the press kit 2010

Transcript

the press kit 2010

INTERNATIONAL ROME FILM
FILM FESTIVAL
PRESS CONFERENCE
October 7th, 2010
11.00 am
Sala Sinopoli
Auditorium Parco della Musica
PRESS KIT CONTENTS
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President of the Fondazione Cinema per Roma, Gian Luigi Rondi
Managing Director of the Fondazione Cinema per Roma, Francesca Via
Artistic Director International Rome Film Festival, Piera Detassis
Director of the The Business Street, Roberto Cicutto
The films of the fifth edition
Official Selection Section
Special Events | Entertainment
Tributes
Extra Section
Marc’Aurelio Acting Award: Julianne Moore
Alice nella città Section
Focus Section
The official awards and members of the juries
The collateral prizes
The Business Street and New Cinema Network
La dolce vita
Exhibitions
Environmental and social action Festival
Festival Areas
Venues hosting the Fifth edition of the Festival
How to reach the Festival
Partners
V.le Pietro De Coubertin, 10 00196 Roma | ph. +39 06 40401900 | fax +39 06 40401700 | [email protected] | www.romacinemafest.org
GIAN LUIGI RONDI
Back for its fifth year, the International Rome Film Festival continues to abide by its priority vocation
which can be neatly summed up by the formula: “Bringing all cinema to all people”. We owe much to our
Artistic Director, Piera Detassis, who has very capably achieved great heights with her knowledgeable and
acute insight. In addition to her prized Official Selection, she has given valuable space to the Extra
section, delegating her collaborators in the experts commission to spotlight documentary filmmaking,
research, and new narratives and formats; to “Alice nella città” section, which showcases films for
youngsters; and finally to the Focus section which is this year dedicated to an analysis of Japanese cinema
and culture. We have introduced a new section called Special Events/Entertainment. Back to promote
networking in the film industry, we have The Business Street, under the helm of its very own director, and
will take place with the input from principal organizations in Italian and international cinema. We
certainly will not pass up the chance to celebrate, with special tributes, films which have made the
history of Italian cinema and the protagonists that have represented it with their admirable
accomplishments. La Dolce Vita by Federico Fellini, which this year marks 50 years from its release, will
be one of them. A tribute evening in honor of Fellini's masterpiece La Dolce Vita, in its 50th annniversary
year, will take place at the Auditorium Parco della Musica on October 30th with the world premiere of the
4k digitally restored version of the film. The restoration was carried out by the Cineteca di Bologna at the
L’Immagine Ritrovata laboratory in association with The Film Foundation, Centro Sperimentale di
Cinematografia-Cineteca Nazionale, Pathé, Fondation Jérôme Seydoux-Pathé, Mediaset and Medusa Film,
Paramount Pictures and Cinecittà Luce. The restoration of La Dolce Vita has been made possible by Gucci
as part of a longstanding commitment to restore and preserve significant films through the work of The
Film Foundation. In the 20th year of the death of Ugo Tognazzi, we will remember him with a rich
programme and the full participation of his family members, putting the accent on a new retrospective
that will consist in showing a selection of famous clips from his major films before every screening in
competition. We at the Festival (as I am sure all of Italian cinema) will pay homage to our dear Suso
Cecchi d’Amico, who passed away only few months ago, with three major initiatives. Alessandra Levantesi
and her dear husband Tullio Kezich, who have recently published that beautiful book on the Cecchi and
d’Amico families entitled An Italian Dynasty will lead one of the commemorations. There will be an
encounter with some of our most gifted screenwriters today, Cristina Comencini, Iaia Fiastri and
Francesca Marciano, who will speak about the influence that the great mentor Suso has had and still has
on their works. And finally, following my suggestion, one of our official Marc’Aurelio awards will be
attributed to her memory during the official awards ceremony and presented to her family members by
the scriptwriter with whom Suso collaborated until the end, on The roses of the desert by Mario Monicelli.
Seeing that this year the Focus section is dedicated to Japan, we will honour another Maestro of cinema Akira Kurosawa. The centenary of his birth will be the occasion to celebrate and remember the legendary
filmmaker who made a lasting mark in Japanese and world cinema. We will screen the restored version of
the masterpiece Roshômon which will be followed by an encounter with Teruyo Nogami, longstanding
assistant director to Kurosawa, and Vittorio Dalle Ore, the only Italian to have worked on the sets of the
Japanese director as his assistant. They will speak to the public about the great master’s films, giving us a
priceless account of what it was like to work with him.A novelty this year will be the official posters of the
Festival. We have dedicated them to the most celebrated figures in Italian and international cinema; from
Mastroianni on the occasion of the Dolce Vita to Totò, from Sordi, De Sica, Gassman, Tognazzi, Sophia
Loren, to Gina Lollobrigida, and right beside them, Brigitte Bardot and Audrey Hepburn. Their images will
appear on walls and on buses throughout Rome. A tribute which is meant to solder our Festival to the city
of Rome and while we repeat “bringing all cinema to all people”, without foregoing our international
appeal as testified by our film selection and our juries, first and foremost we honour the Capital. And as
the official Marc’Aurelio Audience award demonstrates by the sheer numbers who flock to our festival in
growing numbers each year to cast their votes, this Festival is named after the city of Rome and is for the
city.A special acknowledgement goes to our tireless General Director, Francesca Via, whose constant
presence, generous and intelligent contribution is the real driving force behind our Festival; Ms Via knows
the whole delicate mechanism inside out, and it is thanks to her that the show goes on. And once again I
thank the Artistic Director Piera Detassis, together with the curators of our three sections Mario SestiExtra , Gianluca Giannelli - Alice nella città, Gaia Morrione- Focus and The Business Street director,
Roberto Cicutto.I would also like to extend my gratitude to all the valiant collaborators working in every
department of the Festival.
President of the Fondazione Cinema per Roma
FRANCESCA VIA
The fifth annual International Rome Film Festival represents a significant challenge for the Fondazione
Cinema per Roma. In fact, now that the start-up phase is behind us, and the Festival has taken its place as
one of the leading international film festivals (Cannes, Berlin, and Venice, but also Toronto, Tribeca,
Rotterdam, Sundance, and Turin), the Fondazione can concentrate on consolidating the event and
developing its potential even further. From this new perspective, our emphasis on the excellence of the
programming is key, as is our careful attention to the organization of the event (hospitality, logistics,
screenings, information, and services); our aim to link the Festival more closely with the Fondazione’s
year-long activities; and our breaking of new ground in broadening the scope of our film market, TBS,
through our new project Industry Books, which works side-by-side with the national publishing industry. In
addition, the Festival is committed to training new talent, in collaboration with the Ministry for Youth
Affairs and the Centro Sperimentale di Cinematografia – Italian National Film School. Another important
commitment this year is to facilitate and heighten the “festival experience”, first of all by adding to its
enticing menu of films a new entertainment component at the Cinema Village, which will be running its
own lineup of entertainment and cultural events; and also by multiplying discounts and concessions for
tickets, providing access to ordinary screenings to those with hearing or visual disabilities, and, of course,
featuring a rich programme of parallel events – exhibitions, concerts, special screenings, installations, and
talks that will get the whole city of Rome involved. A Festival is made of two main elements: the film
apparatus and the logistics. To optimize the logistics, it is essential to work hand-in-glove with the city,
and not only from a cultural point of view, but also in terms of services. Thanks to year-long agreements
with the hotel and restaurant sectors, the Festival has been able to guarantee its audiences quality dining
options at reasonable prices, along with convenient connections between Festival venues and the rest of
the city.
