Cécile de France - Festival del film Locarno

PardoLive
68° Festival del film Locarno
Thursday · Giovedì 6 | 8 | 2015
Cécile
de France
Sina Ataeian Dena
Igor Drljača
Vimukthi Jayasundara
Marlen Khutsiev
Pascal Magontier
Masayuki Mori
Guillaume Senez
PardoLive Partner:
Festival del film Locarno
Das Leben der Anderen
Vincitore del Prix du Public UBS nel 2006
Sebastian Koch, attore
Prix du Public UBS
Votate e vincete: scegliete il vostro film preferito
in Piazza Grande e vincete un iPad Air.
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Fermo immagine
Carlo Chatrian
Artistic Director
Piazza Grande, La Belle Saison, 7 | 8 | 2015 – 21.30
Piece
of My Heart
A city’s soil is hard, it lets your foot rebound and will give you momentum. The
countryside’s wetland however will threaten to swallow you and make walking a
struggle. Delphine, a country girl, uses these words to describe her feeling of disparity to Carole, a city dweller and feminist activist. It is the 1970s in Paris, and
amphitheaters are the setting of loud, forward thinking debates. After meeting a
group of students dedicated to improving the rights of women and homosexuals, Delphine has been soaking up an invigorating libertarian energy. Yet when
reality calls her back to the more traditional lifestyle of her parents’ farm, her
blossoming feelings for the beautiful Carole must withdraw into hiding.
Catherine Corsini made an inspired choice when offering the part of the
conflicted Delphine to the charismatic Izïa Higelin, a talented (and bestselling)
musician who, at the age of 25, had showed promise in supporting roles but was
yet to be given the opportunity to show her acting range. This is what she does in
La Belle Saison, moving comfortably between doubt and bravery, and forming
a most charming couple with her more experienced co-star, the radiant Cécile
de France.
When told for the first time about politics, a farmer‘s wife protests, “But I do
have a salary! My husband’s” – embarrassing our pioneering duo. If the obsolescence of her ingenuous comment is a given for today’s audiences, other areas of
confusion still feel, sadly, very familiar, such as the hateful reflexes that the idea
of a homosexual relationship triggers in the small community.
Il cinema per Marlen Khutsiev è l’atto di avvicinarsi a
cogliere nel brusio di fondo l’intimità di una voce. Non
si tratta di sentir echeggiare l’urlo dell’eroe, simbolo in
cui si rispecchia una comunità, ma di ascoltare la voce
interiore di persone comuni. Giovani per lo più e abitati
da una voglia di vivere che oltrepassa le frontiere. I
film di Khutsiev ci portano l’istantanea di una nuova
generazione russa che riletta oggi avrà il sapore un
po’ nostalgico di un’occasione perduta. Rivedere però i
suoi capolavori (Infinitas, Bastion Il’ich…) serve anche
a rilanciare lo sguardo verso altri film che compongono il programma di quest’anno.
In Ma dar Behesht (Paradise) la giovane protagonista
nasconde la sua insoddisfazione dietro grossi occhiali;
parla sempre meno, Hanieh, nonostante faccia la
maestra in una scuola di periferia in Iran. La messa
in scena di Sina Ataeian Dena predilige i piani fissi e
lascia che sia il montaggio a creare gli scarti e dare il
senso di una realtà ormai compromessa.
Ma dar Behesht
Più composito come ritratto ma altrettanto disincantato è l’ultimo lavoro di Vimukthi Jayasundara. Sulanga
gini aran (Dark in the White Light) è una cupa riflessione sull’uomo del XXI secolo, sul suo rapporto con il
prossimo, sugli impulsi di autodistruzione che abitano
il mondo. Su questo fondo nerissimo, Jayasundara
innesta come in squarci di colore la sua personale,
indispensabile, ironia.
È la stessa ironia che ci porta al Premio Raimondo
Rezzonico di quest’anno. Il cinema di Takeshi Kitano
usa proprio quest’arma come glorioso antidoto a un
mondo popolato dalla violenza e dalla sopraffazione.
One thing is evidenced by Corsini’s touching drama. However essential theoretical analysis and collective movements are in the process of change, it is at
a more intimate level that the harshest battles are fought and the most heroic
decisions must be made.
aurélie godet
3
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Piazza Grande, La Belle Saison, 6 | 8 | 2015 – 21.30
La Saison de
Cécile de France, in your career you have embodied
all the possible shades of femininity, even in some
of the most complicated moments of one’s life.
What did you feel about La Belle Saison?
I really liked the idea of taking part to a movie which
was set in the Seventies. When I read the script I could
feel the militant atmosphere of those years. It was
already written like that – with demonstrations, group
meetings, the force of ideas; it was full of energy, vitality, dynamism and it was moreover telling a great love
story with tenderness. I felt destabilized when I read it.
I am not receiving so many scripts which are so intense,
and Catherine Corsini also told me she would not have
shot the movie without me.
Even if it is the first time you are working together,
the bond between you and Catherine Corsini is
strong. Did you recognize yourself in Carole’s
character?
