14 | 8 | 13 Pardo Live

PardoLive Live 66° Festival del film Locarno

Wednesday · Mercoledì 14 | 8 | 2013

Peaches Douglas Trumbull Júlio Bressane Shinji Aoyama Carver and Schmidt Machoian and Ojeda-Beck

Pardo Live Partner:

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PardoLive 14 | 8 | 2013

Senza pelle | Vincitore del Prix du Public UBS nel 1994 | Anna Galiena, attrice

La giuria siete voi.

Aggiudicate il premio, vincete un premio in Piazza Grande. www.pardo.ch/ubs

Piazza Grande, Gloria, 14 | 8 | 2013 – 21:30

Tormenti di Gloria Gli occhiali dalle lenti tonde, il filo di collane di perle a girarle il collo e una voglia resistente di vivere senza remore i saliscendi delle proprie emozioni e delle proprie paure. Lei è la quasi sessantenne Gloria che dà il titolo al film e la cinepresa le sta sempre addosso, accarezzando con naturalezza e senza falsi pudori il tema dell’amore e del sesso nella terza età. Dopo il terremoto mistico di El año del tigre, passato nel Concorso internazionale nel 2011, il regista cileno Sebastián Lelio torna a Locarno, regalando a Piazza Grande una delle pellicole che più ha entusiasmato la scorsa Berlinale. A conferma, se mai ce ne fosse bisogno, di quanto quella cilena continui a dimostrarsi una delle più vitali cinematografie della scena internazionale, al Festival è presente anche il produttore del film, Juan de Dios Larraín, in qualità di giurato, mentre sette sono le nuove pellicole in post-produzione mostrate nell’ambito dell’iniziativa Carte Blanche, dedicata al Cile. Germogli per il futuro che si spera possano raggiungere l’impatto di Gloria, un film che grazie alla maiuscola Paulina García (Orso d’argento per la migliore interpretazione femminile) mette insieme un ritratto passionale e insieme dolente di una donna alla ricerca di una second life dopo anni di separazione

Fermo immagine Carlo Chatrian Artistic Director “From the moment when people are no longer sure that they have a soul or that the body will regain life, it is perhaps necessary to give much more attention to the dead body, which is ultimately the only trace of our existence in the world and in language.” Cinema enters into Michel Foucault’s reflection as its natural consequence. The mortal remains captured forever by the lens remain as perhaps the only trace of our existence. And today this trace appears more intangible than ever, or perhaps only more mysterious because digital formats do not allow it.

Concorso internazionale, Educação Sentimental Auditorium fevi, 15 | 8 | 2013 – 16:30

dal marito. Non rassegnarsi alla penombra di una solitudine e alle distrazioni di figli da tempo usciti di casa e a loro volta impegolati nei loro rispettivi legami sentimentali, per Gloria vuol dire tuffarsi nei luoghi deputati ai cuori solitari per gente attempata. Senza compatimenti, serate di ballo, drink e rossetto, motivetti cantati al volante dell’auto e una volontà di riprendersi il gusto della vita che passa anche dai compromessi del nuovo partner con cui allaccia una relazione a singhiozzo. Entrambi con le loro famiglie alle spalle, i diritti e i doveri, come se il presente dei sessantenni non potesse camminare senza la zavorra del passato.

Ed è proprio lì che il film scandaglia il baratro psicologico della situazione, aderendo al millimetro agli sbalzi d’umore della protagonista, senza scadere nello sberleffo moralistico o voyeuristico. Perché se il tono tragicomico della vicenda regge con grande equilibrio, tutto lo si deve proprio a lei, alla Gloria del film, capace di rintuzzare gli urti della vita con quella scanzonatura che mantiene viva la complessità dignitosa di chi rivendica i propri desideri. Anche quando, dopo l’ultima delusione, si ributta in pista, abbandonandosi al ballo, proprio mentre dalla consolle rimandano i ritornelli vintage-pop della canzone Gloria di Umberto Tozzi in versione spagnola. lorenzo buccella

The written page and the curve of the body. The text and its interpretation. Or its distortion. In Bressane the system of interpretations, references, symbols is as complex as this singular shot appears pure. An outline against a black background draws a bold trajectory with the light that cuts across from the side. Josie Antello, who has acted for Bressane in Cleópatra and Filme de Amor, incarnates his anti-naturalistic, experimental, materialist cinema. A cinema that breaks with convention, that plays at provoking the viewer, that takes possession of a language in which words and images can keep parallel paths or fling themselves at each other.

Point of view

Chiacchierando con Herzog Tra i tanti sentieri del Festival, prende sempre più forza e spessore quello d’avvicinamento a uno dei momenti clou di questa 66esima edizione locarnese: la premiazione del Pardo d’onore Swisscom 2013 che verrà consegnato a Werner Herzog venerdì 16 agosto in Piazza Grande. Oltre alle riproposizioni quotidiane dei suoi lavori più emblematici e alla visione dei nuovi ritratti di Death Row II, ecco la prima occasione “locarnese” per ascoltare il grande regista tedesco dal vivo. Giovedì, Herzog, infatti, partecipa a una conversazione aperta al pubblico del Festival, moderata da Grazia Paganelli, autrice di una monografia sul regista. l.b.

