Road to Il Cinema Ritrovato Il Cinema Ritrovato has taken filmlovers on unforgettable trips through the marvels of the seventh art for 29 years: classics brought back to life with recent restoration, rare movies rediscovered by film archives and cinematheques around the world, moving pictures in black and white and in color, silent movies with live music accompaniment and works from across the entire age of sound cinema, film – which still boasts over half of our program – and digital versions of new restorations. At our 29th edition we are presenting around 400 films, made between 1895 and today (all original versions with subtitles), that will light up the screens of our five theaters from morning to evening and will brighten the Bologna night sky with screenings in our extraordinary Piazza Maggiore (with a giant screen and space for thousands of viewers) and Piazzetta Pier Paolo Pasolini.
Open Air Evenings in Piazza Maggiore and Cine-concerts
There could not be a better venue than the giant screen in Piazza Maggiore for experiencing the extravagant cinematic inventions of The Third Man (by Carol Reed with Orson Welles) and the landmark Italian film Rocco e i suoi fratelli (Rocco and His Brothers, 1960) by Luchino Visconti in a magical black and white thanks to a new restoration. On Wednesday, July 1st, in Piazza Maggiore, the Orchestra of Bologna’s Teatro Comunale will perform music composed and conducted by Timothy Brock for the first two films restored for the Keaton Project, Sherlock Jr. (1924) and One Week (1920). On Saturday, July 4th, a once-in-a-lifetime opportunity to watch (and hear!) Nino Oxilia’s Rapsodia satanica (1917) in a new digital restoraRocco e i suoi fratelli tion at the Teatro Comunale. It will be accompanied live by the opera house’s orchestra conducted by Timothy Brock performing the extraordinary score by Pietro Mascagni, the first major composition for silent film by a world-famous musician. On Monday, June 29th, Piazza Maggiore will host a tribute to Peter von Bagh, our festival’s artistic director for fourteen years, from 2001 to 2014. We will screen his documentary Olavi Virta (1972) about the Finnish tango star and musician and three Laurel & Hardy shorts with music by Maud Nelissen performed live by the Dutch band The Sprockets. We are also excited to offer our audience the chance to experience the lost quality of light of carbon projections during two very special evenings in Piazzetta Pasolini: Assunta Spina by Francesca Bertini and Gustavo Serena (1915), with Neapolitan music by Guido Sodo and François Laurent, and a selection of short films celebrating special effects pioneer Gaston Velle. Liberty All 150 silent films screened at Il Cinema Ritrovato will be accompanied by musicians and composers such as Frank Bockius, Neil Brand, Antonio Coppola, Daniele Furlati, Stephen Horne, Maud Nelissen, Donald Sosin, John Sweeney and Gabriel Thibaudeau. The last night of our journey, Saturday, July 4th, is dedicated to Stanley Kubrick with a rare and exceptional 70mm version of 2001: A Space Odyssey (1968). Assunta Spina (1915) by Francesca Bertini and Gustavo Serena • Rapsodia satanica (1917) by Nino Oxilia • One Week (1920) and Sherlock Jr. (1924) by Buster Keaton • Marius (1931) by Marcel Pagnol • The Third Man (1949) by Carol Reed • Ascenseur pour l’échafaud (Elevator to the Gallows, 1957) • Portrait of Gina – Viva Italia (1958) by Orson Welles • Rocco e i suoi fratelli (Rocco and His Brothers, 1960) by Luchino Visconti • 2001: A Space Odyssey (1968) by Stanley Kubrick • Olavi Virta (1972) by Peter von Bagh • Don Giovanni (1979) by Joseph Losey • The Thin Red Line (1998) by Terrence Malick
The Cinephiles’ Heaven Recovered & Restored