It is very difficult to answer this question because I rarely draw a parallel between me and my characters – I
feel like I understand better the women I am performing than myself. But as soon as I read the script, I
thought that Carole was an open-minded woman, at
ease with her body, full of energy as I am. However,
Catherine’s directing was fundamental – it permitted
me to show a side of me which is really exciting and
liberating.
The movie brings us back to an atmosphere full of
activism and freedom movements. What have the
present days inherited from that era?
PardoLive  6 | 8 | 2015
Today we are feeling that age as something distant,
but we have not to forget that we are indebted to them
for the rights to abortion and contraception. Now we
are living a regression moment. Personally, what I am
feeling more indignant about is the concept of womanobject, as conceived in our society’s advertising world.
As you have demonstrated in this movie as well,
you have the great ability to move from a comedy
context to the dramas, from genre movies to arthouse cinema. What is the secret of this versatility?
It is quite simple: I am getting bored pretty easily, then
I am attracted by different roles. I like to put myself
in the most varied conditions in order to always reach
a creative status pushing myself beyond, while I am
doing my job.
In your career you have worked with greath authors: from Klapisch to Dardenne brothers, not to
mention Giannlo and Eastwood. Which experience
left a mark on you?
Actually, the year I was called from Eastwood and the
Dardennes represents something special: it helped me
to work on my ability to adapt because they have opposite methods. With Eastwood you are on a big set and
you are doing a single take, with the Dardennes you
are rehearsing a lot as you are preparing a theatre play.
The first one is looking for the magic of the momentum,
the other two the depth of an inner search. From that
year, I am feeling able to do whatever they are asking
me to do.
daniela persico
4
Cécile
5
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Piazza Grande, Le Dernier Passage, 6 | 8 | 2015 – 23.00
© Fabrizio Maltese
www.fabriziomaltese.com
Preistoria 2.0
Pascal Magontier
Scientifico e immaginifico allo stesso tempo. Le Dernier Passage: 28 minuti filmati in
un piano-sequenza in soggettiva, realizzato
interamente a partire da rilevamenti 3D. Il
tutto per offrire allo spettatore la visione
“impossibile” della grotta Chauvet-Pont
d’Arc, uno dei più grandi siti della storia
dell’umanità, con le sue incisioni rupestri, così com’era quando i suoi scopritori l’hanno percorsa per la prima volta nel
1994. E cioè vergine rispetto a tutte le infrastrutture costruite in seguito per permetterne lo studio e la conservazione. “Il nostro
scopo” spiega il regista francese Pascal Magontier “era quello di mostrarla idealmente così come gli ultimi uomini preistorici
hanno potuto vederla prima che il suo accesso non fosse reso impossibile dal crollo dell’ingresso. Ma, naturalmente, adesso
filmarla al di fuori delle passerelle sarebbe
stata un’operazione irrealizzabile, se ci si
fosse attenuti a un approccio documentario
Prix du Public UBS
7
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classico”. Ed ecco allora l’intervento magico della tecnologia, al servizio di una metodologia del tutto sperimentale. “Per farlo,
siamo partiti dalla creazione di una sorta di
clone digitale della grotta, attraverso una
mappatura dei rilevamenti. Non soltanto
delle pareti rocciose e dei disegni, ma anche dei soffitti e dei pavimenti con le loro
impronte d’orso e ossa di animali di specie
diverse”. Una piattaforma scientifica che si
è fatta viaggio cinematografico senza il minimo rischio in materia di conservazione,
conformemente alle priorità del Ministero
della Cultura Francese. “Quella che offriamo adesso è una vera e propria esperienza,
col desiderio che ogni persona presente in
Piazza Grande possa avere la sensazione di
vivere fisicamente questo dernier passage
nella grotta dipinta più antica della storia
dell’umanità”.
lorenzo buccella
Yesterday’s prize draw winner:
Gerrit Kern
PardoLive  6 | 8 | 2015
Five questions to Marlen Khutsiev – Pardo alla carriera
War
and Peac
Marlen Khutsiev, this Pardo alla carriera is
an opportunity to revisit your work. Bastion
Il’ich and July Rain are both emblematic of
the Khrushchev Thaw, representing a Soviet
New Wave. Did you feel you were part of a
new, worldwide cinematic movement?
No, I had no opinion on the matter. I just made
pictures as I felt was right, that’s it. There was
something in the air. I hadn’t even seen L’eclisse, my favorite Antonioni, until after we’d
wrapped July Rain. I was just caught in the rain one day, so I stepped
into a phone booth and started fantasizing...
Only one of your films, It Was the Month of May, deals with WWII
explicitly, and yet the war echoes throughout your oeuvre. The veterans’ reunion in July Rain, the postwar everyday life in Two Fyodors,
the father’s photo in Bastion Il’ich.
Absolutely. Even in my first movie there is a poem about the war. The
thing is, I didn’t fight. I had been a sickly boy, so I was turned down
because I still looked like a child. This is sort of like a debt I’ve been
repaying ever since.
One of your most memorable scenes is the meeting with the dead father, killed in combat, at the end of Bastion Il’ich. This search for the
lost father is another one of your motifs. How autobiographical is it?