If we are successful in meeting these goals, the merit goes to the crucial support of our Founding
Members, our Board of Directors, the Auditors, and our private partners, who for some time now have
been committed to investing in the project that is the International Rome Film Festival, and in the
outstanding ensemble of professionals, interns, and volunteers who have believed in the project and
worked on it with passion, rigor, and team spirit.
This is a team that has been forged by the vast experience of our President Gian Luigi Rondi, the
intelligence and sensibility of Piera Detassis, and the farsightedness of Roberto Cicutto. Together they
have established the guidelines for a great event for the city and the entire country, with an eye to being
a major player on the international scene.
Special thanks go to my mainstay Lucio Argano for his loyal support and matchless professionalism.
Lastly, I would like to stress the fact that a Managing Director merely represents a group without whom
none of this would have been possible; therefore my heartfelt thanks go to Alessandra, Andrea,
Annamaria, Carol, Cristiana, Cristina, Dario, Diamara, Domitilla, Francesca, Ilaria, Lucia, Mara, Stefania,
Stefano, Paola, Renata, Tiziana, and Umberta, as well as my guardian angel Chiara, who, along with
Gianni, Massimo, and Veronica, sustain my efforts daily.
Managing Director
Fondazione Cinema per Roma
PIERA DETASSIS
The International Rome Film Festival is five years old now. It has reached an important target through a
continous growth, and has won its bet: that of inventing a festival in a metropolis putting together in a
single event industry (with The Business Street), pure love for cinema and the simple passion of the
audiences to whom the Auditorium offers quality and shows for nine days. This year the Festival grows
older becoming younger: the directors' average age is lower, there are many first and second features,
and more indipendent productions than majors. The Acting Award conferred to the queen of the
indipendents, Julianne Moore, represents a strong signal of this tendency. Besides, all of the sections
emphasize a strong taste for multiculturality and a stateless touch, confirmed also in the Italian selection
in which the main language is NOT Italian, rather choosing co-productions, distant countries and
languages. The Official Selection looks towards the mysterious star-divinities of Bollywood, travels to the
antipodes so as to discover the new Australian wave, and moves secretly between Iran and Iraq. With
universal stories and new directors to be discovered, the Official Selection probes the fields of research
and documentaries (with Mario Sesti's Extra section); it organizes passionate journeys in the Empire of
Signs, Japan, with Gaia Morrione's Focus (the Studio Ghibli retrospective not to be missed); it takes note
of the richness within the world of the young, thanks to Alice nella città: a laboratory of the youngsters'
miths, values and anger coordinated by Gianluca Giannelli.
The wonderful obsessions of this edition, which will be opened by Maria Sole Tognazzi's tribute to her
father Ugo, will be education, the great concern for the individual and collective destiny and bringing up
of adolescents, fathers and mothers, family. All themes with which the Special Event is in perfect syntony
since it will be presenting Le cose che restano, the ideal sequel of La meglio Gioventù (The Best of
Youth). It is the story of a more recent Italy seen through the eyes of a family that falls to pieces in the
grief of a loss, and then returns to life when it experiences the welcoming of multiculturality.
Moreover, the fifth edition of the Festival opens up to television series recognizing the fact that this genre
intersects with the big screen, as witnessed not only by Le cose che restano, but also by the film-version
of the tv series Carlos by Assayas, as well as the premiere of the pilot Boardwalk Empire directed by
Martin Scorsese.
According to researches, 42% of the people who come to the Festival are insiders, whereas the rest are
ordinary audiences and fans: a significant information which encouraged us to strengthen our relationship
with the audiences through the new SPECIAL EVENTS | ENTERTAINMENT. The aim of this “thin red line” is
to intercept anything of earthly contamination which may contribute in making the Rome Film Festival the
warmest and friendliest event imaginable. Consequently, it will be possible to meet personalities from
cinema, cultural environments and from our contemporary world in general, both authors and
protagonists, without remaining caught up in strict hiring rules according to which only feature films
presented as international premieres can be admitted, both in and out Competition, sometimes depriving
the audiences of nice films.
Lastly, the Festival has once again a strong presence of women: great stars, personalities in politics and
literature, all leaders and rebellious in their own way. Their stories will be vigorously narrated throughout
the various sections, they will be protagonists on the red carpet, and have a chance to dialogue during
their encounters with the audiences, the true protagonists of a Festival which refuses to be just an elite
laboratory, but wants to resemble an open square, a meeting place, heart of the Italian tradition, and at
the same time laboratory of future intuitions.
I would like to thank all of those who by helping me in the task of making choices and organizing the
Festival, made it possible for all to enjoy new discoveries: Marta and Matteo; the members of the
selection committee Fabia Bettini, Alessandra De Luca, and Fabrizio Grosoli; consultants Claudio Masenza,
Antonio Monda, Elena Pollacchi, and Jenny Scheunbeck; my friend Roberto Ciccutto, director of The
Business Street. And of course, the two most important “accomplices”, Managing Director Francesca Via
and ‘our’ President Gian Luigi Rondi.
Artistic Director
International Rome Film Festival
ROBERTO CICUTTO
The Business Street is well out of its infancy by now, and into its adolescence, in fact; and it has happily
preserved the genetic inheritance it was born with (the light, flexible structure; the location in the heart
of Rome; the close bond with the Festival; the myriad public and private occasions for professionals to
meet and discuss the future of cinema and ways to furnish the industry with more efficient rules). And it
has also learned much from observing its older sister festivals, which have welcomed us as part of a
network that is enhanced both by those who came before and those who follow, without any sterile
oneupmanship. This synergy that we have pursued from the start is the result of which we are most proud.
Clearly, we have a winning formula here, and not just as far as our basic agenda is concerned –
showcasing, buying, and selling new films – but also, and above all, in the alchemy performed by New
Cinema Network, that tool for promoting co-productions that has obtained spectacular results in terms of
the number, quality, and success of the films made (131 projects since the 2006 edition, roughly 50% of
them turned into films).
NCN’s rich variety depends on its collaboration with prestigious partners such as Sundance Institute,
Cinéfondation, Film London, ACE, Screen Institute Beirut, Berlinale Co-production Market, 100autori, and
Catalan Film, as well as 22 institutes for the promotion of European cinema. This year, NCN’s Focus
Europe (dedicated to second films)is presenting 15 projects and Circuit (International projects) 14 more.
No fewer than 27 countries are represented in the lineup, for a total of roughly 190 participants, of whom
120 are producers. Moreover, TBS is also grateful for its selection by Eurimages (the Council of Europe’s
co-production fund) as the platform for its Eurimages Development Award, which will be bestowed on the
best NCN project (in addition to the well-known Prix Eurimages for Best European Producer). And it is
thankful to the representatives of the MEDIA Programme who are TBS habitués, updating the industry on
changes in the programme and its evolution. And, of course, thanks go to all those bodies which finance
film production and which take part in our meetings with the aim of improving the existing legislative
framework’s mechanisms for facilitating co-productions and maximizing their success. Attendance by the
national film promotion agencies (Unifrance, German Films, ICAA, and many others) is fundamental to us,
as is that of European institutes (such as European Film Promotion, whose members have collaborated
with NCN since its debut, and have chosen Rome this year to be the venue for Shooting Stars).
