PardoLive 68° Festival del film Locarno
Marco Bellocchio Jeremy Dawson Alfonso Gomez-Rejon SĂŠrgio Machado
PardoLive Partner:
Prix du Public UBS
Giant Feelings “The way it feels when you see yourself on that gigantic screen is indescribable. Up there your foot suddenly becomes eight metres long. There’s nothing as impressive as the images in Piazza Grande.” Young German actress Saskia Rosendahl is describing how it felt to make her entrance on the international cinema stage at the Festival del film Locarno in 2012. The film was Lore, by Australian director Cate Shortland, in which Rosendahl played the young protagonist. “My memory of the moment when the screening started? I was with my mother, who was watching the film for the first time, and I kept looking around to see how everyone was reacting. But magically, despite all those thousands of people around us, the at-
mosphere managed to remain incredibly friendly.” Not least because the film, which tells the story of a group of children travelling through a devastated Germany in the aftermath of World War II, touched a chord with 8,000 viewers in one go. That year’s Prix du Public UBS was a direct result. “To have acted in the film that won the people’s vote gives you a feeling you’ve never had before. It’s truly a special honour to receive an award that comes directly from your audience.” That’s the kind of unfiltered feeling that only Piazza Grande’s uniqueness can bring. Lorenzo buccella
Fermo immagine Carlo Chatrian Artistic Director
Piazza Grande, I pugni in tasca, 14 | 8 | 2015 – 23.00
Fists in the pocket and a head that’s bursting. A mouth open to show the teeth, but issuing no sound. The huge family home isolated on the ridge of a hill, surrounded by snow that shows no signs of melting. The house and its stuffy, shut-up smell: the small rooms and the large terrace. And, beyond the courtyard, the road along which one can drive into town…
La rabbia giovane “Durante la proiezione la gente rideva, ma erano risate per certi versi isteriche, proprio perché molti erano rimasti spiazzati dalla visione del film”. 50 anni fa, nel 1965, Marco Bellocchio a Locarno presentava quella sua opera prima, I pugni in tasca, e qui trovava quella rampa di lancio internazionale che divenne subito storia. Una storia che stasera torna all’origine, perché si riprende lo schermo di Piazza Grande e lo fa con la brillantezza di un bianco e nero appena passato dal restauro dalla Cineteca di Bologna. Che è anche un modo per cercare di recuperare l’impatto di un film che allora irruppe come una testa d’ariete nel panorama cinematografico. Con fredda dinamite infilata sotto tutti i legami di una famiglia di provincia, fuori norma in ogni suo componente, sprovvista per sempre della figura di un padre e qui attraversata senza alcuna mediazione nar-
Like a map, which from the protagonist leads to the world around him, Marco Bellocchio’s film unfurls in our memory. Anyone familiar with his films will recognize Bobbio, the dialect and a few quips – “Va in Trebbia” (go to Trebbia). But rewatching it now, it is Italy that enters the frame in this film, so precisely locatable in terms of history and geography, and so powerful that it leaps out of the era in which it was made. An Italy that goes beyond the ’68 revolution because, in the end, Ale is not a revolutionary, but a victim of himself. Like his brother Leone, or his sister Giulia. Or their mother, who sees nothing and understands little. Despite the propensity for irony (certain lines are indomitable – “Vuoi una caramella?”, do you want a
Marco Bellocchio rativa. Nella casa malata di Sandro e dei suoi fratelli non c’è più possibilità di nascondiglio, tutto rimane sempre perennemente a “vista”, annodato a quel gorgo di rivendicazioni e frustrazioni che non sono più solo una frattura generazionale. Non a caso, nel ritorno a frusta di quell’elastico che divide desideri di fuga verso la città e l’impossibilità concreta di ogni tipo di allontanamento, l’unica persona che non pare avere piena consapevolezza di quello che sta accadendo è l’unica che non può vedere. Ovvero la madre cieca, memoria sbeffeggiata di un’autorità ormai svanita, ormai ridotta alla stregua di un oggetto ingombrante e, non a caso, prima vittima della volontà di ribellione dello psicotico personaggio interpretato da Lou Castel. Basta un gesto della sua mano, sventolata tra naso e fronte, e subito salta via quella risonanza emotiva e morale che poco prima impediva di tradurre in azione i propri sogni omicidi. È il nuovo tic tac di un teatro della crudeltà sbattuto in faccia al mondo, per un “giovane” film che sembra nato così, con l’urgenza drammatica di farsi subito adulto, senza nessun filtro o travestimento, e che appena nato è diventato storia. lorenzo buccella 3
sweet?) and a taste for verging on the grotesque, Bellocchio remains a tragic filmmaker because his characters are subject to a fate (the course of history) that overtakes and envelops them. In this sense, I pugni in tasca (Fists in the Pocket) is a cultural-origin film, a film that already speaks to the relationship between the director and his material. A film to be watched and rewatched, even just to savour the beauty of the sound of the voices and faces speaking different languages.