My father died in 1937. I woke up one morning, and he wasn’t there. My
stepmother told me he had gone away on a business trip. What kind of
business trip? After a while I understood her. Once, when I was already an
adult living in Moscow, I had a dream of meeting my father on the bus and
hugging him. Bastion Il’ich is, of course, a deeply personal picture. I even
used to say that the three main characters were all me. One of them stood
for my inner turmoil and doubts; the second one, for my family situation at
the time; and finally, the third one was the person I aspired to be.
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ce
Infinitas is not just your magnum opus but also a retrospective of
all your previous films. It’s filled with allusions: for example, you
replicate the dance-floor scene from Two Fyodors.
So it seems. There are references, of course, though it hadn’t really occurred to me. I came up with Infinitas long ago, while I was working on
Bastion Il’ich. Everything at once: the title, the selections from Bach, the
meeting of the protagonist with his younger self. Everything except the
ending which took me a while to write. It’s my most serious film. It may
be a little too long, but I couldn’t bring myself to edit anything out. On the
contrary, I had to throw away a subplot – the German one. My character
didn’t fight in the war, and yet he meets a German POW... The scene of
the soldiers leaving home in 1914, which is for me a very painful page in
history, was pretty short in the screenplay, but it ended up growing into
an elaborate, complex sequence.
“
Da giovane sono stato scartato
dall’esercito, non ho mai combattuto.
I miei film sono dedicati alla guerra anche
per ripagare questa sorta di debito
marlen khutsiev
”
The protagonist receives worn-out daguerreotypes from a stranger
who quotes a Pushkin poem. “You speak as though you were his
contemporary”, the protagonist says. Let’s talk about your most
recent project Not Yet Evening, the story of Chekhov meeting Tolstoy,
which you’ve been working on for over decade. Is it based on archival
materials?
No. All the dialogue is fictional. My son wrote it. The only factual basis is
that Tolstoy actually visited Chekhov in the hospital when he was sick.
There’s a letter by Chekhov that says, “Tolstoy dropped by. We talked
about immortality”. That’s it. Is it possible nowadays for a distinguished
man of letters to visit a young writer? That really struck a chord with
me. Then I came up with the idea for the second part of the movie, which
matters a lot to me. It’s about Chekhov visiting Tolstoy in Crimea. This is
where the theme of immortality is resolved. We see some shoots sprouting, and Tolstoy says, “This is it. This is immortality right here.”
boris nelepo
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che c’è in voi.
Scaricate la app «Locarno68», create un selfie Pardo e il vostro volto
da leopardo è pronto. Procuratevi subito la app e raccogliete
molti «mi piace» per il vostro selfie. Con un po’ di fortuna vincete
un Samsung Galaxy S6 edge. #IAMPARDO
Benvenuti nel paese delle possibilità.
Condizioni di partecipazione: al termine di ogni giornata del festival
viene assegnato un Samsung Galaxy S6 edge al partecipante, il cui
selfie ha raccolto il maggior numero di «mi piace». In caso di parità
si procede al sorteggio. Una sola vincita per persona. Le condizioni
dettagliate del concorso sono visibili nella app e devono essere
accettate online dai partecipanti.
Concorso internazionale, Ma dar Behesht, Auditorium FEVI, 7 | 8 | 2015 – 14.00
Paradiso
del malcontento
Difficile credere che Ma dar Behesht (Paradise) sia un’opera prima. Concepito come
il capitolo introduttivo di una trilogia sulla
violenza, costituisce molto più che un esordio promettente. Un innegabile esempio di
come è possibile raccontare una storia con
forza, emozione e intelligenza – risultato
reso possibile da un affiatato trio di produttori: Yousef Panahi (fratello di Jafar e partner
di produzione), Amir Hamz (al lavoro anche
su Der Nachtmahr, presentato nel Concorso
Cineasti del presente) e lo stesso regista del
film, Sina Ataeian Dena, alle cui conoscenze nel campo dell’animazione e dei fumetti
si devono le meravigliose composizioni visive e l’elegante dinamica del film.
Dotato di un altrettanto spiccato senso
delle strutture narrative, il cineasta sa bene
come accoglierci in un film (con un’introduzione tanto inquietante da non lasciare alcun dubbio sull’ironia insita nel titolo) e ci
invita a partire, ma trattenendo il respiro.
La meravigliosa Dorna Dibaj – artista e
per la prima volta attrice – è Hanieh, un’inse-
11
gnante 24enne obbligata a percorrere quotidianamente un lungo tragitto da Teheran al
posto di lavoro in periferia. La sua richiesta
per un trasferimento nel centro cittadino va
per le lunghe, e la sua esperienza a contatto
con l’inferno dell’amministrazione scolastica si aggiunge alle consuete pressioni a cui è
sottoposta una donna iraniana.