Appuntamento da non perdere. Alle 16.15 alla Sala.

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Fuori concorso: Shorts The Green Serpent – Of Vodka, Men and Distilled Dreams Cinema Rialto 1, 15 | 8 | 2013 – 14:00 In the long Russian winter, the nights are clear and interminable. There is a sense of eternity emanating from this frame, as though even the smoke was crystalized in the surrounding cold. The invitation is to look beyond the post-industrial landscape, with pale blue notes that recall some science fiction. This is what Benny Jaberg has done, as he films an unusual trio of Russians who, in the warmth of a home, wonder Pardo about the visionary power inherent in vodka.

www.posta.ch / sponsoring

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.

© Ivana De Maria

Piazza Grande, Gloria, 14 | 8 | 2013 – 21:30

Paulina García Actress of Gloria Gloria is always on the screen and is also a very difficult character. How did you prepare for a role like that?

Demonstrating complete commitment and being ready to work continously with the director: we had to become complementary.

Gloria did not only need a characterization; it was necessary to build a woman in all her aspects and complexity, especially showing what one tends to hide in life.

Did you want to describe a new woman model?

Women like her are here and all over the world, even if their indipendence and strength are often ignored. We wanted to describe a female model which is pretty widespread but also denied by everyone. It is preferable to see the model proposed in past. It is not feminism, but reality observation.

Cinema does not offer so many roles like that, especially to women that do not respect the “Hollywood canon”. Why? Cinema is female, theater is male.

The first one travels paths that (I think) are closer to female sensitivity, while the second one especially answers to male questions. But the point is that such roles, such scripts are difficult to find not because of the gender, but the season of life which is represented: scripts like that are achievable neither by actors, nor by actresses.

This story, these themes created a fruitful dialogue on the set, also with the other actors. It was good for the film, it gave us the opportu-

nity to improvise: this kind of collective work helped me very much in some difficult moments, when I felt alone, when I was thinking about myself like an acrobat who has to walk on a thin line carrying a beam with two big masses. A wrong detail is enough to make your acting dull or academic. I want instead to give reality back to the audience.

In the last years Chilean cinema (from Lelio to Larrain) is living an extraordinary season.

What's your secret?

The secret of the new Chilean cinema is simple: obstinacy, persistence, the great work attitude of Chilean people, the fact that we never give up. We have always a few fundings at our disposal and this helps. I know it is a provocation, but it is true that the spirit of art becomes the intimate necessity of telling a story, not the earnings. And with a few means, by the way, everyone gives his or her best – and something more. Moreover, the sons of democracy discovered cinema and this is important, beyond the massive and brutal problems which affect our country's society and economy. In fact, there is a continuous and logical dialogue in our movies, between social and intimate fields: in “Gloria” it is possible to see that dialogue in the student demonstration and in some speeches. Our country is deeply tied to politics; between Allende and Pinochet we firstly dreamed a revolution without destruction, unique in all the world; then we discovered the real consistence of our right wing, searching for a debate and facing the impossibility to have it, a sense of disappointment which affected not only our country. But we wanted to find a solution using words, and not guns. And I think that this aspect represented our secret as well.

The phone is ringing, it is a director who wants to offer you a role. Who would you like to talk with?

Mike Leigh. And Jim Jarmusch! boris sollazzo

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PardoLive 14 | 8 | 2013

© Alessio Pizzicannella

Focus, Peaches Does Herself, La Sala, 15 | 8 | 2013 – 21:00

Peaches Singer and Director

“

People think I am just concerned about sexual expression, but I am more worried about freedom of speech

”

Quali erano i tuoi film preferiti?

I musical. Adoravo tutti quelle stravaganze teatrali un po’ estreme come Phantom of the Paradise (Brian De Palma, 1974), Tommy (Ken Russell, 1975) o The Rocky Horror Picture Show (Jim Sharman, 1975), perchè secondo me tutti i musical dovrebbero essere eccessivi e anche un po’ raccapriccianti, come d’altronde anche Busby Berkeley e le sue coreografie.

Un altro film che mi ha molto influenzato è inoltre Without You I’m Nothing, con Sandra Bernhard.

Come sei diventata musicista?

Ho studiato teatro all’università, volevo fare la regista ma avevo molti problemi a lavorare con altre persone. La musica era qualcosa di più immediato e diretto. Ho iniziato tardi, verso i vent’anni, prima con la chitarra acustica, poi la elettrica, le tastiere, l’elettronica. Ho sempre cantato.

Influenzata dal cabaret e dall’espressionismo tedesco, ho dato vita alla mia miscela di electro-rock.

I videoclip erano un’altra forma d’arte per te?

Ho iniziato col Super8, un formato meraviglioso. Non avevamo gli iPhone una volta! Adoro il Super8, le sue imperfezioni, gli errori, montare le immagini in camera. I caricatori duravano circa tre minuti, quindi andavano benissimo per creare videoclip... e invece adesso ho fatto questo film – Peaches Does Herself Herself, che è la rivisitazione in chiave visiva di 28 brani dai miei primi quattro album, una risposta agli stupidi film che prendono una canzone e ci appiccicano una storia che non c’entra niente.

Ti sei mai sentita parte di un movimento?