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Focus on Marco Bellocchio
It All Started Marco Bellocchio is a fighter. A 76-year-old wonder boy always anticipating his times, a revolutionary who unmasked conformism before others could even imagine to do that, fifty years ago he brought his first film, I pugni in tasca, to Locarno. To this day, the movie is still present, explosive, tearing apart. I pugni in tasca in 2015, again in Locarno. How do you feel about it? It’s amazing. it’s undeniable how that call from Camillo Beretta (President of Festival del film Locarno in 1965, ndr), has been important for me and the movie. I recall the Kursaal screening, the first ever in a theater for a work of mine. A unique feeling, I can still hear the nervous and embarrassed, explosive laughter, unexpected during the screening. Many told me some scenes were so strong and unsettling, and I obviously couldn’t realize it at the time. The movie won the Vela d’Argento. Since then, you started a long and difficult relationship with festivals. But, unlike other directors, you never quit. Why? A festival is a very important place to face colleagues, critics, yourself and, above all, the audience. There are many different rules: for example I pugni in tasca wasn’t selected at
the Venice Film festival because Chiarini wanted to award Luchino Visconti with the Golden Lion. He had never won. The Locarno people saw it, still not dubbed, and fell in love with it. I was happy for the award, even if it was the first of many second places. The important thing is to participate, but even winning is not bad. That said, I have a lot of lifetime achievement awards… Do you consider the Pardo d’onore Swisscom a kind of compensation? No, I was absolutely happy for that award. Maybe because of my Jesuit education I’m not a person thinking “I deserved to win”. That’s the thing: Marco Ferreri, a jury member, endorsed me while the Russian juror Čuchraj opposed my movie. Then, at the Moscow Film Festival, after many months of international successes, the movie was banned. You always seem ahead of your times as a director. Maybe this is why some of your works were misunderstood at that time? It’s not on me saying that. But it’s true that I pugni in tasca anticipated the 1968 movement which identified with it. I was upset when films like Diavolo in corpo or Il regista di matrimoni were misunderstood. I am always inspired by real life in order to make films,
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which then are considered political or social, or revolutionary even if I make classic cinema. I never had an intellectual approach: I remember that, for I pugni in tasca, a critic was so disappointed because he asked me philosophical questions, thinking I was an Heidegger academic. He went away bewildered. What does cinema represent for you today? Image, in every form. I’m not a writer. As Astruc said, camera is my fountain pen, my way to express myself. I hope to be healthy in order to keep going, but in a lighter way. I think about Pippo Delbono, who showed Sangue here in Locarno, shot with his cell phone. We have to reflect on new ways of filming. Cinema is for me something still deeply involving. I can create only with the urgency of emotion. The rage, the will to innovate that you put in I pugni in tasca will never let you… Not the rage, it would be ridiculous to live it again. On the other hand, describing the issues of old age is not something appealing to me, I think nostalgia is pathetic. I prefer working with younger people, just like in Bobbio, just like my last project. I prefer the validity of future to the past. boris sollazzo
Yesterday’s prize draw winner: Claude Kissling 4
© Alessio Pizzicannella
Here
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PardoLive 14 | 8 | 2015
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Focus on Cineteca di Bologna
Il chiaroscuro ritrovato Gian Luca Farinelli Direttore Cineteca di Bologna
Flying with SWISS the Festival welcomed… 7
“È da qualche anno che ci occupiamo di restauri...” inizia ironico Gian Luca Farinelli, direttore della Cineteca di Bologna. “Diciamo che se I pugni in tasca compie cinquant’anni, noi facciamo restauri da 25, eppure credo che il lavoro fatto sul film di Marco Bellocchio sia uno degli interventi più sorprendenti che ci sia capitato di fare. Questo si deve alla sua qualità, al fatto che è un film che non invecchia e rimane anzi non riconciliato e non riconciliante, ma anche alla sua storia produttiva. Il progetto nasceva in maniera indipendente, ma Bellocchio riuscì ad acquistare per girarlo la pellicola piu’ importante dell’epoca, la DuPont, quella utilizzata dai grandi autori per creare un bianco e nero molto contrastato. Ma purtroppo il piano fallì perché il laboratorio di stampa velò il negativo, e per 49 anni il film venne visto in tanti toni e mezzi toni di grigio non spinti. Adesso, grazie ad una serie di “tempi giusti”, ovvero l’uso del digitale, la disponibilità di Bellocchio a collaborare (anche in quanto attuale presidente della Cineteca), il lavoro di Daniele Ciprì, che di Bellocchio è l’abituale direttore della fotografia, abbiamo riportato ne I pugni in tasca quei contrasti che il suo autore aveva in mente quando lo girò. Tecnicamente, abbiamo scansionato il negativo originale in 4K, per poi lavorare a livello di post-produ-