In qualità d’insegnante occupa una posizione chiave nella formazione intellettuale
di una nuova generazione di ragazze, ancora ricche di potenziale ed energia. Ma ormai
spossata dalla situazione e nonostante alcuni piccoli atti di ribellione, Hanieh sembra
perdere la capacità di vedere come il suo
stesso comportamento alimenti il mostro
alla base dei suoi tormenti. L’approccio narrativo di Sina Ataeian Dena è tanto sottile da
non necessitare di personaggi maschili per
accennare a quel terrore sessuale di fondo
che le controparti femminili sembrano aver
assimilato, come se si trattasse della norma.
aurélie godet
“
All of us experience
violence in daily life in some
extent – it is like a ghost
here and there, it seems like
a natural part of life for this
species, human beings. We
carry it out. Ma dar Behesht
is a film about this “ghost”
sina ataeian dena
”
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Vivere momenti commoventi:
la Posta è anche questo.
La Posta fa molto più 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
Concorso internazionale, Sulanga gini aran, Auditorium FEVI, 7 | 8 | 2015 – 16.30
The Shadows
of a Man
“
In definitiva, questo
film è basato sulla mia
fascinazione per la “grande
domanda” che tutti noi ci
poniamo ma che non osiamo
fare ad alta voce: cos’è il
senso della vita?
C’è un senso nella vita?
vimukthi jayasundara
”
There are many versions of a given story. Its
oral transmission, a fundament of Vimukthi
Jayasundara’s cinema, contributes to multiplying its form and meaning. In the filmmaker’s 2009 film Between Two Worlds, a
pair of fishermen jointly composed a tale by
adding chapters of their own, one after the
other. The story’s mythical value resonated
as it found echoes in what first appeared
to us as a single-layered narration, before it
took turns and backward jumps that blurred
the lines between reality and dream, to a
point where even its own protagonist was
left flabbergasted. In Mushrooms (2011),
fate’s arbitrariness was underlined by the
utterly opposite directions that the lives
of two brothers had taken after their tragic
separation.
Finding oneself on the lucky side of the
draw is only one variant of the story. And
in any case, our limited human minds may
lack the clarity needed to perceive the full
scope of possibilities in front of us. Sulanga gini aran (Dark in the White Light) is,
again, an exploration of revealing grey areas, with a particular interest for death and
the diverse impact of its imminence on our
minds. A young man chooses to under-
stand it better and to do so, takes the way
of enlightenment. A doctor, too familiar
with death and seemingly unafraid of it,
embraces his shadow self but abandons
all goodness in the process. A selfish organ
trafficker is shortsighted about his own fear
of dying. A submissive assistant is crushed
by the preoccupation with his own survival.
Their paths cross or collide, but one thing is
bound to unite them in the end, death being the conclusion to all human stories. Or
is it…?
aurélie godet
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13
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«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
Concorso Cineasti del presente, Keeper, La Sala, 7 | 8 | 2015 – 11.00
L’adolescenza
non è una parata
“
Taking off
from a situation
of powerlessness,
Keeper is a movie
about desire. I like
to think that a film,
at a certain point,
starts to exist by
itself. It is time now
to make it fly,
and I am proud to
live this moment
here, in Locarno
guillaume senez
15
”
Il tempo della spensieratezza e della scoperta
della sessualità. Soltanto un lampo iniziale,
perché subito, con la notizia di una gravidanza a sorpresa, scatta quella trappola delle
responsabilità che inizia a togliere spazi e
tempi all’adolescenza, finendo per asfissiare i
sogni cullati nell’ingenuità dei propri 15 anni.
Segue questo ticchettio implacabile il piano
inclinato su cui scivola Keeper, il film del
regista franco-belga Guillaume Senez che
vede il ritorno in un ruolo da protagonista di
Kacey Mottet Klein, lanciato come spalla di
Léa Seydoux nel 2012 da Ursula Meier nella
pellicola Sister. Questa volta, da promettente portiere di una squadra di calcio, divide
con Galatea Bellugi
scena e passioni,
condensate nell’arco di nove mesi. Quella
sorta di conto alla rovescia esistenziale che
costringe una coppia di ragazzi appena usciti
dall’infanzia al confronto quotidiano con bivi
e dilemmi imposti da una gravidanza prematura. Un travaglio che nel film, braccando
quegli spazi dove l’imprudenza cozza contro
il lento montare di ansie e preoccupazioni,
s’incide sui loro volti e sul saliscendi dei loro
stati d’animo. Ed è come un muoversi sul posto, nel perimetro di un’intimità che proprio
per la giovane età dei protagonisti si sfrangia
per le inevitabili invasioni del mondo adulto.
Con quel futuro che diventa un gioco in difesa per parate ancor più difficili di quelle su un
campo da calcio.
lorenzo buccella
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Concorso Cineasti del presente, The Waiting Room, La Sala, 7 | 8 | 2015 – 18.30
Side by Side
with the Past
“
Il film combina
finzione e storia recente
con elementi biografici. È
stato importante far sì che
rappresentasse l’analisi
caratteriale di un attore
immigrato, piuttosto
che una semplice storia
sull’immigrazione
igor drljača
”
Bosnian-born director Igor Drljača’s absorbing second feature is based in part on
biographical elements of the lead actor, Jasmin Geljo, though what’s true and what’s
fiction is never a certainty. A Bosnian émigré from the former Yugoslavia to Toronto,
a multicultural city that’s host to numerous
self-sufficient immigrant communities,
Jasmin finds himself trapped between a
more glamorous past and a tiring present.