The interdisciplinary vocation that distinguishes cinema is behind a novelty in 2010: Industry Books, a
showcase of as yet unpublished novels from Italy and abroad, offered to producers (both film and
television) as fodder for original, convincing projects. And the Italian Screenings are back and in their
sixth year, after joining TBS in 2009, with more screenings than ever before; plus, our mumerous
international conferences devoted to a variety of themes will culminate in the panel discussion jointly
organized with Variety, entitled “Brave New World: Film Journalism in the Digital World”, a significant
occasion for reflection on burning issues in the business. However, the Fondazione Cinema per Roma,
which produces the Festival and The Business Street, could hardly watch its brainchild grow up so proudly
if it weren’t for the unflagging support of the private sponsors who have been with us every step of the
way, or that of its founding institutions (Rome City Council, Province of Rome, Lazio Region, Rome
Chamber of Commerce,and the Fondazione Musica per Roma), as well as that of the Ministry for Economic
Development, ICE (Foreign Trade Institute), and Sviluppo Lazio (the Lazio Development Agency), all of
these bodies irreplaceable tools for allowing us to welcome our Business Street participants, and all of
whom not only finance our activities but share our aims and support our strategies. And to facilitate the
rising generation’s introduction to the job market, our collaboration with the Presidency of the Council of
Ministers’ Youth Affairs Department has been an ongoing success, and will provide would-be directors and
technicians from the film schools the chance to direct and produce a short film that will be presented at a
special event in December. Personally, I cannot fail to thank the entire TBS and NCN staff for their
professionalism and competence in consolidating our relationships year after year, and winning the trust
of those who chose to come on board; thanks also to Piera Detassis and her collaborators, Mario Sesti
(Extra), Gianluca Giannelli (Alice nella città), and Gaia Morrione (Focus), all of whom have consistently
proved that they consider TBS a resource for the Festival and not a “poor brother”. Last but not least, I
am grateful to Managing Director Francesca Via and President Gian Luigi Rondi, who entrusted me with
this role. I am certain that the quality of our film lineup and the imagination and creativity of all our TBS
participants will easily overcome every obstacle to our success.
Director The Business Street
THE FIFTH EDITION
OF THE INTERNATIONAL ROME FILM FESTIVAL
The International Rome Film Festival is at its fifth edition, and this year it will be held from 28th October
to 5th November 2010.
Films, encounters, installations, exhibitions, tributes: from its very beginning, the Festival's program has
always combined popular appeal and cultural quality, a formula which has certainly brought an
extraordinary success of audiences. In fact, the locations of the Festival were crowded by over 2 milion
visitors from 2006 to 2009.
The heart of the International Rome Film Festival is the Auditorium Parco della Musica, an architectural
structure designed by renowned architect Renzo Piano. During the event, the 1,300 square meter avenue
which leads to the spectacular Cavea will be transformed into one of the largest red carpets in the world,
a unique walkway for international film stars as well as for audiences, the real protagonists of the event.
Next to the Auditorium, there will be the Cinema Village, a structure of over 6000 square meters,
consisting of tensile structures, pavilions and stands made of steel and glass, specially made for the
festivalgoers.
The fifth edition of the International Rome Film Festival is produced by Fondazione Cinema per Roma, and
comes under the High Patronage of the President of the Italian Republic. The event is promoted by
Fondazione Musica per Roma, the City Council, the Chamber of Commerce, the Lazio Region, and the
Province of Rome. The Main Partner is BNL – Gruppo BNP Paribas. The Institutional Partners are the Senate
of the Republic, the Department of Youth Affairs, Aams – Amministrazione Autonoma dei Monopoli di
Stato, the Ministry for National Heritage and Cultural Affairs, the Ministry for Economic Development, and
the Istituto Nazionale per il Commercio Estero, with the support of the Programme media and the
collaboration of the Centro Sperimentale di Cinematografia – Cineteca Nazionale. The Official Sponsors
are Caffè Hag, Il Gioco del Lotto, Lancia, Istituto Poligrafico e Zecca dello Stato, whereas Alitalia is the
Official Carrier. Cinemeccanica is the technical partner for the projection equipment (film and digital),
and Atac is the Eco Mobility Partner. Besides, thanks to Lottomatica and Alitalia, the Salacinema LOTTO
and the Salacinema ALITALIA have been prepared in order to guarantee an extra 1,600 seating capacity.
Gian Luigi Rondi is the President of the Fondazione Cinema per Roma, and Francesca Via is the Managing
Director. Piera Detassis is the Artistic Director of the International Rome Film Festival. Roberto Cicutto
coordinates The Business Street and the New Cinema Network. Mario Sesti, Gianluca Giannelli and Gaia
Morrione are respectively responsible for the sections Extra, Alice nella città, and Focus.
The Official Selection will be presenting sixteen films in Competition, of which four are Italian: Una vita
tranquilla by Claudio Cupellini with Toni Servillo, Io sono con te by Guido Chiesa, La scuola è finita by
Valerio Jalongo with Valeria Golino, Gangor by Italo Spinelli. Besides, the program will be enriched by
productions from all over the world, such as the two American films: Last Night by Massy Tadjedin with
Keira Knightley, Sam Worthington, Eva Mendes, and Rabbit Hole by John Cameron Mitchell with Nicole
Kidman (for the first time as producer), Aaron Eckhart and Dianne Wiest.
The Official Selection films in Competition will be judged by an International Jury presided by actor,
screenwriter and director Sergio Castellitto, assisted by journalist and writer Natalia Aspesi, Pietro Bianchi
Award for film journalism, director Ulu Grosbard who has directed feature films among which Falling in
love with Meryl Streep and True Confessions featuring Robert De Niro, writer Patrick McGrath author of
best sellers such as Asylum and Spider, director Edgar Reitz who directed the series Heimat, and Olga
Sviblova (Russia) director of the Multimedial Art Museum in Moscow. In addition to the Marc’Aurelio
Awards for Best Film, Best Actor, Best Actress, and the International Jury Award, the six personalities
belonging to the world of arts and culture will also be conferring the Special Plaque of the President of
the Italian Republic to the film which will best emphasize human and social values. Moreover, the Festival
will have the festivalgoers' partecipation in the conferring of the Marc'Aurelio AudienceAward for Best
Film – BNL. Every ticket holder, upon entering the theater, will receive a card listing the films which will
be screened, with which the audiences will be able to express their liking. The films in the running for the
Audience Award are those in competition in the Official Selection. As of this 2010 edition, in collaboration
with the Department of Youth Affairs of the Presidency of the Council of Ministers, the Festival has
instituted the Marc’Aurelio Award for Emerging New Talents. The new acknowledgement will award the
best director or best actor at his/her first film experience.
Among the Official Selection films out of Competition, the Festival will be screening Crime d’amour, the
last film directed by Alain Corneau before passing away on 30th August of this year, featuring Ludivine
Sagnier, Kristin Scott Thomas, Patrick Mille; the pilot of the series Boardwalk Empire, by Martin Scorsese,
with Steve Buscemi; The Kids Are All Right by Lisa Cholodenko with Annette Bening and Juliane Moore,
who will be receiving the Marc'Aurelio Award for Best Actress; Let Me In by Matt Reeves with Chloe
Moretz, Kodi Smit-McPhee, Richard Jenkins, Elias Koteas, Cara Buono. Besides, the same section will be
screening Il padre e lo straniero by Ricky Tognazzi with Alessandro Gassman and Ksenya Rappoport.
