

Semaine de la critique

K2. Touching the Sky

Rialto 2 14 | 8 | 2015 21.00

Concorso internazionale

Chant dâ&#x20AC;&#x2122;hiver

Rialto 1 14 | 8 | 2015 23.00

Retrospettiva Sam Peckinpah: Films

Pat Garrett & Billy the Kid

Cinema Ex*Rex 14 | 8 | 2015

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PardoLiveâ&#x20AC;Żâ&#x20AC;Ż13â&#x20AC;Ż|â&#x20AC;Ż8â&#x20AC;Ż|â&#x20AC;Ż2015

La cineasta Pascale Breton

Il regista Lionel Baier

La regista Jola Wieczorek

Il Vision Award Nescens Walter Murch

Valérie Dréville, attrice di Suite Armoricaine

Sara SA – Ufficio con personalità www.sara-suisse.ch

PardoLive  13 | 8 | 2015

Il regista Lee Chung.

Il cineasta Hong Sangsoo.

Bruno Ganz, interprete di Amnesia

Kim Min-hee,. attrice di Jigeumeun matgo geuttaeneun teullida.

Spensierati all’evento e prevendita alla stazione FFS. 27 RA_363 Typo-Inserat Event (i) 186x17, FiFL.indd 1

20.06.14 11:22 PardoLive  13 | 8 | 2015

re è obilia La M Partner t Even ival del st o. al Fe ocarn film L

Potete contare sul nostro rapido aiuto senza formalità. www.mobi.ch

Panorama Suisse

Grozny Blues Nicola Bellucci

Documentary, 2015, 103 min. Switzerland

Friday, 11:00, FEVI

Swiss Highlights in Locarno on Friday, August 14

Film delle giurie

Un dia y nada Lorenz Merz Fiction, 2008, 21 min. Switzerland

Friday, 16:15, L’altra Sala

Film delle giurie

cherry Pie Lorenz Merz Fiction, 2013, 85 min. Switzerland

Friday, 16:15, L’altra Sala

www.swissfilms.ch

PardoLive  13 | 8 | 2015

Beyond the Festival

A Flourishing Paradise Thanks to its favorable climate, the AsconaLocarno region can boast a stunning scenery and lush vegetation. Just by wandering around the town of Locarno, one encounters various gardens and green spots ideal for a picnic, to relax or just enjoy the sunny climate. Undoubtedly, nature is shown at its bests in the botanical parks located around the area. Thanks to the enchanting flowers and plants from all five continents, the Botanical Garden on the Brissago Islands is of major importance. Both its Mediterranean climate and position in the middle of the lake offers the ideal grounds for over 1,700

different plants, many of which are unique in Switzerland. On the lakeshore and very close to the centre of Locarno lies another extraordinary beauty: the Camellia Park with over 900 species of this beautiful flower, some of which very rare. Open all year round, the park hosts the annual camellia exhibition at the beginning of every Spring season. Spring bloom is shown at its best also on the other side of the lake: the botanical park of Gambarogno, located on a hill between Piazzogna and Vairano, hosts in fact the world’s largest collection of magnolias

(aprox. 450). The Monte Verità Park is located on the hill above Ascona and is completed with a lovely Zen Garden, the “Loreley” tea house with an attached exhibition laboratory and a tea path. Last but not least, a guided tour through the Bolle di Magadino (wetlands), a natural reservoir of National importance and also a refuge for numerous animal and plant species. info: www.ascona-locarno.com +41 848 091 091

PERCHE LA SICUREZZA NON È UN CASO. 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

PardoLive  13 | 8 | 2015

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

The Last Tweet @lorenzobuccella

Camera, Jump, Action: #GreatCinema @sakisrouvas dives into #Locarno68

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Sakis Rouvas – Chevalier

Editor Lorenzo Buccella Graphic design Dimitri Bianchini Aris Dotti Michela Di Savino

mov(i)e

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

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