Marco Bellocchio, director Michael Cimino, director Clotilde Courau, actress Cécile de France, actress
Andy Garcia, actor Marthe Keller, actress Marlen Khutsiev, director Udo Kier, actor
zione per ottenere i risultati voluti, che sicuramente soprenderanno chi già conosce il film tra il pubblico della Piazza Grande, perché scopriranno la vicinanza estetica del film con i chiaroscuri del “cinema nuovo” di quegli anni, della Nouvelle Vague, di Cassavetes e tanti altri. È un vero e proprio caso esemplare, un po’ per le condizioni eccezionali in cui ci siamo trovati, un po’ perche’ il film ritorna a Locarno cinquant’anni dopo. Ci sono progetti per la distribuzione? “Certamente, attraverso Cinema Ritrovato al Cinema ri-distribuiremo il film nelle sale da ottobre, e poi sara’ disponibile in DVD.” La Cineteca non si occupa solo di classici, ma interviene anche sul cinema contemporaneo, come nel caso di Bella e perduta di Pietro Marcello, in Concorso internazionale a Locarno: “Pietro fa parte dei giovani autori per i quali l’uso della pellicola è una novità. Mi viene in mente una battuta di Alice Rohrwacher che mi ha detto: “per me il digitale è la normalità, la mia sorpresa è la pellicola.” La scelta di Pietro, che e’ un autore che scava in profondità nella Storia, di utilizzare una pellicola 35mm, perlopiù scaduta, per raccontare l’Italia violentata di questi tempi mi ha molto incuriosito.” massimo benvegnù
Walter Murch, editor Edward Norton, actor Bulle Ogier, actress Amy Schumer, actress
PardoLive 14 | 8 | 2015
Piazza Grande, Me and Earl and the Dying Girl, 14 | 8 | 2015 – 21.30
An Endle PardoLive 14 | 8 | 2015
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You have to deeply love cinema in order to comprehend its role in Alfonso Gomez-Rejon movie. You have to experience movies on your skin, with all their emotional power. You have to run on the shore with Antoine Doinel, or struggle in the Amazonian jungle with Werner Herzog and Klaus Kinski. Greg, Me and Earl and the Dying Girl’s main character, made movies his purpose in life but, year after year, movie after movie, he used them to keep it far from him. That same life inevitably crashes into him in the worst way, through the eyes and the lovely smile of Rachel, girl affected by leukemia. Everything changes: Greg’s vision of the world becomes more intense and painful, even against his will. And suddenly movies are not enough anymore: they are something already created, stories already told, even if in such a wonderful way. In order to confess his true core to his friend, he needs to come back to the pure meaning of image, movement, sound. And in doing that he exposes himself and confesses his own inadequacy in a scene about communion and harmony that’s bound to stay printed in the audience’s mind for the next few years. Adapting Jesse Andrews’ novel, Alfonso Gomes-Rejon composes an articulate puzzle, which matches Wes Anderson and Michel Gondry in it’s aesthetic, but also has a throbbing heart. The director puts the entire movie on 23-year-old Thomas Mann’s surprising powerful shoulders, and he rewards him with a perfect performance, giving life to an indolent and absolutely human teenager. Hats off to all of them. adriano ercolani
ess Sight (1)
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PardoLive 14 | 8 | 2015
Five questions to Jeremy Dawson
The Lord of Indies Mr. Dawson, the last movie you produced is Me and Earl and the Dying Girl, another story about a dying teenager in a very short time in American movies. Is this a clear message of a youth discomfort running in the U.S.? I don’t think so. I think it is part of the long tradition of coming of age stories. In the United States finishing high school and moving into college is a major turning point for many people. We go from the cocoon of home life to living away from our families and on our own. How people learn about and face the real world as they reach that crossroads and find that life is rich and complex and imperfect is an enduring theme. This film is ultimately about friendship and growing up more than about discomfort. You produced the last four Wes Anderson’s movie. How did you start working with him? My original background is in visual effects, often working with directors with a strong vision and helping them realize it without compromising their aesthetic. Wes first contacted me when he was making The Life Aquatic with Steve Zissou and interviewed me. Needed someone to help with the underwater world in the film. It wasn’t that dramatic a story – I had an interview and I got the job and that was that!