Be’, c’è stato un momento in cui abbiamo iniziato tutti assieme, La Tigre, Chicks on Speed, Bikini Kill... una proposta musicale di matrice marcatamente femminista. Il rock classico aveva probabilmente già detto tutto, quindi bisognava re-inventarsi attraverso l’elettronica, trovare una nuova forma d’espressione.

Quali sono le tue battaglie, oggi?

Le stesse di dieci anni fa, ma se possibile mi sembra che oggi bisogna combattere con maggiore intensità. Trovo disgustoso che nel 2013 ci siano ancora situazioni come quelle della Russia, dove ci si batte per vivere liberamente la propria sessualità.

Ma non vorrei che si pensasse che Peaches si preoccupa solo del sesso, a me interessa la libertà d’espressione.

Eppoi adesso mi hanno chiesto se voglio lavorare al Bistrot Teatro Paravento, visto che mi trovate sempre lì... massimo benvegnù

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PardoLive 14 | 8 | 2013 Pardo

Focus

Douglas Trumbull Vision Award – Electronic Studio

Working on 2001: A Space Odyssey

The Concept of Silent Running

Close Encounters of the Third Kind

“The Stargate sequence was troubling all the other professionals on the film, and I remembered a technique that had been developed by John Whitney for an abstract sequence at the end of To the Moon and Beyond, depicting a microcosm of energy.

I suggested doing something similar for 2001: A Space Odyssey, but in 3D space.

When we realized the first picture, I was so amazed that I took the polaroid directly to Stanley Kubrick in his office, saying enthusiastically “I think we can do the Stargate!”.

He looked at the little black and white photo, which was still wet with fixer, and approved the project immediately.”

“Silent Running was initially a vehicle for the Drones, which was an idea that came to me after seeing Tod Browning’s Freaks. One of the performers was Johnny Eck, a handsome man without a lower body or legs. He walked on his hands, and could do amazing movements. I thought that if I could build a robot suit for a person like him, I could have a great Science Fiction character. I am very proud of this film, and to me it was an experiment in an independent filmmaking project; it was a great learning experience.”

“After Silent Running’s success, I was being courted by many studios to direct a number of science fiction films. Steven Spielberg approached me to do the visual effects for Close Encounters of the Third Kind, and I had been developing substantial 70mm camera equipment. I was eager to learn from Steven, who had just succeeded with Jaws. It was a terrific experience: Steven respected my directorial skills, and I therefore had a real opportunity to direct the effects in a way that he admired.”

2001: A Space Odyssey Auditorium fevi 17 | 8 | 2013 – 14:00 PardoLive 14 | 8 | 2013

Silent Running Cinema Rialto 1 16 | 8 | 2013 – 11:00

Close Encounters of the Third Kind Cinema Rialto 1 16 | 8 | 2013 – 18:30 8

© Xavier Lambours

New Projects and Collaborations

Trumbull’s Ultimate Goal

Shooting Brainstorm

“My passion is to develop a new cinematic language that immerses audiences in what will seem to be real – not fictional. To do this I have written, produced, and directed a short film called UFOTOG, about a man who is determined to photograph a UFO using high tech cameras, but he is deeply concerned about government agents who will thwart his project. This is a true story of my own, since I have been building systems to photograph UFOs and have had unsettling encounters with the CIA. So I am telling a story but via a fictional character. You will see what I mean when you see the film.”

“The goal is to create a new medium of immersive expression by doing cinematic experimentation and exploration that I truly enjoy. I feel like an adventurer who has found a new continent to explore. By making UFOTOG available for viewing, I hope to find interested partner/investors who will join with me on an adventure that will be great fun, very satisfying creatively, and point the way for others to participate as well.”

“Brainstorm was the first film to explore hyper-real “first person” production. The story was written to set up the ability for the camera to become someone’s point of view, justifying the hyper-real effect. I developed the film to be shot in two formats: normal 35mm, and only certain sections of the film in 70MM SHOWSCAN. But Paramount wasn’t willing to finance a film without thousands of theaters to show it in. It was a dead end, and I finally agreed to make Brainstorm at MGM more conventionally, simply cutting between 1:66 aspect ratio 35mm and 2.2:1 wide screen 70mm, as well as cutting from mono to stereo sound.”

Tecnologia per eventi e congressi.

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excerpts from an interview with carlo hintermann (see pardo.ch)

PardoLive 14 | 8 | 2013

Godetevi il Festival.

E poi a casa i programmi che vi siete persi.

Con Replay di Swisscom TV potete sempre guardare i programmi delle 30 ore precedenti. Informazioni dettagliate e un’offerta speciale Swisscom TV per il Festival vi aspettano al Cinebar Swisscom.

PardoLive 14 | 8 | 2013

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Concorso internazionale, Educação Sentimental Auditorium fevi, 15 | 8 | 2013 – 16:30

Niente è vero, tutto è possibile Endimione si è innamorato della Luna e per questo viene punito. Ma che cosa ha visto Endimione? Quale micro-frattura nel corpo astrale, quale luce imprevista, che nessuno deve vedere, negli occhi della dea? Dorme ora, Endimione. Dorme e si arrotola in una danza infinita, la danza del fotogramma perduto, la danza-tabù del romanzo segreto scritto dalla educatrice-sacerdotessa.