There will be a very rich program also within the Special Events | Entertainment , a new small section
common to all the others, created for projects that are not limited to a single screening, which include
performances, the mingling of genres (visual art, literature, television, new technologies, different
formats), and are therefore free from the strict rules of a premiere. In this section of the Festival it will
be possible to meet Andrea Camilleri, author of the novel La scomparsa di Patò adapted for Rocco
Mortellitti's film, Olivier Assayas director of the film-tv series Carlos, Academy Honorary Award© Ennio
Morricone. Morevover, audiences will have the possibility to enjoy the worldwide premiere of the first
twenty minutes of Dylan Dog: Dead of Night by Kevin Munroe.
On the occasion of the 20th anniversary of Ugo Tognazzi's death, the Festival wants to remember one of
the greatest Italian actors of the Twentieth century. Therefore, within the Tribute program, there will be
the premiere screening of the documentary Ritratto di mio padre directed by Maria Sole, Tognazzi's
daughter, and produced by Ascent Film, La7, Blue Film. Besides, every film in competition in the various
sections will be preceded by “pills” of his best performances. The Festival will also be celebrating the
100th anniversary of Akira Kurosawa's birth with the screening Rashōmon (presented for the first time in
Europe in a high definition digital version), and an encounter hosted by cinema critic and historian
Goffredo Fofi with Teruyo Nogami, Kurosawa's script supervisor from 1950, and Vittorio Dalle Ore who
started collaborating with him in 1983 as the only Western assistant director and assistant editor in his
crew. Always within the Focus on Japan, the Festival will be commemorating director Satoshi Kon,
recently passed away, with the screening of Perfect Blue, the first psycho-thriller in the history of
Japanese animation. Finally, the Rome Film Festival will be conferring the Marc’Aurelio Award to the
Memory of screenwriter Suso Cecchi d’Amico.
The Extra section will be composed of 12 documentaries which will be competing for the Marc’Aurelio
Award for Best Documentary, conferred by a specially organized International Jury presided by Folco
Quilici. Besides, the section will be comprised of 4 documentaries and 8 features out of Competition.
Moreover, the Extra section will be conferring the Marc’Aurelio Award for Best Actor to a young actress
who nonetheless already deserves a place among the great interpreters: Julianne Moore. Two of the most
awaited moments of the Festival are those of the Duets, which this year will be hosting the encounters
between Margherita Buy and Silvio Orlando on one hand, and Giancarlo De Cataldo and Gabriele Salvatores
on the other, and of the “Cinema lessons” with John Landis and Alexandre Rockwell. The Extra section
will also be dedicating a space to the most innovative and less usual forms of the audiovisual industry:
from the cutting-edge videomakers of Post television, to the selection of domestic films (realized in
collaboration with the Home Movies archives in Bologna), to the short films of which the first 3D narrative
shorts ever filmed and produced in Italy will be screened. Lastly, the Extra section will be homaging actor
and director Corso Salani with the event “Per Corso, Percorso”, which will be taking place at the Casa del
Cinema.
Alice nella città, the youth's section of the Festival, will be hosting 14 films in competition. This section
includes two “Marc'Aurelio Alice nella città Awards” which will be conferred by two juries recruited on a
national level, one composed of children under 12 years of age, and the other of youngsters over 12 years
of age. After the success obtained in the third edition, “Alice nella città” will be bringing back to the
Auditorium the most famous Italian fairies in the world, Winx, by presenting Winx Club 3D – Magica
Avventura by Iginio Straffi. For the first time ever, the main structure of Renzo Piano, the Sala Santa
Cecilia, will be hosting a 3D projection, exploiting a screen measuring more than 20 meters. The youth
section of the Festival will also be dedicating space to the important theme of school with Asse Mediano
by Michele Mossa, Un sasso nello stagno by Felice Cappa and Waiting for ‘Superman’ by Academy Award©
Davis Guggenheim.
The Focus section will be turning its spotlights on Japan with seven European and International selected
premieres. Besides, the program will be enriched by a retrospective dedicated to Studio Ghibli, the
famous animation film studio, created thanks to the association between the acclaimed directors
Takahata Isao and Miyazaki Hayao. In addition, within the Focus section there will be tributes to Akira
Kurosawa and Satoshi Kon; the official exhibition of the Festival coordinated by photographer Mika
Ninagawa which will be held in the locations of the Auditorium; the floral installation on the red carpet by
Japanese artist Shogo Kariyazaki; and, lastly, the opening event of the fifth edition of the Festival at Zaha
Hadid's Maxxi Museum.
As of 2006, producers, buyers and sellers have been coming to Rome in October from all over the world in
order to meet at The Business Street and the New Cinema Network, the International Rome Film Festival's
platforms dedicated to the film industry.
The Business Street is an opportunity for buyers and sellers to meet amid professional screenings, a
videolibrary and premieres selected among the latest national productions. Besides, professionals and
experts will be invited to confront each other on the most current topics within the international industry,
through workshops, presentations and round tables. The New Cinema Network is the Festival's coproduction market aimed at supporting the new indipendent filmmaking. It gives the opportunity to a
selection of the world's most interesting talents within the indipendent film scene to find the ideal
platform where they can present their new projects and get in touch with the most important
representatives of the European film industry.
Long and sweet life to the Great Cinema: this is the communication campaign of the fifth edition of the
Festival, on the occasion of the 50th anniversary of La dolce vita, Federico Fellini's masterpiece. The
Festival will be exhibiting a series of photographs showing some of the most renowned protagonitsts
immortalized by the paparazzi of those days: Brigitte Bardot, Audrey Hepburn, Marcello Mastroianni, Sofia
Loren, Vittorio De Sica, Vittorio Gassman, Ugo Tognazzi, Alberto Sordi and Totò. Therefore, the Rome Film
Festival will be dedicating a significant tribute to La Dolce Vita, meaning both Fellini's work, and a
particularly significant period in the political, cultural and social history of our Country.
A tribute evening in honor of Fellini's masterpiece La Dolce Vita, in its 50th annniversary year, will take
place at the Auditorium Parco della Musica on October 30th with the world premiere of the 4k digitally
restored version of the film. The restoration was carried out by the Cineteca di Bologna at the L’Immagine
Ritrovata laboratory in association with The Film Foundation, Centro Sperimentale di CinematografiaCineteca Nazionale, Pathé, Fondation Jérôme Seydoux-Pathé, Mediaset and Medusa Film, Paramount
Pictures and Cinecittà Luce. The restoration of La Dolce Vita has been made possible by Gucci as part of a
longstanding commitment to restore and preserve significant films through the work of The Film
Foundation.
The tribute will also include three exhibitions. The first, “Labirinto Fellini” (“Fellini's Labyrinth”) will be
divided into two sections: the first one coordinated by Sam Stourdzé, “La grande parata” (“The great
Parade”). Through a selection of raw materials, photographs, bits of films, and drawings this section will
be communicating the greatness and modernity of Fellini's work. Whereas the other, coordinated by Dante
Ferretti and Francesca Loschiavo, will be a sort of magic installation, which will take the audiences on the
sets of the great director from Rimini. The second exhibition, entitled “1960. Il mondo ai tempi de La
dolce vita” (“1960. The world during the days of La Dolce Vita”) will be showing photos and newspaper
articles which go back to the year 1960. Lastly, the exhibition “La Dolce Vita 1950-1960. Stars and
Celebrities in the Italian Fifties” will be hosting about 100 photographs, mostly unpublished, coming from
the Archivio Storico Luce and 100 magazines from the '50ies.