He’s twenty years deep into an exile that
was forced upon him, with Bosnia never
far out of his mind, and has displaced his
frustration outwards from himself onto his
adopted country. Drljača follows Jasmin
as he dutifully trudges from audition to
audition, supporting his second wife and
his young child (an aspiring actor himself)
through bit parts and construction work,
but the actor plans on returning to Sarajevo
to resume his pre-war career as a famous
drag performer. (This last part is very much
true: Jasmin starred in a popular televised
stage show named “Audicija” clips of which
are scene on TV in The Waiting Room – and
has also acted in numerous films, in both
the former Yugoslavia and Canada.) The
date of Jasmin’s supposed departure keeps
changing, but indeed the whole film has a
sneaky relation with time, and is structured
around Jasmin performing in a filmed installation set in 1991, which sees him silently driving along the idyllic Croatian
coast that spools behind him as a rear projection. Exploring the intersection between
fiction and reality, The Waiting Room encourages comparisons to Atom Egoyan at
his prime, a character study of a hardened
man given over to the waves of history and
haunted by its ghosts.
mark peranson
OFFICIAL MAKEUP SUPPLIER OF THE FESTIVAL DEL FILM LOCARNO 2015
17
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Focus on – Open doors
Back to
The Maghreb, ten years on: the Festival del film Locarno is once
again opening the door to one of the most vital and creative parts
of the world. Dictators have fallen and the winds of the Arab Spring
have rushed through these unique countries, so (cinematically)
distant. The thirteenth edition of Open Doors continues to benefit
from the support of the Swiss Agency for Development and Cooperation (SDC) of the Swiss Federal Department of Foreign Affairs.
This year the section brings its focus back to Algeria, Morocco and
Tunisia and, for the first time, Libya, originally unable to participate under the Gaddafi regime. This year’s programme features ten
shorts that will help bring a better understanding of the country.
“What immediately leaps out is the huge presence of first works,
a flowering of debuts and filmmakers moving from shorts to fea-
tures,” points out Ananda Scepka, who heads a section that has
been experiencing constant growth for years now.
Innovation, independence, identity are the driving forces behind
the screenings and meetings. The events will offer an opportunity
to discover a new aesthetic, a startling freedom of content and formal liberty and the emergence of a new generation of filmmakers,
who will find here a new award, ICAM (Investing in Culture & Art
in the South Mediterranean), from the EU-funded Med Culture programme, worth €20,000, and a workshop involving producers and
distributors to help find new channels for distributing their works.
“The Arab Spring was an important phase of a cultural revolution that has actually been going on for years,” continues Scepka.
“But the way the art is looked at has definitely changed. In Tunisia,
Bla cinima
Horra
Cinema Rialto 2, 12 | 8 | 2015 – 11.30
L’altra Sala, 10 | 8 | 2015 – 14.00
PardoLive  6 | 8 | 2015
18
o the Future
Maghreb
for example, a film centre was set up in 2012, a positive and promising sign. In this new contest we can see new voices emerging,
thanks in part to the freedom of expression.” The projects reflect
everything that has happened in the past years, with vivid images
but also more original approaches. “Obviously, politics and society
are tackled, but mostly expressed within the personal sphere of
men and women, private battles of human beings in search of their
own individual expression.”
A decade also helps Open Doors assess itself, to look back and
to focus on the years to come. “Much has changed. Now we’re stepping on the accelerator of formal and informal exchanges between
film professionals, on an analysis of the market, on production and
distribution. The Ateliers, introduced in 2013, are now running par-
allel to the professional meetings and the screenings for the public.
Before we were mostly a showcase, now we’re a complete factory
that looks to the future and helps projects to construct themselves
at Locarno, inside Open Doors, perhaps thanks to the conversations generated by the professional exchange opportunities we
offer.” And by rewatching, along with the public, 22 shorts and features produced between 2009 and 2015, and using film as a way of
understanding how much everything has changed and how much
more there is that still needs to experience its own revolution.
boris sollazzo
Les Terrasses
L’altra Sala, 14 | 8 | 2015 – 14.00
Gabbla
L’altra Sala, 15 | 8 | 2015 – 14.00
19
PardoLive  6 | 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
Fuori concorso, I sogni del lago salato, La Sala, 7 | 8 | 2015 – 16.15
Un lago
senza frontiere
“
I wanted to go to
Kazakhstan. To lose
myself on borderlands,
on horizons which
are so wide to become
intimate. In the Asian
steppe I looked for
dreams that I found
in my uncle Alberto's
cellar, on 8 mm films
shot 50 years ago
Il cinema per Andrea Segre serve ad avvicinare ciò che è lontano. Perché da vicino le
cose appaiono più chiare e meno preoccupanti. Perché toccando con mano è più difficile cadere in generalizzazioni e i pregiudizi
svaniscono rapidamente. Così è stato per Li,
cinese di Chioggia (Io sono Li), così è accaduto con Dani, che dal Togo è finito in una
sperduta valle in Trentino (La prima neve).