Dorme ora, Endimione. E cosa vede? Vede il mondo richiamarsi da sponde opposte,

lo vede inventare una melodia di rifrazioni, una geometria cosmica di riflessi. Maya Deren. Friedrich W. Murnau. L’Europa dada.

Il Brasile tribale e surrealista. Endimione ascolta la dea scrittrice e poetessa parlare con le migliaia di voci che la attraversano. La casa diventa un teatro erotico, una pittura nuda, la letteratura una storia dell’occhio (Bataille).

Non è la prima volta che Júlio Bressane eccelle in quest’arte dell’agonia, dove il cin-

ema è la scintilla da cui si genera una lingua incognita e sconosciuta, ancora tutta da scoprire. E in Educação Sentimental ogni singolo gesto racchiude il mistero universale del narrare, e ogni cosa, a ogni nuovo passo, si volta verso il principio (Benjamin, Moebius, Nietzsche). Ma attenzione al finale: niente è vero, tutto è possibile. lorenzo esposito

nipponico aveva deciso di lasciare nell’oblio a essere preso d’esame. Lontano dalle sperimentazioni di Eli, Eli, Lema Sabachthani?

Shinji Aoyama fa un film di pancia, dove

la passione è più forte della ragione, un film che rifugge la misura perché essa non è compatibile con l’arte di raccontare l’animo dell’uomo. carlo chatrian

Concorso internazionale, Tomogui Auditorium fevi, 15 | 8 | 2013 – 14:00

Donne che sopravvivono agli uomini Tomogui può sembrare un racconto misogino, una storia di violenza e di soprusi che da tempo si perpetua contro le donne (non solo giapponesi); a ben vederla la parabola di Toma e della maledizione che il padre sembra avergli trasmesso nasconde in filigrana un discorso più sfumato, come se anche il giovane fosse una vittima di un sistema diventato tara ereditaria. Quest’idea si prolunga anche nel modo in cui il film tratta le figure femminili facendone dei personaggi senza tempo, destinate a sopravvivere agli impulsi degli uomini.

Diversi aspetti collegano questo film a Unagi (L’anguilla) di Imamura, a iniziare dal rapporto conflittuale tra i sessi per finire con l’immagine del canale dove tutto parte e tutto finisce. E’ l’universo intero di Imamura, cantore di emarginati, contadini e prostitute, di quell’umanità che il cinema 11

UBS Chair. Join the Festival del film Locarno Community.

Share your impressions at www.pardo.ch/ubschair We will not rest

PardoLive 14 | 8 | 2013

Fuori concorso: Signs of Life

Programme 15 | 8 | 2013

El futuro

Dir.: Luis López Carrasco Spain · 2013 · DCP · Color · 67’ · o.v. Spanish · Subt. English

An Hour with 11.00 Spazio Cinema

Forum: Omaggio a Paulo Rocha

Conversation with José Manuel Costa, Pedro Costa, Isabel Ruth, Roberto Turigliatto Hosted by Catherine Bizern

13.30 Spazio Cinema

Forum

The Locarno Critics Academy Presents: Why Film Critics Still Matter Hosted by Eric Kohn

16.15 La Sala

Forum: Pardo d'onore Swisscom

09.00 Cinema Ex*Rex & 10 | 8 | 2013

09.30 Cinema Rialto 1

PalaVideo & 13, 14 | 8 | 2013

Masterclass with Werner Herzog

Hosted by Grazia Paganelli

18.30 Cinema Rialto 1

Forum: Vision Award - Electronic Studio

Masterclass with Douglas Trumbull

11.00 La Sala & 16, 17 | 8 | 2013

Hosted by Giona Nazzaro

Auditorium FEVI & 14, 16 | 8 | 2013

09.00 La Sala & 14, 16 | 8 | 2013

09.00 L’altra Sala & 14 | 8 | 2013

Concorso internazionale

Real

Dir.: Kiyoshi Kurosawa Japan · 2013 · DCP · Color · 127’ · o.v. Japanese · Subt. English, French

11.00 L’altra Sala & 14, 16 | 8 | 2013

PalaVideo & 14 | 8 | 2013

Dir.: George Cukor USA · 1936 · 35 mm · Black and White · 108’ · o.v. English · Subt. French, Dutch

Concorso Cineasti del presente

Yuan Fang

Va savoir

Appellations Suisse

Man kann nicht alles auf einmal tun, aber man kann

Partly Fiction

物之合

Dir.: Sophie Huber Switzerland/USA · 2012 · DCP · Color and Black and White · 77’ · o.v. English · Subt. French

14.00 Auditorium FEVI & 16, 17 | 8 | 2013

Pardi di domani

Concorso internazionale 5 La strada di Raffael

14.00 La Sala & 16, 17 | 8 | 2013

Tomogui

(Backwater) Dir.: Shinji Aoyama Japan · 2013 · DCP · Color · 102’ · o.v. Japanese · Subt. English, French Pardi di domani

Concorso internazionale 6 D’où que vienne la douleur

Endorphin Dir.: Reza Gamini Iran · 2013 · DCP · Color · 17’ · o.v. Persian · Subt. English, French