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You also have a longtime collaboration with Darren Aronofsky for whom you created many motion graphics. Isn’t it strange to be a producer and visual effects designer at the same time? Yes it is, but I think that it helps me that I have a visual background. I can often find solutions for the directors using that experience. And keeping up with my design side is fun and fulfilling for me. Grand Budapest Hotel has been a huge success and ran among favourites at the Oscars. Are Indie productions the new majors, just like the Weinsteins were in the 90s? I don’t think they are the new majors, I just think that in a world of sequels and tentpole films the only films that can take the risks to be unique and interesting are the indies. That makes these films stand out at awards time. For every Grand Budapest Hotel or Birdman there are many other good ones we never see except at festivals. Are you excited about screening your movie in Piazza Grande, in front of 8,000 people? Yes. I can’t wait! I heard you can eat dinner while you watch which sounds like fun. It is my first time at Locarno and we are truly honored to be here. alessandro de simone
PardoLive 14 | 8 | 2015
Gioventù & Cinema “
Il film parla di un giovane uomo che comprende che tipo di persona vuole essere e deve fare i conti con il significato di perdere qualcuno proprio quando lo si sta cominciando a conoscere
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thomas mann su greg
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Interpretare Rachel è stata un’occasione speciale: è una ragazza che ha una grande dignità. Ci tiene alla maniera in cui gli altri la percepiscono. Non si tratta solo di apparire carina ma di saper indossare la propria personalità artistica
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olivia cooke su rachel
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Già quando abbiamo fatto il casting ho capito che mi sarei potuto divertire. Lavorare con Olivia e Thomas è stato fantastico, siamo diventati una grande famiglia rj cyler su earl
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PardoLive 14 | 8 | 2015
Vivere momenti commoventi: la Posta è anche questo. La Posta fa molto piÚ 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
Piazza Grande, Heliopolis, 15 | 8 | 2015 – 21.00
La strada della musica La più celebre orchestra giovanile composta da ragazzi tolti dalla strada è certamente l’Orquestra Simón Bolívar fondata in Venezuela da José Antonio Abreu, sostenuta da direttori come Antonio Abbado e capace di lanciare una giovane bacchetta come Gustavo Dudamel, diventando modello per progetti simili in tutto il mondo. In Brasile il “sistema Abreu” ha ispirato l’Instituto Baccarelli di São Paulo, che nel 1996 ha raccolto 36 giovani del quartiere di Heliópolis, il più grande e degradato della metropoli, convincendoli a imbracciare violini e violoncelli invece di ingrossare le fila delle bande che controllavano la favela, dando così origine alla Orquestra Sinfônica Heliópolis, di cui Zubin Mehta è diventato patron nel 2005. Una storia di riscatto da povertà e criminalità, sulla capacità della musica di cambiare il cuore di ognuno, in una città dai mille contrasti, unica al mondo: gli ingredienti di questa straordinaria vicenda erano perfetti per essere narrati, e per primo lo ha fatto l’impresario e sostenitore dell’orchestra Antônio Ermírio de Moraes in Acorda Brasil, pubblicato nel 2006, a cui Sérgio Machado si è ispirato per Heliopolis. Perno della trama narrativa che conduce alla scoperta del mondo e delle difficoltà dei giovani musicisti di Heliópolis è il personaggio di Laerte, virtuoso violinista residente nei quartieri bene della città, ma incapace di reggere la tensione delle audizioni che contano, e costretto dalle bollette da pagare a ripiegare sull’insegnamento. Si troverà di fronte una classe a malapena al corrente di come si imbraccia uno strumento e si legge uno spartito, ma dietro quei volti arrabbiati scoprirà qualche vero talento (facendo i conti col proprio) e soprattutto tante vite non rassegnate al destino che la società ha scelto per loro, determinate a rivendicare in musica la loro dignità. sergio fant
Mobility Partner Festival del film Locarno 15
PardoLive 14 | 8 | 2015
Pardo del cuore
Critic’s Verdict
What’s Your #Locarno68 Favorite of All?