Vedendo I sogni del lago salato ci si domanda se è più lontano il Kazakistan d’inizio millennio, vittima di una ricchezza improvvisa,
o l’Italia dei nostri genitori, quella del boom
economico. Tra i campi larghi sul lago d’Aral quasi prosciugato, colmi di una bellezza
struggente, e i primi piani serrati di volti di
Un lago senza
frontiere
andrea segre
Proudly presents
the latest arrivals
21
”
Claire Simon, director
Paolo Branco, producer
Lars Kraume, director
Andy Garcia, actor
Noémie Lvovsky, director
Vimukthi Jayasundara, director
Lakshman Joseph de Saram,
musician
contadini e operai che l’archivio ci restituisce, il film dispone un felice parallelismo,
accompagnato dalla voce del regista. I raccordi vengono naturali, e naturale è voltarsi
indietro e vedere quanta è la distanza che
separa l’Italia dalle sue radici, legate a una
terra profondamente cambiata.
Penso però che il valore del film vada oltre l’illuminante confronto. I “sogni del lago
salato” sono quelli di un mondo in cui il significato delle frontiere – geografiche e temporali – sta sfumando e dove riacquistare il
senso delle proporzioni è salutare e importante, anche se solo per il tempo di un film.
carlo chatrian
Eliza Kubarska, director
Martina Parenti, director
Lois Patiño, director
Ronald Zehrfeld, actor
PardoLive  6 | 8 | 2015
Eat different.
Mediterranean Cuisine,
Japanese Restaurant,
Berber Tent, Lounge
Bar, panoramic terrace,
wide wine selection,
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a keen eye for details.
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Via G. Respini 9
+41 (0)91 759 00 90
www.blu-locarno.ch
[email protected]
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www.zooalmaglio.ch
Official Film Carrier
68° Festival del film Locarno
tntswisspost.com
PardoLive  6 | 8 | 2015
22
Signs of Life, Recollection, PalaVideo, 7 | 8 | 2015 – 21.00
Circular ruins. A bay on the sea. Empty, out-of-focus
landscapes, battered by the wind. Then sounds that
seem to come from elsewhere and, in the background,
someone, human beings. Bit by bit, a city sees neighbourhoods disappear, memories wiped out, inhabitants lost. Territories occupied.
The occupiers, as though in mockery, think that this
makes a perfect film set and shoot war films in war
zones. But, for the very fact that it has been filmed, the
image enters a different order of visibility, recording
something that doesn’t appear to be visible with the
naked eye…
Recollection is the story of someone – Kamal Aljafari – who doesn’t trust the images filmed by the occupiers and decides to collect them, to study them, to
investigate them frame by frame. And what does he
discover from these 24 lying frames a second called
film? That they hide the truth: in the background of the
shot – only apparently out of History – there they are,
the occupied, alive and well, real actors in a fictional
world. Recollection explores these ghosts teeming in
the back and brings them to the foreground, restoring
the present to them by restoring the past. He makes
them travel through time, thanks to a mixture of
sounds recorded in the same city today. The journey is
hypnotic, repetitive, obsessive. The city is Jaffa, and it
could be any in Palestine.
lorenzo esposito
Occupied
by Images
Histoire(s) du cinéma: Tribute Alex Phillips
Messico e luce
Quasi 400 titoli in carriera, e un ruolo di punta nella stagione d’oro
dell’industria cinematografica messicana: questi i fatti salienti della
carriera di Alex Phillips (1900-1977), il prolifico direttore della fotografia di origini canadesi che fece fortuna in Sudamerica, dopo varie
peregrinazioni, e a cui il Festival rende omaggio riproponendo quattro dei suoi lavori più rappresentativi, tra cui Subida al cielo (1952),
uno dei due titoli del periodo messicano di Luis Buñuel che vede
Phillips dietro le lenti – l’altro é il Pathé Color del produttivamente
complicato Robinson Crusoe (1954). Phillips riprende i chiaroscuri
dell’Espressionismo tedesco, e li ripropone in salsa guacamole per La
mujer del puerto (1933), si ispira al noir per Crepúsculo (1944) e gioca al melodramma a tinte fosche in En la palma de tu mano (1950),
riproposti a Locarno grazie a copie provenienti dalla Filmoteca de
la UNAM e dalla Cineteca Nacional de México, oltre che al sostegno
della Fundación Televisa.
massimo benvegnù
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VIA VARESI 14 • 6600 LOCARNO
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PardoLive  6 | 8 | 2015
Premio Raimondo Rezzonico Office Kitano
Box Offic
With the Premio Rezzonico, Locarno is paying
hommage to the contribution of Office Kitano
to Cinema. How did your story start?