Plimbare (The Walk) Dir.: Mihaela Popescu Romania · 2012 · DCP · Color · 15’ · o.v. Romanian · Subt. English, French

Dir.: Gabriel Gauchet United Kingdom · 2013 · DCP · Color · 33’ · o.v. English · Subt. French, Italian

Chigger Ale Dir.: Fanta Ananas Ethiopia/Spain · 2013 · DCP · Color · 11’ · no dialogue

Retrospettiva George Cukor

The Chapman Report Dir.: George Cukor USA · 1962 · Beta digital · Color · 126’ · o.v. English

Concorso internazionale

Dir.: Khalil Cherti France · 2013 · DCP · Color · 37’ · o.v. French · Subt. English, Italian

Z1

Cinema Ex*Rex

Mi nayir hayelun

Harry Dean Stanton:

The Unity of All Things

(6 Big Fish) Dir.: Stefan Constantinescu Sweden · 2013 · DCP · Color · 14’ · o.v. Swedish · Subt. English, French

11.00

Open Doors Screenings

Concorso Cineasti del presente

Fuori concorso

Fuori concorso: Shorts

(Flowers from the Mount of Olives) Dir.: Heilika Pikkov Estonia · 2013 · DCP · Color · 70’ · o.v. Estonian/Russian/English · Subt. English

Dir.: Marie-Elsa Sgualdo Switzerland · 2013 · DCP · Color and Black and White · 15’ · o.v. French · Subt. English

Dir.: Pippo Delbono Italy/Switzerland · 2013 · DCP · 92’ · Color · o.v. Italian/Genoese dialect · Subt. French

6 stora fiskar

Roubava

Õlimäe õied

alles auf einmal lassen

Sangue

Dir.: Ivan Tan Singapore · 2013 · DCP · Color · 12’ · o.v. English · Subt. English, French

Dir.: Cristóbal León, Joaquín Cociña Chile · 2012 · DCP · Color · 4’ · o.v. Spanish · Subt. English

11.30 Auditorium FEVI & 16 | 8 | 2013

Tadpoles

Se Eu Fosse Ladrão...

Semaine de la critique

(Don’t Look Into the Mirror) Dir.: Suren Babayan Armenia · 2010 · 35 mm · Color · 100’ · o.v. Armenian · Subt. English

Concorso internazionale

(Distant) Dir.: Zhengfan Yang China · 2013 · DCP · Color · 88’ · no dialogue

Los Andes

11.30 Cinema Rialto 2

Histoire(s) du cinéma: Pardo alla carriera Sergio Castellitto

Dir.: Alessandro Falco Italy/Spain · 2013 · DCP · Color · 24’ · o.v. Italian · Subt. English, French

Dir.: Paulo Rocha Portugal · 2012 · DCP · Color · 87’ · o.v. Portuguese · Subt. English

09.00

Camille

Dir.: Alexander Carver, Daniel Schmidt USA · 2013 · DCP · Color · 98’ · o.v. Cantonese/English/ Spanish/ Japanese · Subt. English, French

Films 09.00

Retrospettiva George Cukor

Dir.: Jacques Rivette France/Italy/Germany · 2001 · 35 mm · Color · 220’ · o.v. French

11.00

11.00 Teatro Kursaal & 16 | 8 | 2013

14.00 PalaVideo

Schools Without Borders – Young Filmmakers Training in Switzerland and Italy, Program 2

Spensierati all’evento e prevendita alla stazione FFS.

Have fun in Ticino with the combined offers from PostBus www.postbus.ch/leisureclick

Short films of the CISA, SUPSI, SSS _ AA and the Centro Sperimentale di Cinematografia students Free admission

14.00 Cinema Rialto 1 & 13 | 8 | 2013

Fuori concorso: Shorts

Sorcière japonaise

16.30 Cinema Rialto 2

Of Vodka, Men and Distilled Dreams Dir.: Benny Jaberg Switzerland/Russia · 2013 · DCP · Color and Black and White · 20’ · o.v. Russian · Subt. English

14.00 Cinema Ex*Rex & 17 | 8 | 2013

14.00 L’altra Sala

Retrospettiva George Cukor

The Marrying Kind

Dir.: George Cukor USA · 1952 · 35 mm · Black and White · 92’ · o.v. English Introduced by Bernard Eisenschitz Open Doors Screenings

14.30 Cinema Rialto 2

16.15 L’altra Sala & 14, 16 | 8 | 2013

16.15 Cinema Rialto 1

16.30 Auditorium FEVI & 16, 17 | 8 | 2013

16.30 Cinema Ex*Rex

18.30 PalaVideo & 13, 14 | 8 | 2013

18.30 La Sala & 16, 17 | 8 | 2013

18.30 L’altra Sala & 14 | 8 | 2013

19.00 Cinema Ex*Rex

13 tzameti

Dir.: Gela Babluani France · 2005 · 35 mm · Black and White · 93’ · o.v. French/Georgian · Subt. German, French

Concorso internazionale

Forty Years from Yesterday

Semaine de la critique

Big Men

Dir.: Rachel Boynton USA/United Kingdom/Denmark · 2013 · DCP · Color · 99’ · o.v. English/ various African dialects · Subt. English Retrospettiva George Cukor

19.00 Cinema Rialto 2

Concorso Cineasti del presente

21.00 L’altra Sala & 13, 14 | 8 | 2013

Pardi di domani

Concorso internazionale 4

L’intervallo

Tremor

Dir.: Leonardo Di Costanzo Italy/Switzerland/Germany · 2012 · DCP · Color · 83’ · o.v. Napolitan dialect · Subt. Italian

Dir.: Ricardo Alves jr.