Every year we present a selection of the best film restorations from around the world. In the midst of the transition from film to digital media, this classic section of Il Cinema Ritrovato offers a privileged point of view on both ways of restoring and viewing films. Varieté (Variety, 1925) by Ewald A. Dupont • The Man and the Moment (1929) by George Fitzmaurice • La Belle Équipe (1936) and La Fin du Jour (The End of the Day, 1939) by Julien Duvivier • Cover Girl (1944) by Charles Vidor • German Concentration Camps Factual Survey (1945) • On the Town (1949) by Stanley Donen and Gene Kelly • Woman on the Run (1950) by Norman Foster • Kiss Me Kate – 3D (1953) by Georges Sidney • Pather Panchali (1955) by Kiss Me Kate Satyajit Ray • L’Eau à la bouche (A Game for Six Lovers, 1959) by Jacques Doniol-Valcroze • Bunny Lake Is Missing (1965) by Otto Preminger • Xia Nü (Touch of Zen, 1971) by King Hu • 12 dicembre (1972) by Giovanni Bonfanti and Pier Paolo Pasolini • Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) by Chantal Akerman • The Memory of Justice (1975) by Marcel Ophüls • Visita ou Memórias e Confissões (Memories and Confessions, 1982) by Manoel de Oliveira
Ingrid Bergman, the Early Years
2015 marks the centenary of the birth of Ingrid Bergman, which we celebrate with a program focusing on her early career in Sweden, before she became a Hollywood star. Making her debut in the mid 1930’s, Bergman immediately revealed a remarkable natural presence on the screen, bringing character and depth to the roles she portrayed. The program also includes the newly restored versions of Europa ’51 and The Bells of St. Mary’s, and the documentary Ingrid Bergman – In Her Own Words, presented by its director Stig Björkman. Guest of honor Isabella Rossellini, Ingrid and Roberto Rosselini’s daughter. The program, curated by Jon Wengström of the Swedish Film Institute, also includes some rare shorts. En kvinnas ansikte
Munkbrogreven (The Count of the Monk’s Bridge, 1935) by Edvin Adolphson and Sigurd Wallén • Intermezzo (Interlude, 1936) by Gustaf Molander • En kvinnas ansikte (A Woman’s Face, 1938) by Gustaf Molander • Die vier Gesellen (The Four Companions, 1938) by Carl Froehlich • Juninatten (A Night in June, 1940) by Per Lindberg • Europa ’51 (Europe ’51, 1952) by Roberto Rossellini • Jag är Ingrid (Ingrid Bergman – In Her Own Words, 2015) by Stig Björkman
Seriously Funny: The Films of Leo McCarey
Starting with his movie apprenticeship at the Hal Roach Studios in the 1920s working with Laurel & Hardy and Charley Chase, Leo McCarey always focused on people and what he told Peter Bogdanovich was “the ineluctability of incidents”. Mole hills became mountains as the quirks, foibles, and piccadilloes of McCarey’s all too human characters bounced off each other and created an escalating chain of events. Over a career of thirty years, McCarey straddled silent slapstick, screwball comedy, light romance, sentimental melodrama, and even religious instruction, and managed to derail each genre in his own individual way. Program curated by Steve Massa, in collaboration with Lobster Films. The Awful Truth
His Wooden Wedding (1925) • Crazy Like a Fox (1926) • Don’t Tell Everything (1927) • Should Men Walk Home? (1927) • Wrong Again (1929) • Liberty (1929) • Part Time Wife (1930) • Duck Soup (1933) • Ruggles of Red Gap (1935) • The Milky Way (1936) • Make Way for Tomorrow (1937) • The Awful Truth (1937) • Love Affair (1939) • Going My Way (1944) • The Bells of St. Mary’s (1945) • Good Sam (1948)
The Keaton Project
Sherlock Jr.
After devoting many years to restoring Charlie Chaplin’s films, Cineteca di Bologna and L’Immagine Ritrovata are glad to announce a new, multi-year project to restore the works of another great master of the silent era: Buster Keaton. The Keaton Project, carried out in partnership with Cohen Film Collection, will be officially launched at this year’s festival with two brand new restorations: 1920 short One Week – a perfect representation (and sublimation) of the all-American ready-made house – and Sherlock Jr. (1924), an early example of film within a film and an impeccable silent comedy showcasing all of Buster Keaton virtues: his deadpan humor, his innovative technical accomplishments, his outstanding stunts and a great wealth of perfect gags. Program curated by Cecilia Cenciarelli.