Mr. Masayuki Mori
President of Office Kitano
PardoLive  6 | 8 | 2015
I first met Takeshi Kitano thirty years ago. I
was a director on the TV program that Kitano
presented on Japanese TV, as comedy superstar
«Beat Takeshi». There was a plan for him and his
associates to become independent and establish
a new office, so in 1988 I partecipated in the
creation of “Office Kitano”. Kitano already appeared in Nagisa Oshima’s Merry Christmas,
Mr. Lawrence (1983), where he got a chance
to show his acting skills. When the Office was
formed, he received an offer to star in an action
picture by Kinji Fukasaku, the master of Yakuza
films. When Fukasaku left the project, Kitano
said «if I were the director, I could shoot this
film». He never directed before, but the distri-
butors liked the idea, a film directed by «Beat
Takeshi». It might be hard to believe it now, but
then the Japanese distributor refused to use his
real name. Takeshi Kitano was not known by
many people in the world, at least until Hana-bi
won the Golden Lion at the Venice Film Festival
in 1997. After that, in order to protect and
strengthen our environment, I decided to support
other directors who create such excellent and
creative works as Takeshi Kitano.
Which aspects are driving your movie
production ideas, which are still deeply connected to Kitano’s example?
I think the most important starting point in creating films is the imagination and originality of
the director. As for producing the work of Takeshi
Kitano, he always had 5-6 ideas for new films.
24
ce Kitano
Of course I respect his priorities, but I also think
in terms of budgets and audience. That said, it is
simply the relationship of mutual trust between
a director and a producer.
You also produced Delbaran, by Abolfazl
Jalili which received the Special Prize of
the Jury in Locarno in 2002. What do you
remember about that experience?
Among your many collaborations, you worked with Jia Zhang-ke. How did it happen?
When producer Shozo Ichiyama was in the selection committee at the Tokyo International Film
Festival, there was an opportunity to arrange
for a special screening of director Abolfazl Jalili’s
film. He had just started Delbaran and I decided
to produce it. Filming began in January 2000,
but the shooting in the desert was full of difficulties. In addition, editing took more time than expected. Delbaran raised International attention
when it was selected in the Locarno competition
in 2002, and won a special jury prize. Delbaran
was shown in the other international film festivals, and was distributed theatrically in several
countries including France.
There was an opportunity for producer Shozo
Ichiyama to meet Jia Zhang-ke at the Berlinale
in 1998. They discussed Platform, and a script
was sent half a year later. I met Jia Zhangke in
Vancouver in September and saw his initial work
Xiao Wu. I met the team on the Chinese side in
Busan one month later and agreed on co-producing Platform. That project was also supported
by Monte Cinema Verità, the fund established by
Locarno. I wish to express my appreciation for
the support on this fund as well.
25
What is the secret – if there is one – for being
able to produce quality movies, keeping a
trust relationship with the audience?
I believe it is possible to create high-quality movies, even under limited conditions, by trusting
the director’s creativity and the capability of the
crew, and establishing a superior environment,
including casting talented actors. And in the end,
I think it is very important to have the modest
posture not to bring the audience to the film but
bring the film to the audience.
lorenzo buccella
PardoLive  6 | 8 | 2015
Il Premio Raimondo Rezzonico a Office Kitano
Il regista Bakur Bakuradze
Lida Duch, attrice di Dream Land
L’attrice Moon So-ri,
giurata del Concorso internazionale
Rose in Piazza per Ricki and the Flash
gotti.ch
PardoLive  6 | 8 | 2015
26
Laetitia Dosch, attrice di La Belle Saison
Anouk Grinberg, la voce di Le Dernier Passage
La regista Catherine Corsini
www.fondazionebally.ch
27
Il cineasta Marlen Khutsiev,
insignito del Pardo alla carriera
L’attrice Senta Berger
Fondazione Bally per la Cultura ricerca ogni anno un artista ticinese attivo nel
campo delle arti figurative (pittura, scultura, fotografia e grafica) che avrà
l’opportunità di essere sostenuto e supportato a livello internazionale da uno dei
Brand più famosi nel settore del lusso.
PardoLive  6 | 8 | 2015
Beyond the Festival
Events for All Tastes
The region hosts many big and exciting
events all year long, taking place in Locarno,
Ascona and other towns. The exceptional
Camellia Festival and exhibition opens the
Locarno blooming season. Furthermore, music is the great star of summer: don’t miss
the JazzAscona festival, the Moon & Stars
concerts on the Piazza Grande in Locarno,
the Vallemaggia Magic Blues concerts, the
Verzasca Country Festival and many other
events.
Other cultural, sport and entertaining
happenings will allow you to experience
fantastic emotions! For the first time, the As-
cona-Locarno Marathon will take place next
autumn, which will complete the sports offer together with Triathlon Locarno, Walking
Day Ascona-Locarno & Ladies Run as well
as SlowUp Ticino. The theme music and culture continues with the classical music festival Settimane Musicali di Ascona, which
promises brilliant concerts, programmed for
the highly anticipated 70th edition.
The autumn season presents the local
cuisine with all its flavours. A gastronomic
festival takes place in more than 50 restaurants of the region. A highlight of the season
is the chestnut festival in Ascona. In addi-
tion to that, other local culinary events are
based in the valleys and aimed to present
some of their most delicious specialties.