Brazil · 2013 · 35 mm · Color · 14’ · o.v. Portuguese · Subt. English, French

Concorso internazionale

Dir.: Tonia Mishiali Cyprus · 2013 · DCP · Color · 15’ · o.v. Greek · Subt. English, French

Dir.: Júlio Bressane Brazil · 2013 · 35 mm · Color · 84’ · o.v. Portuguese · Subt. English, French

21.30 Cinema Rialto 2 & 13, 14 | 8 | 2013

23.00 La Sala & 14, 16 | 8 | 2013

23.00 Cinema Rialto 1 & 14 | 8 | 2013

Histoire(s) du cinéma: Pardo alla carriera Otar Iosseliani

21.00 Cinema Rialto 1

Histoire(s) du cinéma: Omaggio a Paulo Rocha

Os Verdes Anos

Retrospettiva George Cukor

My Fair Lady

Dir.: George Cukor USA · 1964 · 35 mm · Color · 170’ · o.v. English

Mr. Morgan’s Last Love Dir.: Sandra Nettelbeck Germany/Belgium · 2013 · DCP · Color · 116’ · o.v. English · Subt. French, German

Concorso Cineasti del presente

The Ugly One

Dir.: Eric Baudelaire France · 2013 · DCP · Color · 101’ · o.v. Japanese/Lebanese/English/ French · Subt. English Concorso internazionale

Mary Queen of Scots Dir.: Thomas Imbach Switzerland/France · 2013 · DCP · Color · 120’ · o.v. English/French · Subt. English, French Appellations Suisse

Frühzug

Dir.: Delia Hess Switzerland · 2012 · DCP · Color · 5’ · no dialogue

Tutto parla di te Dir.: Alina Marazzi Switzerland/Italy · 2012 · DCP · Color and Black and White · 84’ · o.v. Italian · Subt. French, German

Nasza klątwa (Our Curse) Dir.: Tomasz Śliwiński Poland · 2013 · DCP · Color · 27’ · o.v. Polish · Subt. English, French

(Notes on Film 06-B,

Dir.: Jeremy Saulnier USA · 2013 · DCP · Color · 92’ · o.v. English · Subt. French, German

Dead End

Educação Sentimental

A Masque of Madness

Blue Ruin

Quelqu’un d’extraordinaire Dir.: Monia Chokri Canada · 2013 · DCP · Color · 29’ · o.v. French · Subt. English, Italian

Histoire(s) du cinéma: Premio cinema Ticino a Amka Films

off % 0 2 sion s i m d on a

21.30 Piazza Grande

Mardkayin patmutyun

(A Story of People in War and Peace) Dir.: Vardan Hovhannisyan Armenia/United Kingdom · 2007 · Beta SP · Color · 69’ · o.v. Armenian/ English · Subt. English

Dir.: Otar Iosseliani France/Georgia · 2010 · 35 mm · Color · 122’ · o.v. Georgian/French · Subt. French, German

21.15 Cinema Ex*Rex & 17 | 8 | 2013

Open Doors Screenings

Dir.: Destin Cretton USA · 2013 · DCP · Color · 96’ · o.v. English · Subt. French

Histoire(s) du cinéma

Dir.: Norbert Pfaffenbichler Austria · 2013 · Beta digital · Color and Black and White · 80’ · o.v. English, German, Italian, French · Subt. English

Let’s Make Love

paterazmi yev

Peaches Does Herself

Monologue 02)

Concorso Cineasti del presente

khaghaghutyan orerits

Chantrapas

PalaVideo & 16 | 8 | 2013

Dir.: Albert Serra Spain/France · 2013 · DCP · Color · 148’ · o.v. Catalan · Subt. English

Short Term 12

Dir.: Gilles Deroo, Marianne Pistone France · 2012 · DCP · Color · 100’ · o.v. French · Subt. English, Italian

21.15

Historia de la meva mort

Dir.: Robert Machoian, Rodrigo Ojeda-Beck USA · 2013 · DCP · Color · 79’ · o.v. English · Subt. French, Italian

I film delle giurie: Concorso Cineasti del presente Dir.: Peaches Germany · 2012 · DCP · Color · 80’ · o.v. English This film features scenes that could shock the sensitivity of some viewers

Dir.: George Cukor USA · 1960 · 35 mm · Color · 118’ · o.v. English · Subt. French, German

Concorso internazionale

Mouton

La Sala

Dir.: Patty Ivins Specht USA · 2001 · DVD · Color · 117’ · o.v. English · Subt. French

The End of Walnut Grove

The Green Serpent –

Marilyn Monroe: The Final Days

Dir.: Romeo Grünfelder Germany · 2013 · 35 mm · Black and White · 4’ · no dialogue

Dir.: Severin Fiala, Nikolaus Eckhard, Valentin Fiala, Klaus Haidl Austria · 2013 · Beta digital · Color · 29’ · o.v. English

21.00

Histoire(s) du cinéma

23.30 Cinema Rialto 2 & 13, 14 | 8 | 2013

Concorso Cineasti del presente

The Stone

Dir.: Se-rae Cho South Korea · 2013 · DCP · Color · 113’ · o.v. Korean · Subt. English

Dir.: Paulo Rocha Portugal · 1963 · 35 mm · Black and White · 85’ · o.v. Portuguese · Subt. English

Arena Sportiva

Combi-ticket including a 20% reduction at Tesserete’s swimming pool.