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Many art house films, symbolically speaking, fart in their audience’s perplexed faces, but the movie ironically entitled Entertainment does that eschewing all symbolism and false pretence. And this uncompromising position I deeply respect
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Stas Tyrkin Komsomolskaya Pravda Daily, Russia Schneider vs. Bax
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L’olandese Alex van Warmerdam racconta di un sicario che il giorno del suo compleanno deve ammazzare uno scrittore – con figure bieche, humor grottesco e immagini meravigliosamente composte e fotografate. Perfetta unione di cinema d’autore e di genere
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Christian Jungen NZZ am Sonntag, Switzerland
Entertainment
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Non è facile, nell’impegnativo programma di quest’anno, scegliere un preferito. Tra i molti titoli non bisogna per esempio dimenticare il grandioso pezzo collettivo di Heimatland! Il mio film preferito del Festival di quest’anno
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L’Accademia delle Muse
Heimatland
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My favourite of the festival is L’Accademia delle Muse, a deceptively simple picture which reveals increasing complexities as it unfolds. So many directors these days try to blur the lines between documentary and fiction, but hardly any do so with the wit, elegance and rigour displayed by Guerin in this playful but penetrating disquisition on desire, self-delusion and hypocrisy. And any film which features Sardinian shepherds performing their polyphonic drone immediately places itself some way ahead of the flock
Neil Young The Hollywood Reporter, USA
PardoLive 14 | 8 | 2015
Herbert Spaich Südwestrundfunk - SWR kulturFILM, Germany
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Forse non è il mio film preferito, ma è quello che ha saputo instaurare con me il legame più intimo e strano. Un film sull’indicibile, sul segreto che ognuno si porterà nella tomba. Un film sulla vita che se ne va e che il cinema cerca, invano, di trattenere
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Raphaële Bouchet RTS, Switzerland
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No Home Movie
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Il film preferito? Potrei rispondere la poesia animata da Schwizgebel: cinque minuti di pennello con Schubert a raccontare la cavalcata di un padre per salvare il figlio allucinato dalla febbre. Il piano sequenza mi ricorda che anche io sono un padre e che anche io cercherei di correre più veloce della morte
Un bellissimo affresco rinascimentale sul bello, la bellezza, la trasmissione della bellezza
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L’Accademia delle Muse
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Original, inventive, playful, the new film from the great catalunian filmmaker diffuses once more the frontiers between documentary and fiction and proves that is possible to make a motion picture with motion thinking
Damiano Realini RSI, Switzerland
Luciano Monteagudo Página/12, Argentina
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Lorenzo Codelli Positif, France
Erlkönig
L’Accademia delle Muse
“ Cosmos
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After a fifteen year absence from filmmaking Andrzej Zulawski’s return is a real event and reveals him to be just as inventive and uncompromising as ever. There is a wild energy and intensity to Cosmos that is hard to resist. The emotions are teased and bruised by the mixture of absurdist comedy and unexpected poignancy
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È stato un Festival eclettico e molti film mi hanno colpito. Uno era La Belle Saison, che trasmetteva molto bene l’atmosfera dei primi anni Settanta in Francia, rivoluzionaria in senso pienamente costruttivo, con un femminismo che non era andare contro l’ordine costituito ma cercare rapporti più equi tra le persone
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Mehmet Basutçu Cumhuriyet, Turkey
La Belle Saison
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Allan Hunter Screen International, UK
Per la sua capacità di raccontare, solo con la forza delle immagini, il tempo dell’uomo e quello del marmo, e il desiderio di bellezza degli umili
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L’infinita fabbrica del Duomo
Francesca Monti Giornale del Popolo, Switzerland
Tikkun
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Con il dispiacere di lasciare fuori altri buoni titoli, direi che il mio voto va a Tikkun di Avishai Sivan: film ostico ma denso e affascinante che in bianco e nero e con grande rigore formale esplora dall’interno la problematica religiosa ultraortodossa, mettendone in luce gli estremi confini di spiritualità e follia
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Alessandra Levantesi Kezich La Stampa, Italy