The fifth edition of the Festival will be hosting, among others, 4 exhibitions organized by the Macro: the
Laboratorio Schifano will be presenting, for the first time ever, hundreds of images retouched by Mario
Schifano in a mixture of photography and painting; MACROradici del contemporaneo will be concentrating
on the gallery L’Attico, in an extraordinary visual journey through images, places, languages, protagonists
and cultures which characterized Rome in the '60ies and '70ies; the third appointment will be Roommates
/ Coinquilini, in which young artists and coordinators of the Roman scene have been invited to realize
unpublished works within a common space; and finally, Hiker Meat, the latest multimedial project by the
English artist Jamie Shovlin, which will be reconstructing the story of a film never realized through the
various materials of which it was composed.
Moreover, at the Fondazione Museo Roma, there will be “Il teatro alla moda” (“Fashionable Theater”), a
great exhibition dedicated to the Fashion created for Theater which will be exposing 100 original
costumes realized for very famous opera and dance theatrical performances by some of the most
renowned Italian stylists. The exhibition will also be presenting scale models, fashion plates and rare
video documentaries.
This year as well, the Festival continues in its social commitment with its collaboration with Telethon,
Bulgari for Save the Children, Agenda Sant’Egidio, Altaroma, Associazione Libreria dell’Anima, HIVideo,
Fondazione Sigma – Tau, Enel Cuore, Associazione Tulipani di seta nera, WWF.
Moreover, as communicated to the press during the 2009 edition, the fifth edition of the Festival will be
providing special services so as to enable the participation of those who have physical disabilities. In
particular, the Sala Cinema Lotto will be re-screening the Italian films in the Official Selection with
special subtitles and audio descriptions.
Finally, the Festival will be once again involved in supporting the Impatto Zero® project wanting to
compensate for the CO2 emissions caused by its whole organizational structure through a project which
will enable the creation and safeguard of forests in the Madagascar regions.
THE FESTIVAL IN FIGURES
146 feature films and documentaries
16 films in competition in the Official Selection section
9 films out of competition in the Official Selection and 2 films Official Selection | Focus
1 film Official Selection – Alice nella città
11 Special Events | Entertainment
4 Tributes
12 documentaries in competition in the Extra section
4 documentaries out of competition in the Extra section
8 feature films outside competition in the Extra section 10 film for the event Per Corso, Percorso in the
Extra Section
14 films out of competition in the Alice nella città section
3 films for Alice e la scuola
7 films in the Focus Section
11 films in the Studio Ghibli retrospective in the Focus section
29 projects presented in the New Cinema Network
12 Official prizes, 11 Collateral prizes
7 Movie theatres inside the Village of Cinema
2.260.000 people who have attended the venues of the Festival during the first three editions
429.000 tickets given out during the preceding three editions
OFFICIAL SELECTION
The International Rome Film Festival is five years old now, and it has grown older becoming younger: this
year the average age of the directors present “in Competition” and “out of Competition” within the
Official Selection is lower, there are many first, second and third features, and more indipendent
productions than majors. The Acting Award, conferred to the queen of the indipendents, Julianne Moore,
represents a strong signal of this tendency. Besides, there is a strong taste for multiculturality and a
stateless identity (Golakani Kirkuk is a perfect example). For this reason, in the competition section,
there is a unique coexistence of an American film, Last Night (which will be opening the section) directed
by Iranian Massy Tadjedin, and of another provocatory film, Dog Sweat, secretly filmed by the political
refugee Hossein Kesharvaz in Teheran with U.S.A. funds. And while Danese Susanne Bier in A better world
travels towards African refugee camps, the audiences move towards unknown and fascinating territories
such as the star-divinity Shah Rukh Khan's Bollywood. At the same time, they come to discover the talent
of the new Australian wave (Animal Kingdom, Little sparrows) and gain a new sense of political horror in
Chinese Bei Mian. Therefore, in this sense, it is a surprise to notice that most of the Italian films in
competition (Gangor, Io sono con te) are NOT in Italian, or just in part (Una vita tranquilla). An actual
escape from Italy, or an always more cosmopolitan and hybrid vocation, according to how it is considered.
Four films in competition among which La scuola è finita, written by Daniele Luchetti and directed by
Valerio Jalongo, just to say that the Italian cinema has a lot of energy, a desire to change and experience
new idioms, as well as a lot of anger to express. Jalongo's film clearly reveals one of this year's tendencies
(found in other sections as well, and Alice in particular): the obsession for the destiny and the bringing up
of adolescents, not only on an individual level but also collectively. This aspect is emphasized also in Io
sono con te (in which the Virgin Mary is simply Jesus's mother, the pre-eminently educator), Oranges and
Sunshine by Jim Loach (which rises the veil on scandals and abuses kept secret by the English
governement) and, in a more intimite way, the touching Las buenas hierbas and Little sparrows. Fathers,
mothers (The Rabbit Hole by John Cameron Mitchell) and family represent the wonderful obsessions of an
edition which will be opened, and not by chance, by Maria Sole Tognazzi's film dedicated to her father
Ugo. The section will then culminate in Le cose che restano, the ideal sequel of La meglio gioventù (The
Best of Youth), as in this edition of the Rome Festival, television series become marathon-films. It is the
story of a more recent Italy seen through the eyes of a family that falls to pieces in the grief of a loss, and
then returns to life when recognizing the “foreigners” in our country.
If mingling is a typical aspect of the times we are living in, in no way could a Festival immersed in
contemporaneity not take into account that television series are intersecting with the big screen in a
reciprocal contamination: for this reason Le cose che restano will be presented together with the cinema
version of Carlos by Olivier Assayas, as well as the pilot of Boardwalk Empire directed by Martin Scorsese,
as events out of competition. If it is true that the users of the Rome Film Festival are 'only' by 42%
specialists of the sector and that the rest is made up of simple audiences, this year's edition desires to
strengthen its relationship with the latter (the younger audiences will have the possibility to enjoy Winx
3D, Dylan Dog-the film, and Arietty, the latest cartoon written and produced by the great Miyazaki,
homaged in the Focus Section with Studio Ghibli). For this reason, the 2010 Festival has created the new
SPECIAL EVENTS | ENTERTAINMENT, a common patrimony for all sections. Within this “thin red line” it will
be possible to meet personalities belonging to cinema, cultural environments (among others, Andrea
Camilleri, author of the novel La scomparsa di Patò adapted for Rocco Mortellitti's film) and our
contemporary world in general. In this intersection of genres, the audiences will have the possibility to
listen to protagonists of films and documentaries without remaining caught up in hiring rules which are
very binding as they include only international premieres, both “in Competition” and “out of
Competition”, often depriving the audiences of nice films.