Info: 0840 852 852 or www.postbus.ch/leisureclick Webcode 10310

M ESURE ET DÉMESURE *

TONDA 1950

Rose gold Ultra-thin automatic movement Hermès alligator strap Oro rosa Movimento automatico ultra-piatto Cinturino in alligatore Hermès Made in Switzerland www.parmigiani.ch

* MISURA E FUORI MISURA

* EXACT AND EXULTANT

PARTENAIRES D’ÉMOTIONS

GIOIELLI-OROLOGI HERSCHMANN PardoLive 14 | 8 | 2013

GÜBELIN

PIAZZA G. MOTTA, ASCONA

VIA NASSA 7, LUGANO

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Concorso Cineasti del presente, The Unity of All Things 物之合 La Sala, 15 | 8 | 2013 – 11:00

Points of Collision What form(s) would an actual contemporary work of visual art assume? Alexander Carver and Daniel Schmidt (who, with Gabriel Abrantes, won the Pardino d’oro for A History of Mutual Respect Respect) attempt to answer this question with their debut feature, a globe-trotting multi-lingual queer sciencefiction satire on Otherness set amongst the background of particle colliders (some of the film was shot inside Cern, other material in China, with film stock having to have been surreptitiously smuggled out). In innumerable senses – chiefly among them visually (shot on 16mm) and narratively (I can’t begin to summarize that in this space, but links to Schmidt’s earlier work can be drawn) – The Unity of All Things 物之合, which mines the

borders of history and subjectivity, literally and figuratively, is unlike any other work being presented this year in Concorso Cineasti del presente. Carver and Schmidt’s daring proposition takes off from Fredric Jameson’s notion of Utopian form as “a representational mediation on radical difference, radical

Concorso Cineasti del presente, Forty Years from Yesterday La Sala, 15 | 8 | 2013 – 18:30

Surviving Death

otherness, and on the systemic nature of the social totality, to the point where one cannot imagine any fundamental change in our social existence which has not first thrown off Utopian visions like so many sparks from a comet.” Where it ends is up to the viewer. mark peranson

of the director. This even includes the “deceased” mother, whose performance would, in an ideal world, earn her, well, and the whole cast, more awards than can be contained in the average trophy case.

By any account unique, and by all accounts amazing, Machoian and Ojeda-Beck have fashioned something guaranteed to touch even the most callous of hearts. m.p.

Grief is a subject often touched on by films, but never before has it been evoked in such a meaningful, heart-wrenching and exhaustive way as in the debut feature from acclaimed shorts directors Robert Machoian and Rodrigo Ojeda-Beck. Forty Years from Yesterday is painstaking in its step-by-step examination of the process of dealing with the unexpected death of a loved one, focusing on Bruce (Bruce Graham), who awakens one morning to find that his loving wife of forty years has passed away in her sleep. From then on, a process unfolds that is familiar to anyone and everyone: how to deal with the body; how to arrange the funeral; how to manage with one’s personal relationship to God; how to move on. The film’s gut-punch (and stop reading now if you care about spoilers): the actors are all portrayed by their real-life counterparts–in other words, the mortician is an actual mortician, the priest an actual priest, and, perhaps controversially, the family members are the actual family members

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PardoLive 14 | 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

SWISS is delighted to be a long-term partner to Festival del lm Locarno and to offer its services for the world-famous event in the role as Official Airline

Histoire(s) du cinéma A Masque of Madness (Notes on Film 06-B, Monologue 02) PalaVideo, 15 | 8 | 2013 – 21:15

Taking Notes on Films

Pardi di domani

A volte tornano Già eravamo rimasti colpiti da Lui, Hitler et moi, il cortometraggio dello svizzero Nathan Hofstetter, che racconta l’amicizia di due folli che credono di essere, rispettivamente, Gesù e Hitler.

Poi la strana e sospetta coincidenza: nel concorso Pardi di Domani, un’altra apparizione del Baffetto più famoso della Storia dopo Charlie Chaplin, stavolta quello posticcio di un clone etiope in Chigger Ale, misterioso corto in prima mondiale firmato dalla fantomatica Fanta Ananas (leggete su pardo.ch la sua biografia), protagonista anche una capra con tanto di svastica d’ordinanza sulla zampa.