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Un approccio originale e sorprendente a una tematica difficile e complessa. Un disperato inno all’”inutilità” della bellezza
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Antonio Mariotti Corriere del Ticino, Switzerland Bella e perduta
PardoLive 14 | 8 | 2015
Pardo del cuore
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Per aver cancellato la frontiera tra documentario e fiction con la seduzione delle idee e dei volti che le portano
A teenage couple facing the arrival of an unwanted child. Sound familiar? Maybe, but the young FrancoBelgian director gives the story a rare mix of truth and intensity, relying on his young stars, Kacey Mottet Klein and the heartbreaking Galatea Bellugi
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Nicholas Elliott Cahiers du Cinéma, France
Aurélien Ferenczi Télérama, France
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L’Accademia delle Muse
Keeper Tikkun Olmo & the Seagull
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I’ve been seduced by directors’ feminine sensibility, they showed the changes caused in an actress by pregnancy
Rui Martins Correio do Brasil, Brazil
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Perché va contro tutti i fanatismi, chiarendo che l’uomo è libero e il suo dovere è amare
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Ci sono stati tanti film interessanti ed è difficile sceglierne uno, ma se devo farlo è Chevalier
Guy Lodge Variety, UK
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Ugo Brusaporco LaRegione, Switzerland
Chevalier
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I sogni del lago salato di Andrea Segre perché è un’impresa impossibile: mettere a confronto due paesi così diversi e due epoche storiche distanti in un film personale che riesce a centrare l’obiettivo
Jigeumeun matgo geuttaeneun teullida
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Between what one does and what one could have done there’s a gap with a thousand stories to tell, a thousand films to shoot and some are just bigger than others. If déjà vu is nothing but a construction, Hong definitely knows how to use its powers
Francisco Ferreira Expresso, Portugal
Steve Della Casa Hollywood Party, Italy
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I sogni del lago salato
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Between psychoanalysis and magic, a research about personal and cultural identity
Suite Armoricaine
PardoLive 14 | 8 | 2015
Antoine Duplan Le Temps, Switzerland
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For the freshness and Buñuel-like wisdom with which Iosseliani puts forward his vision against contemporary cinema’s sense of time
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Maurizio Porro Corriere della Sera, Italy
Cosmos
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A tale full of mysteries where the main character, as usual in Andrzej Zulawski’s cinema, understands life, love and art as a feverish state. A charming and beautiful delirium packed with humor and echoes of Resnais and Oliveira
Eulàlia Iglesias Caimán – Cuadernos de Cine, Spain
Chant d’hiver
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La dimostrazione che si può girare un film intelligente senza mettere a dura prova la pazienza dello spettatore. Il contrario di certe operazioni studiate a tavolino per impressionare le giurie e i critici: furbe, ma pochissimo appassionanti sullo schermo
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Mariarosa Mancuso Il Foglio, Italy
Der Staat gegen Fritz Bauer
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Sharp criticism of society in a compelling story, current questions about ethics and morals and excellent acting. The film works as a thriller, historical drama and psychological study. Thrilling cinema at its best
Schneider vs. Bax
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Watch the whole list and all the other comments on
A buffalo is dreaming aloud, speaking tenderly about a world without humans anymore, and all you want to do is agree: Pietro Marcello’s Bella e perduta, a hybrid docu-fictional reflection on dislocation is one the most decidedly accomplished works of this year’s edition
Alexandra Zawia Wiener Zeitung, Austria
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Bella e perduta
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Peter Claus Deutsche Presse Agentur, Germany
pardolive.ch PardoLive 14 | 8 | 2015
A great award for Marco Bellocchio and Michael Cimino. A great honour for us. For the 19th time, Swisscom is the main sponsor of the Festival del film Locarno. And just like every year, the Pardo d’onore is going out to two of the most influential directors of our time. We would like to congratulate Marco Bellocchio and Michael Cimino and thank everyone who helped us make this Festival del film Locarno possible. Welcome to the country of possibilities.