Beautiful Youth: Renato Castellani
Renato Castellani debuted at a very young age with perhaps the most radical works of what was known in Italy as the ‘scuola calligrafica’. In the postwar period Castellani’s polished style turned to contemporary and working-class contexts, and he became the voice of a new youth and of an innocence almost beyond good and evil. Too often associated with cinema calligrafista or pink neorealism, Castellani is one of the most intriguing directors from the 1940s and 1950s, and also one who has aged the best. Program curated by Emiliano Morreale (Cineteca Nazionale). Un colpo di pistola (A Pistol Shot, 1942) • Sotto il sole di Roma (Under the Sun of Rome, 1948) • Due soldi di speranza (Two Cents Worth of Hope, 1952) • I sogni nel cassetto (Dreams in a Drawer, 1957) • Nella citta l’inferno (director’s cut, 1959) I sogni nel cassetto
Post War Italian Rarities
I piaceri proibiti
‘Rarity’ is a word loaded with potential meanings. This section will explore the term in four ways. Works by big film names (Zurlini, Blasetti, Maselli, Manfredi…) that have not been seen for years. Movies previously released but screened here in versions that audiences have never seen before (the reconstruction of Raffaele Andreassi’s magnificent L’amore povero, butchered and released in 1963 with the title I piaceri proibiti). Unique films you will not find in any film history book (the astonishing Super8 footage shot in a mental hospital in Turin by Professor Gustavo Gamma in the 1960s). Screenings of original prints of spectacular experiments (1950s documentaries filmed in CinemaScope and Ferraniacolor as well as four magnetic tracks by Gian Luigi Polidoro). Program curated by Andrea Meneghelli.
Jazz Goes to the Movies
A lively ‘jam session’ between reality and fiction, this program explores ‘the jazz life’ in cinema, both for its participants and for its audience, in both documentaries and fiction films. Along with major documentaries such as Jammin’ the Blues and Jazz on a Summer’s Day, the program features fiction films in which famous jazz musicians play themselves (Charles Mingus and Dave Brubeck in All Night Long) and in which listening to jazz plays a significant role (Howard Hawks’ Ball of Fire and Charles Burnett’s When It Rains). We’ll present new restorations of early sound jazz films (Dudley Murphy’s Black and Tan Fantasy), as well as rarely screened Soundies (short musical films from the 40’s). Program curated by Ehsan Khoshbakht and Jonathan Rosenbaum. Jazz on a Summer’s Day
Cab Calloway’s Hi-De-Ho (1934) by Fred Waller • Ball of Fire (1941) by Howard Hawks • Jammin’ the Blues (1944) by Gjon Mili • Begone Dull Care (1949) by Norman McLaren and Evelyn Lambert • Jazz on a Summer’s Day (1959) by Bert Stern and Aram Avakian • All Night Long (1962) by Basil Dearden • Noi insistiamo! Suite per la libertà subito (We Insist! Freedom Now Suite, 1964) and Appunti per un film sul jazz (1965) by Gianni Amico • Big Ben: Ben Webster In Europe (1967) by Johan van der Keuken
Peter Forever, Homage to Peter von Bagh
Olavi Virta
Very few people had any idea about the enormous size and the exact nature of Peter von Bagh’s cinema. In all, he made some sixty works varying from less than a minute long to a dozen hours. Peter von Bagh was obsessed by the idea of montage – of juxtapositions creating meaning. And he was enchanted by the notion of cinema as a time machine – as an art that preserves memories, resurrects the dead, offers second chances we may not deserve yet nevertheless are granted. Images and sounds were his world, his mind. From them, he created his home, a place where he belonged: his Finland. The selection we made is a Cinema Ritrovato Special, one that might give its audience a deeper appreciation of the Festival’s long-time artistic mind and heart. Program curated by Olaf Möller.
Pockpicket eli katkelmia helsinkiläisen porvarisnuoren elämästä (Pockpicket – Recollections of a Helsinki Bourgeois Youth, 1968) • Kreivi (The Count, 1971) • Sinitaivas – matka muistojen maisemaan (Blue Sky – Journey into the Land of Memories, 1978) • Päivä Karl Marxin haudalla (A Day at Karl Marx’s Grave, 1983) • Faaraoiden maa (Land of the Pharaohs, 1988) • Kohtaaminen (1992) • Viimeinen kesä 1944 (The Last Summer, 1944, 1992) • Mies varjossa (Man in the Shadows, 1994) • Edwin Laine (2006) • Muisteja – Pieni Elokuva 50-Luvun Oulusta (Remembrance – A Small Movie about Oulu in the 1950s, 2013) • Sosialismi (Socialisms, 2014)
Searching for Color in Films Technicolor & Co.