With the indelible memory of Suso Cecchi D’Amico, even this year's edition of the Rome Film Festival
enjoys a strong presence of women, passionately narrated in all of the sections and in particular in the
Official Selection. They will be protagonists on the red carpet and in the encounters with the audiences:
great stars or personalities in politics and literature, all leaders and rebellious in their own way. They will
be proletarian fighters in We want Sex and Gangor, and public protagonists in Benazir Bhutto (the family
will be present at the premiere of the documentary). The audiences will also get to meet Inge Feltrinelli
together with many stars and interpreters, from Keira Knightley to Eva Mendes, Marion Cotillard, Nicole
Kidman, Emily Watson, Valeria Golino, Xenia Rappoport, Fanny Ardant (who will be presenting a short on
Roms, filmed near Rome). And, of course, Julianne Moore, featuring in The kids are alright, story of a
lesbian couple with children who go in search of their natural father. An irregular love story, though still
romantic, in a Festival opened by the lightness of Last Night, characterized by new feelings and ancient
jealousies, but capable of venturing into the exploration of daily horrors owing to very black and political
comedies such as Bei Mian/The Back, Crime d’amour (directed by the recently passed away Alain
Corneau), the Irish discovery Five day Shelter and L’homme qui voulait vivre sa vie by Eric Lartigau. Still,
not forgetting Let me in, where the uneasiness of the youth takes on the bloody and sorrowful form of a
vampire child, or the most uncivil film of all, a shocking noir laughter on euthanasia, Kill me please.
Artistic Director
International Rome Film Festival
COMPETITION
Dog Sweat
by Hosein Keshavarz, Iran – Usa, 2010, 90’
Cast: Sara Esfahani, Tahereh Azadi, Shahrokhi
Taslimi, Ahmad Akbarzadeh, Rahim Zamani,
Bagher Forohar, Maryam Mousavi
La scuola è finita / School Is Over
by Valerio Jalongo, Italy, 2010, 85’
Cast: Valeria Golino, Vincenzo Amato, Fulvio
Forti
Five Day Shelter
by Ger Leonard, Ireland, 2010, 83’
Cast: John Lynch, Kate Dickie, Ger Ryan
Las buenas hierbas / The Good Herbs
by María Novaro, Mexico, 2010, 120’
Cast: Úrsula Pruneda, Ofelia Medina, Ana Ofelia
Murguía
Gangor
by Italo Spinelli, Italy - India, 2009, 91’
Cast: Adil Hussain, Samrat Chackrabarti,
Priyanka Bose
Bei Mian / The Back
by Liu Bingjian, France - Hong Kong, 2010, 85’
Cast: Hairong Tiantian, Huangyu Jialin, Qiu
Muyuan
Golakani Kirkuk / I fiori di Kirkuk / The Flowers
of Kirkuk
by Fariborz Kamkari, apolide, 2010, 115’
Cast: Morjana Alaoui, Ertem Eser, Mohamed
Zouaoui
Little Sparrows
by Yu-Hsiu Camille Chen, Australia, 2010, 88’
Cast: Nicola Bartlett, Nina Deasley, Melanie Munt
Hævnen / In a Better World
by Susanne Bier, Denmark, 2010, 100’
Cast: Mikael Persbrandt, Trine Dyrholm, Ulrich
Thomsen
Io sono con te
by Guido Chiesa, Italy, 2010, 103’
Cast: Nadia Khlifi, Rabeb Srairi, Mustapha
Benstiti
Kill Me Please
by Olias Barco, Belgium , 2010, 92’
Cast: Virgile Bramly, Aurelien Recoing, Benoit
Poelvoorde
Last Night
by Massy Tadjedin, USA - France, 2008, 92’
Cast: Keira Knightley, Sam Worthington, Eva
Mendes
Oranges and Sunshine
by Jim Loach, UK, Australia, 2009, 105’
Cast: Emily Watson, Hugo Weaving, David
Wenham
Poll / The Poll Diaries
by Chris Kraus, Germany – Austria - Estonia,
2010, 129’
Cast: Paula Beer, Edgar Selge, Tambet Tuisk
Rabbit Hole
by John Cameron Mitchell, USA,2010, 90’
Cast: Nicole Kidman, Aaron Eckhart, Dianne
Wiest
Una vita tranquilla
by Claudio Cupellini, Italy – Germany - France,
2010, 105’
Cast: Toni Servillo, Marco D’Amore, Francesco Di
Leva
OUT OF COMPETITION
Animal Kingdom
by David Michôd, Australia, 2009, 112’
Cast: Ben Mendelsohn, Joel Edgerton, Guy
Pearce, Luke Ford, Jacki Weaver, Sullivan
Stapleton
Boardwalk Empire
by Martin Scorsese, Usa, 2010, 72’
Cast: Steve Buscemi, Michael Pitt, Kelly
MacDonald, Michael Shannon, Dabney Coleman,
Shea Whigham
Crime d'amour / Love Crime
by Alain Corneau, France, 2010, 106’
Cast: Ludivine Sagnier, Kristin Scott Thomas,
Patrick Mille
Il padre e lo straniero
by Ricky Tognazzi, Italy, 2010, 110’
Cast: Alessandro Gassman, Ksenya Rappoport,
Amr Waked
Official Selection | Out of Competition – Focus
Inshite Miru - Nanokakan No Desu Gemu / The
Incite Mill: 7 Day Death Game
by Hideo Nakata, Japan, 2010, 107’
Cast: Tatsuya Fujiwara, Haruka Ayase, Satomi
Ishihara, Tsuyoshi Abe, Aya Hirayama, Masanori
Ishii, Takuro Ohno
Official Selection | Out of Competition – Focus
Karugurashi no Arietty / The Borrower Arrietty
by Hiromasa Yonebayashi, Japan, 2010, 90’
Les Petits mouchoirs / Little White Lies
by Guillaume Canet, France, 2010, 135’
Cast: Francois Cluzet, Marion Cotillard, Benoit
Magimel
Let Me In
by Matt Reeves, Usa – UK, 2010, 115’
Cast: Chloe Moretz, Kodi Smit-McPhee, Richard
Jenkins, Elias Koteas, Cara Buono
L'Homme qui voulait vivre sa vie / The Big
Picture
by Eric Lartigau, France, 2010, 115’
Cast: Romain Duris, Marina Foïs, Niels Aresrup,
Branka Katic, Catherine Deneuve
The Kids Are All Right / I ragazzi stanno bene
by Lisa Cholodenko, USA, 2010, 104’
Cast: Julianne Moore, Annette Bening, Mark
Ruffalo, Mia Wasikowska, Josh Hutcherson
We Want Sex
by Nigel Cole, UK, 2010, 113'
Cast: Sally Hawkins, Bob Hoskins, Miranda
Richardson, Rosamund Pike
ALICE NELLA CITTA’ | OFFICIAL SELECTION
WINX Club 3D Magica Avventura
by Iginio Straffi, Italy, 2010, 87’
SPECIAL EVENTS | ENTERTAINMENT
My Name Is Khan
by Karan Johar, India, 2010, 128’
and encounter with Shah Rukh Khan
La scomparsa di Patò
by Rocco Mortelliti, Italy, 2010, 105’
and encounter with Andrea Camilleri
Carlos
by Olivier Assayas, France, 2009, 165’
and encounter with Olivier Assayas
Le cose che restano / Longlasting Youth
by Gianluca Tavarelli, Italy, 2010, 352’
written by Rulli and Petraglia and produced by
Angelo Barbagallo
Chimères Absentes
by Fanny Ardant, Italy – Switzerland, 2010, 12’
and encounter with Fanny Ardant
Bhutto
by Duane Baughman and Johnny O’Hara, USA,
2010, 115’
and encounter with Benazir Bhutto’s relatives
Inge Film
by Luca Scarzella, Italy, 2010, 75’
and encounter with Inge Feltrinelli
Francesco Nuti… e vengo da lontano
by Mario Canale, Italy, 2010, 91’
and encounter for Francesco Nuti
Dylan Dog: Dead of Night
by Kevin Munroe, USA, 2010, 20’
World preview of 20’ of Dylan Dog: Dead of
Night and Halloween party
Crisi di classe
by Giovanni Pedone, USA, 2010, 52’
and encounter with Mario Baldassarri and Luca
Paolazzi
Encounter with Ennio Morricone
On the occasion of the publishing of Antonio
Monda's book “Ennio Morricone. Lontano dai
sogni. Conversazioni con Antonio Monda”
(Mondadori editore)
ENCOUNTER WITH SHAH RUKH KHAN
The Auditorium's platform will be hosting the man who has been defined as the Tom Cruise of Bollywood,
the superstar of Indian cinema, a divinity: Shah Rukh Khan, simply called by his fans SRK or King Khan.