Panorama Suisse, Chrieg, Auditorium FEVI, 15 | 8 | 2015 – 11.00
Dry Cold Swiss-German Summer Matteo (brilliantly played by Benjamin Lutzke) is a 15-year old boy who, like many of his peers, thinks no one really understands him. Then, one night, two men remove him from his home and take him to a summer camp where he’s supposed to do hard labor. Except his fellow youngsters have effectively taken over the camp, rebelling against adult authority. Nearly a year after its world premiere at the San Sebastian festival, Simon Jac-
quemet’s first feature film remains a blistering cinematic experience. Chrieg is a portrait of troubled youth that abandons the usual urban environments for the punishing mountain landscape, beautifully captured by Lorenz Merz’s cinematography, which won the Swiss Film Award in March. Zurich-born director Jacquemet follows his young protagonist and his friends with an empathetic eye, showcasing the doubts and problems of a “typical” teenager with
News
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Change in the Program 11.00 Rialto 3 15 | 8 | 2015 11.00 Rialto 1 15 | 8 | 2015
Concorso internazionale
Heimatland Concorso Cineasti del presente
Les Êtres chers
Rialto 1 15 | 8 | 2015 17.00 Rialto 1 15 | 8 | 2015 17.00 Rialto 2 15 | 8 | 2015
the right balance between tenderness and brutality. Loneliness, peer pressure, bullying and sexuality are the main ingredients of a genuine gut-punch that shocks from the very first scene on and never lets go, while never forgetting its human core. Chrieg showcases a violently promising directorial talent that deservedly closes this year’s Panorama Suisse program. max borg
Concorso internazionale
Bella e perduta Concorso internazionale
Tikkun Semaine de la critique
Lampedusa in Winter
YOUR APP FOR MOVIE THEATRES & MOVIES SCHEDULE I TRAILER I MOVIE REVIEWS
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PardoLive 14 | 8 | 2015
Eat different. Mediterranean Cuisine, Japanese Restaurant, Berber Tent, Lounge Bar, panoramic terrace, wide wine selection, Kid’s Corner and a keen eye for details. BLU Restaurant & Lounge Via G. Respini 9 +41 (0)91 759 00 90 www.blu-locarno.ch info@blu-locarno.ch
re è obilia La M Partner t Even ival del st al Fe rno. Loca m l fi
Potete contare sul nostro rapido aiuto senza formalità. www.mobi.ch
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Beyond the Festival
Buon compleanno, Ticino Film Commission Sono passati 16 mesi dalla fondazione della Ticino Film Commission, ente senza scopo di lucro volto a sostenere ogni tipo di produzione audiovisiva realizzata (anche solo in parte) in Ticino per promuoverne il territorio e l’economia. Sostenuta dal Cantone, l’associazione ha da poco varato un nuovo sito Internet (www.filmcommission.ch) che dà la possibilità di esplorare alcune delle suggestive location offerte dal territorio, ma anche di informarsi circa le possibilità di produzione presenti in Ticino e conoscerne i professio-
nisti attivi nell’audiovisivo. Tra i servizi formalizzati in questi primi mesi di attività vi sono anche l’assistenza per l’ottenimento di permessi di ripresa, l’aiuto nella ricerca di strutture nonchÊ l’intermediazione con hotel e ristoranti del luogo. Per celebrare questo primo anniversario, la Ticino Film Commission ha presentato nel corso della 68° edizione del Festival del film Locarno un’importante iniziativa dedicata a tutte le donne attive nel mondo dell’audiovisivo cantonale. Queste sono state contattate
e invitate a fotografarsi in un ritratto comprendente un nastro rosso – il colore ufficiale dell’associazione. Gli scatti sono stati i protagonisti di una serie di affissioni e oggi visibili sul portale della fondazione. Il Festival del film Locarno è uno dei quattro membri fondatori della Ticino Film Commission, insieme all’Associazione film e audiovisivi Ticino (AFAT), Gruppo registi e sceneggiatori indipendenti della Svizzera italiana (GRSI) e Ticino Turismo. mattia bertoldi
Beyond the Festival
Cinema Around the Clock This year, Swatch and the Festival del film Locarno are even more connected. The 68° edition, in fact, gave the opportunity to launch a new collaboration which has involved and has been felt on several levels: on the one hand Swatch proposed a special, Pardo-like Swatch which has become one of the most wanted Festival gadgets. On the other hand it introduced two new Prizes: the Swatch First Feature Award (Prize for Best First Feature) and The Swatch Art Peace Ho-
tel Award, a special mention offering a 3 to 6 month stay in the Shanghai hotel of the same name. A special place where art and creativity are hosted by a historic luxury building, shaping unpredictable collaborations. One, however, has already been established: thanks to the Locarno Summer Academy, one of the artists coming from the Shanghai residency will be among the participants of this Festival initiative. m. b.
So fängt Zukunft an. Ins_Pardo_Live_2014_DE_1156_4C_186x17.indd 1
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Beyond the Festival
Wellness Destination There is no better way to relax and recharge than enjoying the Mediterranean climate and the stunning landscape of our lake region. Vacationing on Lake Maggiore is good for the soul, with magnificent views like for example thermal pools reflected in the calm of the lake, providing moments of deep relaxation. These are some of the reasons why Ascona-Locarno has received the “Wellness Destination” quality label awarded by the Swiss Tourism Federation. Proof that the region offers top quality wellness services! At
Ascona-Locarno you will find modern thermal baths (Termali Salini & Spa and Lido Locarno), wellness hotels, special health facilities as well as a wide selection of walking and nordic walking trails and vitaparcours (health paths). To complete the offer, you will find magic places offering you peace and quiet such as the mythical Monte Verità and the yoga path along the hills of the Gambarogno area. Set within a breathtaking landscape and rich with cultural heritage, a wide selection of hiking trails through nu-
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merous valleys – Centovalli, Onsernone, Vallemaggia and Verzasca Valley, will lead you to discover our most hidden gems. Escape into a world of pleasure … Your wellbeing deserves a treat in one of our renowned resorts. Leave behind the daily routine and rejuvenate your body and soul. info: www.ascona-locarno.com/wellness +41 848 091 091
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Piazza Grande 18 - 6600 Locarno_CH Telefono +41 (0)91 752 00 61
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PardoLive 14 | 8 | 2015
La masterclass del compositore Brian Reitzell
Il vescovo di Lugano, monsignor Valerio Lazzeri, con il Presidente Marco Solari
Kawamura Rira, Mihara Maiko, Kikuchi Hazuki e Tanaka Sachie, attrici di Happy Hour.