Last but not least, Locarno also sparkles in
winter: Locarno on Ice is the lounge of the
region and with its ice rink, food stalls and
entertainment, it becomes the core attraction for both tourists and locals throughout
the whole winter and festive season.
Info:
www.ascona-locarno.com/family
T: +41 848 091 091
Panorama Suisse
Horizontes
Eileen Hofer
Documentary, 2015, 70 min.
Switzerland
Friday, 11:00, FEVI
Swiss Highlights in Locarno
on Friday, August 7
Concorso cineasti del presente
Keeper
Guillaume Senez
Fiction, 2015, 90 min.
Belgium / Switzerland / France
Friday, 11:00, La Sala
Pardi di domani – Concorso nazionale
PROGRAM 1
Eleonora Marinoni, Elice Meng,
Laura Morales, Samuel Grandchamp,
Philip Meyer, carmen Jaquier,
Nikola Ilić, corina Schwingruber Ilić
Friday, 14:00, La Sala
www.swissfilms.ch
«La rivière sous la langue» by Carmen Jaquier
PardoLive  6 | 8 | 2015
28
21.00
News
Change
in the Program
Cinema Ex*Rex
9 | 8 | 2015
16.30
Cinema Ex*Rex
10 | 8 | 2015
19.00
Cinema Ex*Rex
10 | 8 | 2015
Retrospettiva Sam Peckinpah: Films
The Killer Elite
Christoph Huber will not be there to introduce the movie
Retrospettiva Sam Peckinpah: Films
Bring Me the Head of Alfredo Garcia
Isela Vega will not be there to introduce the movie
Retrospettiva Sam Peckinpah: Films
Straw Dogs
Susan George will not be there to introduce the movie
Beyond the Festival
Il cacciatore (di Pardi)
Solo un fotografo dalla mente scattante è in grado di
seguire gli scatti del felino maculato e immortalarlo in
un autentico Scatto del pardo. A lanciare la sfida è l’associazione Animazione Centro Pax Muralto, in collaborazione con Foto Garbani e con il Festival: durante la
manifestazione tutti i fotografi accreditati sono invitati
a gareggiare inviando le loro immagini dedicate all’evento, che saranno esposte giorno per giorno al Centro
Pax, in una mostra aperta al pubblico. In palio vi sono
tre buoni in prodotti fotografici, nonché tre accrediti
da fotografo per il Festival 2016. La premiazione avrà
luogo venerdì 14 agosto alle 16:30 al Centro, offrendo
l’occasione d’ammirare una galleria di scatti che vanno
a riassumere questa edizione.
sara groisman
© Zunino Celotto Vittori
Beyond the Festival
Fashion? It Is a Family Business
This is the 68th year of the Festival del film
Locarno. And the Ticino Moda Association
also tells a long story, covering the span of
three generations, much like the many families who – generation after generation, – display such passion for the kermesse.
Let's take as example a family which
represents one of the most famous fashion
dynasties in all the world - Eremenegildo
Zegna's one (and not “Zeena” as is seen in
The Family Man with Nicolas Cage and
Téa Leoni which you should check out next
Christmas on television).
They moved to Ticino, a decision that underlines the importance of the fashion industry
in our economy and, consequently, Ticino’s
importance to the fashion world. The Ticino
Moda Association represents this industry
and aims to promote the best conditions to
encourage fashion companies developing locally. And guess what? This society began in
1959, originally for protecting the interests
of companies producing clothing in Ticino.
That was 56 years ago – the span of three
generations, as we were saying.
And today, the new Ticino Moda Association
structure will help Marina Masoni (who was
elected as President in 2015) and Giorgio
Delpiano (vice-President) to show the same
wisdom, passion, and judgement as their
predecessor Franco Cavadini, who became
honorary president after having successfully lead the association for several decades.
mattia bertoldi
pressbooks.ch
29
PardoLive  6 | 8 | 2015
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The Last Tweet
@lorenzobuccella
My name's is Mond,
Josh Mond #Locarno68
www.gettyimages.com/entertainment
mov(i)e
Editor
Lorenzo Buccella
Graphic design
Dimitri Bianchini
Aris Dotti
Michela Di Savino
31
Writers
Massimo Benvegnù
Mattia Bertoldi
Max Borg
Alessandro De Simone
Adriano Ercolani
Lorenzo Esposito
Sergio Fant
Aurélie Godet
Sara Groisman
Mark Peranson
Daniela Persico
Boris Sollazzo
Guest photographers
Alessio Pizzicannella
– cover
Sabine Cattaneo
Fabrizio Maltese
Vittorio Zunino
Celotto – mov(i)e
Photographers
Gabriele Putzu
(TiPress)
Fotofestival (Marco Abram, Massimo Pedrazzini, Samuel Golay, Sailas Vanetti)
by Vittorio Zunino Celotto
Advertising
Raphaël Brunschwig
Elisa Bazzi
Luca Spinosa
publicitas
Print
Salvioni Arti Grafiche
PardoLive  6 | 8 | 2015
© UBS 2015. All rights reserved.
Enjoying together
Unique moments at the Festival del film Locarno.
ubs.com/festivaldelfilmlocarno