During the encounter, coordinated by Alessandra De Luca, clips from his immense film biography will be
shown, while Shah Rukh Khan tells his audiences what it means to be a god on earth, especially at the
studios in Mumbai. And of course, he will be talking about his ‘serious’ experience in the film presented at
the Festival, My Name is Khan by Karan Johar. A way to discover another face of the star System and of
the distant, but very powerful, planet of showbiz.
My Name Is Khan
by Karan Johar, India, 2010, 128’
Rizvan Khan (Shah Rukh Khan), a Muslim Indian emigrated to San Francisco in order to live with his brother
and sister-in-law, is affected by the syndrome of Asperges, a light form of autism (“which does not mean
that I am stupid. I am very intelligent, I just do not understand people. I do not understand why people
say things they do not think. For example they tell me: 'Come whenever you want', and when I show up
they ask me: 'Why did you come at this time of the day?'”). Naif and pleasant person, he falls in love with
Mandira (Kajol), a single mother Hindu, and despite the family's complaints, he marries her. The two are
happy until 11th September when the immense tragedy of the Twin Towers changes the Americans'
attitude towards them. Mandira, devastated by the events, decides to leave Rizvan who in his astounded
simplicity, begins a confused and angry journey across a hostile America in search of his beloved. It is an
initiation journey against hatred and prejudices, seen with the eyes of a Forrest Gump post 9/11 who
introduces himself like this: “Hello, my name is Khan and I am not a terrorist”. In order to interpret this
anti-hero and enemy of conventions, King Khan abandoned his repertory flaming clothes, but not the
bollywood rythm of the songs which optimistically emphasizes the new road of a cinema capable of
equally mixing commitment and show.
ENCOUNTER WITH ANDREA CAMILLERI
"The death of Pato”, one of Andrea Camilleri's novels, set in the fictional Vigata the late nineteenth
century, became a film adaptation signed by Rocco Mortelliti, and premiered at the Rome International
Film Festival. The Rome Film Festival thus became the occasion to meet the Sicilian writer, loved not only
by adults but also by young people, especially for the Investigation of Montalbano from which it was a
phenomenally successful TV series with Luca Zingaretti.
La scomparsa di Patò
by Rocco Mortelliti, Italy, 2010, 105’
Vigata 1890. Accountant Antonio Patò (Neri Marcoré), director of the bank of Trinacria, misteriously
disappears without leaving any trace during the Easter representation of the death of Christ, in which he
masterfully interprets the part of Judas. Anything could have happened, all hypothesis are valid. Deputy
Bellavia (Maurizio Casagrande) together with warrant officer Giummaro (Nino Frassica) look for a solution
first as rivals, then as friends, and finally as accomplices. With the perseverance and common sense of
who perhaps does not know latin but well knows the human soul, Giummaro and Bellavia finally discover
what happened, and are capable of explaining why the accountant disappeared. However, the so much
awaited truth burns in the hands of the two investigators: the final report presented to the authorities
causes a wave of panic that moves from Rome to deep Sicily through telegrams, messages and threats. A
novel by Andrea Camilleri very well adapted by Rocco Mortelliti, Maurizio Nichetti and Andrea Camilleri.
ENCOUNTER WITH OLIVIER ASSAYAS
At Canal +, where it was produced, Carlos has been described as the most cinematographic of fictions.
Presented at Cannes out of competition in the long version of 3 episodes, the film-tv series by Olivier
Assayas has really created a stir. Two years of researches and on-the-spot investigations, a 300 page
script, a story which covers twenty crucial years in ten countries with hundreds of characters and dozens
of different languages; “a political film, a historical film, an action movie” filmed for television in
cinemascope. It is a politically rock portrait of the legendary Venezuelan Carlos (Edgar Ramirez) who was
a professional revolutionary during the international terrorism which took place between the '70ies and
'80ies, ranging from filo-palestine activism to the Japanese Red Army. At the same time, Carlos was a leftwing extremist and an opportunist mercenary, hired by the secret services of the Middle East powers. He
ended up founding an organization on the other side of the iron curtain, and was active during the last
years of the Cold War. The film, without fake costumes and remakings, shot in full light with extremely
real historical characters who move about full of energy as if in a ballet, shows how the bordeline
between television series and cinema can be very faint. The Rome Film Festival will be premiering the
cinema version of Assayas's film: three films that become one in order to respect the duration of the
screening, without loosing a single speck of intensity. On the occasion of the screening of Carlos, the
Festival will be hosting an encounter with the film director Olivier Assayas.
Carlos
by Olivier Assayas, France, 2009, 165’
The film is about an internationalist revolutionary, manipulator and manipulated, driven by the flow of
time of the history he lived in and its excesses. Assayas follows his story until the end of the road, when
the Islamic governement of Sudan where Carlos is a refugee, decides, after having protected him, to give
him over to the French. Carlos, nicknamed the Jackal, was a contradictory character, violent like the
period he represented. Today he is in jail with his real name Ilich Ramirez Sanchez, but he used to be a
“pop star” of terrorism, consumed by the idea of money and immediate fame. The film, wonderfully
suspended between a documentary and a costume film, gives us the color, the taste, the excited
sensitivity of those years, with the surplus value of the arrogant and camaleontic Edgar Ramirez, fantastic
protagonist.
Le cose che restano / Longlasting Youth
by Gianluca Lavarelli, Italy, 2010, 352’
Written by Rulli and Petraglia, and produced by Angelo Barbagallo, the film is meant to be, seven years
later, the ideal sequel of La meglio gioventù (The Best of Youth). It is the representation of a confused
Italy seen through the magnifying glass of a private point of view. An example of miniseries written for
television but stilistically on the borderline with cinema, the film is directed by Gianluca Lavarelli, author
of fictions of great quality and audiences, such as Paolo Borsellino or Maria Montessori. Le cose che
restano is the story of a family that falls to pieces, and of a house that empties out following a painful
event. But it is also the story of how, little by little, family and house come back to life, letting
themselves be inhabited – and contaminated – by new lives. Nora (Paola Cortellesi), Andrea (Claudio
Santamaria), Nino (Lorenzo Balducci), and the father Pietro (Ennio Fantastichini) have a hard time
reacting at the disorientation that hits them, but they do so with courage seeking other worlds, sprones,
and love outside and beyond the family. Around them the new Italian citizens, men and women between
twenty and forty years of age, caught up in work (which they have and do not have), in responsibilities
and moralities which become unclear, in wars they fight without admitting fighting them, in poor people
who ask them questions. Such is the case of Alina (the revelation Leila Bekhti) and Shaba (Farida
Rahouadj). It is a long marathon in four chapters, a story that tries to tell us who we are, what we have
become, and what we no longer want to be. Therefore this family that confusedly resists and laboriously
recomposes itself, becomes symbol of an entire country in search of a new identity. Featuring Antonia
Liskova, Francesco Sanna, Vincenzo Amato.