La squadra di Me and Earl and the Dying Girl
Spensierati all’evento e prevendita alla stazione FFS. RA_363 Typo-Inserat Event (i) 186x17, FiFL.indd 1 PardoLive 14 | 8 | 2015
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Il regista Hamaguchi Ryûsuke
I registi Philip Cartelli e Mariangela Ciccarello
Il Pardo d’onore Swisscom Marco Bellocchio.
Il direttore della fotografia Marcelo Durst, il regista Sérgio Machado e il produttore Fabiano Gullane di Heliopolis
pressbooks.ch 27
PardoLive 14 | 8 | 2015
«Una bella storia rimane entusiasmante fino alla fine.» Pensaci, ora tocca a te.
Swiss Life, partner ufficiale dei Pardi di domani, sostiene i talenti svizzeri del cinema e offre una previdenza completa – per una vita più lunga e secondo le proprie scelte. www.swisslife.ch/pensacioratoccaate
Beyond the Festival
Ticino Moda Wears Gucci Cinema and fashion seem to be two worlds apart, but it is extraordinary to see how they are sometimes necessary to each other. On the one hand luxury brands are promoting their articles through advertisements which are often small cinema jewels, on the other hand movies’ producers are often helped by the charisma and the importance of some companies. And we are not only talking about Devil Wears Prada and other fiction features focused on fashion industry. Let’s take Gucci as example: the Italian company has cultivated a Hollywood con-
www.fondazionebally.ch
nection since the Fourties and from 2006 to 2013 donated more than 2 millions dollars to Martin Scorsese’s Film Foundation, which has preserved and restored classics, such as John Cassavetes’s A Woman Under the Influence (1974) to Francesco Rosi’s Il Caso Mattei (1972). The brand also established an annual Gucci Award for Women in Cinema, dedicated to women’s artistic achievement in film. It is then even more surprising to discover that most of the clothing articles and accessories sold worldwide by Gucci are
passing through its logistics centre in the Canton of Ticino, a real strategic centre for the Italian company. Logistics, in fact, is one field of fashion business which is widely developped on our territory and proudly represented by Ticino Moda, the association which gathers the main fashion industries in our Canton and help them to grow up in our economy organising events, putting them in connection with local schools and representing them in front of politics and public institutions. mattia bertoldi
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.
Swiss Highlight in Locarno on Friday, August 14
Panorama Suisse
chrieg
Simon Jaquemet Fiction, 2014, 110 min. Switzerland
Friday, 11:00, FEVI
www.swissfilms.ch
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PardoLive 14 | 8 | 2015
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
The Last Tweet
Warning! My Film is to Die For #Locarno68
@lorenzobuccella
www.gettyimages.com/entertainment
Olivia Cooke – Me and Earl and the Dying Girl
Editor Lorenzo Buccella Graphic design Dimitri Bianchini Aris Dotti Michela Di Savino
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Writers Massimo Benvegnù Mattia Bertoldi Max Borg Alessandro De Simone Adriano Ercolani Lorenzo Esposito Sergio Fant Aurélie Godet
mov(i)e
Sara Groisman Mark Peranson Daniela Persico Boris Sollazzo
Guest photographers Alessio Pizzicannella – cover Sabine Cattaneo Fabrizio Maltese Vittorio Zunino Celotto – mov(i)e
Photographers Gabriele Putzu (TiPress) Fotofestival (Marco Abram, Massimo Pedrazzini, Samuel Golay, Sailas Vanetti)
by Vittorio Zunino Celotto
Advertising Raphaël Brunschwig Elisa Bazzi Luca Spinosa publicitas Print Salvioni Arti Grafiche
PardoLive 14 | 8 | 2015
© UBS 2015. All rights reserved.
Enjoying together Unique moments at the Festival del film Locarno. ubs.com/festivaldelfilmlocarno