The Wizard of Oz
Il Cinema Ritrovato is on the road again to rediscovering the original color of film with a special celebration of Technicolor, which in 2015 turns onehundred (although the process became successful in the 1930s when its saturated hues became the face of Hollywood fantasy). Technicolor’s evolution is inextricably linked to film, which is why to bring its magic back to life we are screening vintage 35mm Technicolor prints from BFI, Cinémathèque française, Cinémathèque Royale de Belgique and Fox. All the way to the last film made in Technicolor, The Thin Red Line (1998) by Terrence Malick. We have a special event planned with the digital restoration of Victor Fleming’s The Wizard of Oz – 3D (1939), an ‘impossible’ restoration of a film that was not originally conceived in three dimensions. Program curated by Gian Luca Farinelli.
The Wizard of Oz – 3D (1939) by Victor Fleming • The Thief of Bagdad (1941) by Ludwig Berger, Michael Powell and Tim Whelan • All That Heaven Allows (1955) by Douglas Sirk • The Man from Laramie (1955) by Anthony Mann • Great Day in the Morning (1956) by Jacques Tourneur • Vertigo (1958) by Alfred Hitchcock • The Heroes of Telemark (1965) by Anthony Mann
Colors of Japan
When Jigokumon (Gate of Hell) reached the US in 1954, “New York Times” critic Bosley Crowther hailed it as having “color of a richness and harmony that matches that of any film we’ve ever seen”, displaying subtleties that rendered it “comparable to the best in Japanese art”. The film’s success at Cannes and in Hollywood owed much to its visually splendid use of the imported Eastmancolor process. But Japanese cinema’s embrace of color was a varied and multi-faceted experience. After silent-era tinting and pre-war experimentation, Japan produced its first successful color feature, Karumen kokyo ni kaeru (Carmen Comes Home) at Shochiku in the domestic FujiColor process. Through the first half of the 1950s, all Japan’s major studios began to investigate the rich possibilities of the new medium, both for bringing to Jigokumon life Japan’s historical past, and for recording the rapidly changing present. Program curated by Alexander Jacoby and Johan Nordström, in collaboration with the National Film Center of Tokyo.
Furusato no uta (The Song of Home, 1925) by Kenji Mizoguchi • Jigokumon (Gate of Hell, 1953) by Teinosuke Kinugasa • Hana no naka no musumetachi (Girls in the Orchard, 1953) by Kajiro Yamamoto • Konjiki yasha (The Golden Demon, 1954) by Koji Shima • Janken musume (So Young, So Bright, 1955) by Toshio Sugie • Ejima Ikushima (Ekima and Ikushima, 1955) by Hideo Oba • Shin heike monogatari (New Tales of the Taira Clan, 1955) by Kenji Mizoguchi
The Time Machine 1915: Cinema of A Hundred Years Ago Divas, Actors, Genres. The heyday of the most dazzling Italian divas, like Francesca Bertini, Lyda Borelli and Pina Menichelli, but also of ballet star Anna Pavlova, actress Betty Nansen and the charming and versatile Valentina Frascaroli. It was also the year when leading actors like Valdemar Psilander and Gustavo Serena (Assunta Spina, Rapsodia satanica, L’emigrante) became wildly popular, and tragic melodramas went hand in hand with short comedies (Danish actor and director Lau Lauritzen, USA Keystone).