“My dear old monster, I owe everything to him. He’s my best friend,” actor Boris Karloff once quipped about his status as a horror icon, with his star-making turn as the monster in James Whale’s classic 1931 film Frankenstein being followed by decades of mostly typecast, but brilliant performances. Aware of the irony, but also sincere in his tribute to the legendary actor, Austrian director Norbert Pfaffenbichler’s A Masque of Madness (Notes on Film 06-B, Monologue 02) rearranges this career as a schizophrenic horror trip: Only Karloff appears in the images, interacting with himself – in all kinds of different masks and disguises, miraculously changing age, occasionally even race, language and gender! The second part of a diptych devoted to horror stars – the preceding, A Messenger from the Shadows (Notes on Film 06-A, Monologue 01), was a silent made up from Lon Chaney’s surviving films – A Masque of Madness is another major highlight in Pfaffenbichler’s Notes on Film D’altronde, dalla Troma a Russ Meyer, passando per Tarantino e cycle, a series of hugely entertaining and playfully profound found Mel Brooks, il più terribile dittatore del Novecento è ormai feticcio footage extravaganzas. Pfaffenbichler has created his own kind of comico assicurato. Lo sa bene Bruno Ganz ridoppiatissimo su Youoften hilarious meta-horror-movie, in which the lonely star absurdly Tube in ogni guisa. massimo benvegnù disintegrates in multitudes of his image(s), yet is unable to escape his cinematic destiny, while haunting imAlina Marazzi, director Reza Gamini, director possible spaces created by the effortless reThe arrivals of the day, Delia Hess, director Shinji Aoyama, director combination of half a century of film history. thanks to SWISS José Manuel Costa, actor Sandra Nettelbeck, director Masaki Suda, actor Norbert Pfaffenbichler, artist christoph huber Maurizio Nichetti, director Mihaela Popescu, director

Arleen Cuevas, producer Philipp Kreuzer, producer

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 17

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 14 | 8 | 2013

Offcuts 14 | 8 | 2013

Christoph Blocher, protagonist of L’Expérience Blocher

Margaret Ménégoz, Premio Raimondo Rezzonico

Kiyoshi Kurosawa, director of Real

Camille Rutherford, actress of Mary Queen of Scots Douglas Trumbull, Vision Award - Electronic Studio

Sandra Sain, the beautiful host of Piazza Grande

Alina Marazzi, director of Tutto parla di te

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:

www.fondazionebally.ch PardoLive 14 | 8 | 2013

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Paulina GarcĂ­a, actress of Gloria

Gilles Deroo, director, and Michael Mormentyn, actor of Mouton

SebastiĂĄn Lelio, director of Gloria

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Shengze Zhu, producer of Yuan Fang

Thomas Imbach, director of Mary Queen of Scots

PardoLive 14 | 8 | 2013

Energia ticinese, per il Festival www.aet.ch info@aet.ch

Premio Cinema Ticino

Amka e Ventura, volti del cinema ticinese Dopo il direttore della fotografia Renato Berta (2009) e il regista Villi Hermann (2011) la terza edizione del Premio Cinema Ticino va a omaggiare ex aequo le due case di produzioni, Amka Films Productions e Ven-

Tiziana Soudani Amka Films

tura Film, che negli ultimi anni più si sono distinte nell’orizzonte cinematografico ticinese. Cerimonia di premiazione, stasera, in Piazza Grande. Poi le proiezioni omaggio: per Amka Films L’intervallo (Cinema Rialto 1, 15

| 8 | 2013 – 16:15) di Leonardo Di Costanzo (2012); per Ventura Film verrà presentato Le quattro volte (Cinema Rialto 1, 16 | 8 | 2013 – 16:15) di Michelangelo Frammartino (2010). l.b.

Elda Guidinetti e Andres Pfäffli Ventura Film

Beyond the Festival

From Jamaica to the Frozen Lake of St. Moritz Among the several directors, actors and producers who crowd the pages of the Locarno66 official catalogue, on page 252 we find a sportsman: the Jamaican sprinter Usain Bolt, showing all his athletic talent on the Letzigrund Stadium running track. He is only one of the champions who yearly take part to one of the Top Events of Switzerland (TEOS), the association that collects the best sport and culture happenings of our Country – including the Festival del film Locarno.

The world’s fastest man (who recently won the World Championships 100m in Moscow with a time of 9.77s) will be in fact in Zurich on August 29th to run at the Weltklasse Zürich, followed some days later by the best golf players who will compete in the Omega European Masters Crans-Montana (from 21

September 5th to 8th). For the winter sports fans, the Ski World Cup Wengen (January 17-19 2014) will be one of the main events in the Ski World Cup season; the frozen expanse of the Lake of St. Moritz will otherwise

host the White Turf St. Moritz historical races. Three sessions are scheduled: on February 9th, 16th and 23rd, when the magnificent Engadinian town will host more than 30,000 spectators. mattia bertoldi

Yesterday’s prize draw winner is: Tiziano Locarnini, CH – 6513 Monte Carasso Pick up your prize at the UBS branch, Largo Zorzi, Locarno.

PERCHE LA SICUREZZA NON È UN CASO. PardoLive 14 | 8 | 2013

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Utilizzate il cinema come supporto pubblicitario attraente per attirare l’attenzione del pubblico sui vostri messaggi pubblicitari.

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Kiyoshi Kurosawa 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

Advertising Raphaël Brunschwig Oriana Pivetta Luca Spinosa publicitas Print Salvioni Arti Grafiche

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