Des grecs d’Asie mineure, pourchassés par les turcs
Il fuoco (The Fire, 1915) by Giovanni Pastrone • Ceux de chez nous (1915) by Sacha Guitry • Goumiers algériens en Belqique (1915) by Alfred Machin • Revolutionsbryllup (1915) by August Blom • The Dumb Girl of Portici (19151916) by Lois Weber • The Despoiler (1915-1917) by Reginald Barker
Serial – Les Vampires. Feuillade’s greatest serial, restored by Gaumont the year of its 120th anniversary. A serial that is playful and anarchic, punctuated by comic touches, unbelievable tricks and the sensual sidelong glances of Musidora, a.k.a. Irma Vep. A great film shot in a surreal, deserted Paris meant to distract and entertain audiences while the war raged on implacably. War and Armenian Genocide. The war ripped apart the Austro-Hungarian and Ottoman Empires, devastated Europe and brought the film industry and its international markets to ruin. Filmmakers like Alfred Machin and the Tunisian pioneer Albert Samama Chikly became war cinematographers for the French Army, producing a wealth of documentary footage, of which we will be screening a selection. A special separate section is dedicated to the 1915 Armenian Genocide with rare documentary footage from the 1915-1918 period and a tribute to the first Armenian filmmakers with silent films from the dawn of the Soviet age (Namus with original Armenian music, Kikos). Programs curated by Mariann Lewinsky. Etchmiadzine, Caucase: Entrée du nouveau Patriarche Armenien Gregoire V (1912) • Koutais, Caucase: Fête Juive du Koutch (1914) • Le Front Turc (1914) • Réfugiés Arméniens (1915) • American Military Mission to Turkey and Armenia (1919) • Armenia, Cradle of Humanity (1923?) • Namus (1925) by Hamo Beknazarian • Kikos (1931) by Patvakan Barkhudaryan • Kurdy-Ezidy (1933) by Amassi Martirosyan • Naapet (1977) by Guenrikh Malian
The Velle Connection 1900-1930: Gaston, Maurice and Mary Murillo
Gaston Velle, son of a magician and a magician himself who became producer of féeries and trick films for Pathé, is a celebrated name in early cinema, though he still needs to be brought from out of the shadow of his contemporaries, Méliès and de Chomón. His son, Maurice Velle, was a talented but hitherto overlooked cinematographer, working on French feature films in the 1920s, before unsuccessfully pursuing his fortune through his development of the Francita color film process (also known as Opticolor). Velle’s partner was Mary Murillo (real name Mary O’Connor), was one of the leading scenarists in American film in the 1910s. The Velle/O’Connor story covers filmmaking in France, Italy, Britain and America, across three decades. This La Peine du talion short selection of films brings together their diverse work. Program curated by Mariann Lewinsky and Luke McKernan. Vues fantasmagoriques (1902), La Valise de Barnum (1904), La Rose d’or (1910) by Gaston Velle • The Heart of Wetona (1919) by Sidney Franklin • La Princesse aux clowns (1924) by André Hugon • L’Île enchantée (1927) by Henry Roussel • Mon gosse de père (1930) by Jean de Limur • My Old Dutch (1934) by Sinclair Hill
Valentina Frascaroli, Leading Lady
Valentina Frascaroli (1890-1955) was signed up by Itala in 1909 and subsequently appears in numerous comic scenes by Cretinetti. Effervescent, cunning and catty, wise, clever, acerbic and coquettish, she was, nonetheless, better than him, and more versatile. She had a dual career, not only as comic actress alongside Deed, and alone in the ‘Gribouillette’ series produced by Pathé, but also as a jeune ingénue in dramatic titles such Sacrificata! (1910), a very early and remarkable film which has miraculously survived. Little remains of her filmography (over 100 titles) but the meagre residue is noteworthy. Program curated by Mariann Lewinsky. Sacrificata! (Sacrificed, 1910) by Oreste Mentasti • Le due innamorate di Cretinetti (Two Girls in Love with Foolshead, 1911) by André Deed • Boireau et Gribouillette s’amusent (1912) by André Deed • L’emigrante (1915) by Febo Mari • Tigre Reale (1916) by Giovanni Pastrone • Le memorie di una istitutrice (1917) by Riccardo Tolentino • Il delitto della piccina (1920) by Adelardo Fernández Arias • L’uomo meccanico (The Mechanical Man, 1921) by André Deed L’emigrante
The Space Machine A Window to World Cinema
An ongoing program exploring the unique yet universal voices of international filmmakers through new restorations by the World Cinema Project, a special program created by Martin Scorsese within The Film Foundation dedicated to preserving and restoring marginalized cinema worldwide. While the works presented this year inevitably reflect the distinctive artistic visions of their filmmakers, their aesthetic choices and narrative style, they seem to share the same need to reinvent their own brand of cinema through the portrayal of outcasts and their quest for survival. Ousmane Sembène’s harsh reflection on neocolonialism and cultural subordination in his seminal debut La Noire de… (1966), Ahmed El Maanouni’s restrained depiction of the grueling rural world of Morocco in Alyam Alyam (1978) and Lino Brocka’s exposure of the La Noire de... living conditions of the Manila slums in Insiang (1976) all speak of the same annihilation of the human being and loss of human dignity. Il Cinema Ritrovato will also pay tribute to Albert Samama Chikly (1872-1934), forgotten pioneer of Tunisian cinema, war photographer, inventor, nomad and brilliant commentator of a changing society. Tunis (1907), Concours de motoculture à Tunis (1914), Zohra (1922), Ain-El-Ghazal (1924) by Albert Samama Chikly • La Noire de... (Black Girl, 1966) by Ousman Sembène • Insiang (1976) by Lino Brocka • Alyam, Alyam (On the Days, 1978) by Ahmed El Maanouni
A Simple Event: the Birth of Iranian New Wave Cinema
Kamran Shirdel
At the end of the Iranian Revolution of 1979 the country found itself, somewhat unexpectedly, marginalized. The upheaval also forced into obscurity and inaccessibility many Iranian films from the 1960s and 1970s. Now, thanks to certain shifts in the cultural climate, the doors of The National Film Archive of Iran are open. We have grabbed this opportunity to review four key films made between 1965 and 1973 – a period later dubbed the Iranian New Wave. This selection not only reveals some of the early signposts of an Iranian cinematic revolution, it also hints at those social and political changes that were to reshape the country a decade later.. Program curated by Ehsan Khoshbakht, in collaboration with the Iranian Film Archive.
Shab-e Ghuzi (Night of the Hunchback, 1965) by Farrokh Ghaffari • Oon shab ke baroon oomad ya hemase-ye roosta zade-ye gorgani (The Night It Rained or the Epic of the Gorgan Village Boy, 1967) by Kamran Shirdel • Gaav (The Cow, 1969) by Dariush Mehrjui • Yek ettefagh-e sadeh (A Simple Event, 1973) by Sohrab Shahid Saless
Late Spring – Looking anew at the Cinema of the Thaw – Part One: Dawn
The Thaw (Ottepel’) is a period in Soviet cinema that is often evoked but rarely looked at too closely. The five, six years immediately after the demise of Stalin promised a cautiously breezy new beginning for the USSR – the realization, actually, of all those hopes and dreams rooted in the traumatic/liberating collective experience of the Great Patriotic War, its victorious end. The films connected commonly with the Thaw are prime examples of a New Orthodoxy for which few names stand as proudly as those of Michail Kalatozov and Grigorij Čuchraj – a cinema of bold formal gestures, romantic, positive. Program curated by Peter Bagrov and Olaf Möller, in collaboration with Gosfilmofond. Švedskaja Spička
Vozvraščenie Vasilija Bortnikova (The Return of Vasilij Bortnikov, 1953) by Vsevolod Pudovkin • Švedskaja Spička (The Safety Match, 1953) by Konstantin Judin • Lurdža Magdany (Magdana’s Donkey, 1953) by Tengiz Abuladze & Rezo Čcheidze • Kortik (The Seaman’s Dirk, 1954) by Michail Švejcer & Vladimir Vengerov • Bolšaja semja (The Big Family, 1954) by Iosif Hejfic • More studenoe (The Cold, Cold Sea, 1954) by Jurij Egorov • Zemlja i ljudi (Land and People, 1955) by Stanislav Rostockij • Syn (A Son, 1955) by Jurij Ozerov • Sud’ba barabanščika (Fate of a Drummerboy, 1955) by Viktor Ėjsymont • Karnaval’naja noč (Carnival Night, 1956) by El’dar Rjazanov
Documentaries
Film as a crossroads of cultural and social history of the past and the present. Portraits/investigations of great figures of filmmaking like Orson Welles, Ousmane Sembène, Serge Daney and Jean-Luc Godard. The history of Italian film of the postwar period retold by Giulio Andreotti and images of Afghanistan and India at the end of the 1930s shot by one of the greatest explorers of the 20th century, Ella Maillart.
Magician: the Astonishing Life and Work of Orson Welles
Entretien entre Serge Daney et Jean-Luc Godard (1988) by Jean-Luc Godard • Magician: the Astonishing Life and Work of Orson Welles (2014) by Chuck Workman • Giulio Andreotti. La politica del cinema (2015) by Tatti Sanguineti • Ella Maillart – Double Journey (2015) by Antonio Bigini and Mariann Lewinsky • Sembène! (2015) by Samba Gadjigo and Jason Silverman
Not Only Films Il Cinema Ritrovato shares film culture not only with daily screenings but also with a rich offering of lectures and talks with directors, historians and critics. Unique opportunities to explore and discuss film aesthetics, culture, technique and technology. Internationally recognized restoration experts will discuss the challenges behind the new restorations presented at the festival in a series of events organized by L’Immagine Ritrovata. The Renzo Renzi Library will again be home to the film publishing fair with DVD box sets and book presentations. On schedule also are Europe Cinemas’ international seminar for film exhibitors, the ACE’s general assembly, Il Cinema Ritrovato DVD Awards and much more...
Il Cinema Ritrovato Young
Il Cinema Ritrovato Young 2015 is dedicated to kids twelve and up. The line-up includes Giovani Filmmaker, a workshop on how films are made by experimenting with each phase of production, and Musica per immagini, a workshop open to young musicians and composers who will redo the music for a classic short film along with maestro Daniele Furlati. Fans of film criticism will enjoy participating in Parole e voci dal festival: an editorial team coordinated by Roy Menarini doing daily coverage of the festival with the blog CinefiliaRitrovata.it and recommending festival films for a younger audience.
Il Cinema Ritrovato Kids
Schermi e Lavagne and Associazione Paper Moon have created a special program at the Cineteca’s Sala Cervi for the festival’s littlest cinephiles. From June 24th to July 4th, every afternoon kids are invited to view a series of screenings organized by theme: from film pioneers to travelling, from dreams to the magic of fairy-tales, discovering films from the past and present, from all over Europe and beyond. The fun continues afterwards with workshops and games inspired by the films screened.
The Golden Age of Italian Film. Emilia-Romagna, the Land of Filmmakers
Why are some of the greatest Italian filmmakers from Emilia-Romagna? Why have many of Italian film’s most innovative moments happened here in this region? In honor of Expo 2015, the Cineteca di Bologna, in collaboration with Regione Emilia-Romagna, has organized a large exhibition illustrating the region’s extraordinary cinematic fertility. On view in the historic halls of Palazzo d’Accursio in the heart of Bologna, the exhibition is an open ended conversation with films, documents, pictures and testimonies. Visitors will have the opportunity to experience or re-experience films by directors like Federico Fellini, MiThe crew of Novecento (Bernardo Bertolucci, 1976) chelangelo Antonioni, Pier Paolo Pasolini, Valerio Zurlini, Florestano Vancini, Bernardo Bertolucci, Marco Bellocchio, Liliana Cavani, Pupi Avati and Giorgio Diritti and reinterpret them in the context of the unique cultural, geographic and social background that made EmiliaRomagna such fertile terrain for filmmaking.
120 Gaumont
This year marks the 120th anniversary of Gaumont, a production company with extraordinary longevity. Gaumont is featured across the various sections of Il Cinema Ritrovato, from silent film to sound. In Piazza Maggiore on the pre-opening and inaugural evenings of our festival, Friday, June 26th, and Saturday, June 27th, we are celebrating Gaumont with Joseph Losey’s Don Giovanni (1979), the first Gaumont Italia production, and Louis Malle’s masterpiece Ascenseur pour l’échafaud (Elevator to the Gallows, 1957) with a legendary soundtrack by Miles Davis and a mesmerizing Jeanne Moreau. We are also paying tribute to Gaumont with the entire serial of Louis Feuillade’s Les Vampires, a sequel to last year’s screenings of Fantômas, one of the festival’s most successful events.
Il Cinema Ritrovato Fondazione Cineteca di Bologna and Mostra Internazionale del Cinema Libero Via Riva di Reno, 72 – 40122 Bologna +39 051 2194814 – Fax +39 051 2194821 www.ilcinemaritrovato.it ilcinemaritrovato@cineteca.bologna.it facebook.com/CinetecaBologna twitter.com/cinetecabologna The program may be subject to change Cover: Jeanne Moreau in Ascenseur pour l’échafaud (Louis Malle, 1957) © Gaumont