ENCOUNTER WITH FANNY ARDANT
Fanny Ardant, extraordinary French actress and director, will be meeting the audiences on the occasion of
the presentation of Chimères Absentes, of which she is writer and protagonist. During the encouter she
will explain her commitment towards the recognition of the Roms' rights, and her fight against prejudices
about them which are always more common. The short film is part of a project produced by Art for The
World, Then and Now Beyond Borders and Differences concerning tollerance and awareness towards the
complexity of cultures. It is composed of 11 shorts, realized by directors from all over the world: Ardant,
Tata Amaral, Sergei Bodrov, Mahanat-Saleh Haroun, Hüseyin Karabey, Masbedo, Guka Omarova, Idrissa
Ouédraogo, Jafar Panahi, Abderrahmane Sissako and Robert Wilson.
Chimères Absentes is associated with the European Council's Campagna Dosta!, of which Fanny Ardant is
ambassador.
Chimères Absentes
by Fanny Ardant, Italy – Switzerland, 2010, 12’
Filmed in April 2010 in the municipal district of Formello, on the outskirts of Rome, with professional
actors (Francesco Montanari and Paolo Triestino) and with the inhabitants of a Rom camp, Chimères
Absentes tells the story of Sonietcka, a little rom girl not admitted at the school refectory owing to her
family's poverty. Only Malvina, her music teacher (played by Fanny Ardant), has the courage to cross the
social and cultural boundaries and discover the complexity, the richness and the liberty within the Rom's
traditions and culture.
ENCOUNTER WITH BENAZIR BHUTTO'S FAMILY
Bhutto is a classic and powerful documentary which outlines the history of modern Pakistan
reconstructing, in little less than two hours, the complicated story of the Bhutto dynasty. In the first 30
minutes of the film, directors Jessica Hernandez and Johnny O'Hara summarize the beginning of the new
state after its indipendence from India in 1947, to the election of Zulfikar Ali Bhutto as Prime Minister in
1971. Then the attention moves to Ali's older daughter, Benazir, educated at Harvard and Oxford with
absolutely no intention whatsoever to enter upon a political career. However, when her father is
imprisoned in 1977 after a coupe carried out by general Muhammad Zia ul-Haq, Benazir takes over the
lead of the Pakistan Peoples Party from exile, launching a campaign for the liberation of Ali without being
able to avoid his death sentence. On the emotional wave caused by the execution of the elderly
president, Benazir Bhutto wins the electoral campaign in 1988 becoming the first woman President in an
Islamic nation, only to be almost immediately deposed by a military coupe. After her re-election in 1996
she continues to live in exile between Dubai and London, following her husband's arrest (Asif Ali Zardari)
for corruption. A Dynasty destined to continuous unforseen turn of events, up to the inevitable final:
Benazir's triumphant return to Pakistan in 2007 as the new leader of the PPP, ends up with her bloody
assassination, plotted, according to the woman predictions, by the president of those years Pervez
Musharraf, or organized by fundamentalist terrorists according to Musharraf's defence. O'Hara and
Hernandez, far from hagiography, show both lights and shadows of the Bhutto epic. The documentary
gains interest owing to the very rare library footage, to the audio recordings never heard before, and
especially to the interviews with the widowed Asif Ali Zardari (current president of Pakistan) as well as
with their grown up children. On the occasion of the screening of the film, there will be a public
encounter with Benazir's family, first among all her son Bilawal Bhutto Zardari, current president of the
Pakistan Peoples Party.
Bhutto
by Duane Baughman and Johnny O’Hara, USA, 2010, 115’
In the first 30 minutes, the film summarizes the birth of the new state after India's independence in 1947
until the election as Prime Minister in 1971 of Zulfikar Ali Bhutto. The focus then moves to the eldest
daughter of Ali, Benazir, educated at Harvard and Oxford without any intention of political career.
ENCOUNTER WITH INGE FELTRINELLI
The documentary by Luca Scarzella on Inge Schoenthal Feltrinelli, which will be premiered at the Rome
Film Festival, shows for the very first time a passionate, and in certain moments touching portrait of an
extraordinary woman who lived an extraordinary life. The film starts out talking about her life as a child
in Germany, to when she then worked as a photoreporter around the world interviewing among others
Ernest Hemingway, Pablo Picasso and Simone de Beauvoir, up to when in 1960 she met the man who
became her husband, Giangiacomo Feltrinelli, with whom she shared an intellectual, political and
entrepreurial adventure with the publishing house.
After her husband passed away in 1972, Inge Feltrinelli continued expanding her work especially caring
about her international relationships, so as to make Italian authors known abroad and to bring important
foreign writers to Italy. She also worked particularly hard for the opening of 100 new Feltrinelli bookstores
throughout Italy. She has received a great number of prizes and aknowledgements both in Italy and
worldwide for her commitment in promoting culture. Luca Scarzella's documentary – by using the music of
those years – reconstructs in a lively and swift way, and with no retoric, Inge Felterinelli's long journey of
life by means of archive material, and through her own voice, as she is the protagonist of a long interview.
On the occasion of the screening of the documentary Inge, there will be an encounter with Gad Lerner,
Inge Feltrinelli and the Israeli writer Amos Oz.
ENCOUNTER FOR FRANCESCO NUTI
During the '80ies, many of the new comic actors coming from theatrical and television experiences chose
to pass behind the camera and become directors and writers as well. Among them Francesco Nuti, who
from the beginning of the '80ies to mid '90ies was one of the greatest protagonists of Italian cinema, actor
and director of great success. For about 10 years every film of his was at the top of the list as far as box
office was concerned, and his popularity reached very high levels. But in 1994 his most ambitious project,
his most desired film, Occhio Pinocchio (Francesco was a passionate collectionist of the various editions of
Collodi's book, and especially of reproductions of Pinocchio's nose), after a very long and laboured filming
lasted about one year, turned out to be a flop both with audiences and critics. From that moment on
Francesco fell into a deep depression which not even his following works were able to mitigate, and he
slowly disappeared taken over by his depression and his attempts to cancel it. Towards the end of 2006 a
serious accident kept him in coma for about two years. From then on, he and his films have almost
disappeared (only a few have recently come out on DVD, while they are rarely shown on television). The
documentary Francesco Nuti…e vengo da lontano tells Francesco's story in his happiest and most creative
moments, reconstructing how he touched the highest peaks of cinema in a very short timeframe, and how
he then suddenly and unexpectedly fell from those peaks having a hard time recovering.
Francesco Nuti… e vengo da lontano
by Mario Canale, Italy, 2010, 91’
Italian Cinema gathers together to celebrate Francesco Nuti's talent. Indiscussed king of box office
between the '80ies and '90ies, “melancholic” Francesco recounted the confused and disillusioned love of
an entire generation through his romantic and strange characters. From Willi Signori to Caruso Paskoski,
from Tutta colpa del paradiso to Donne con le gonne, the documentary by Mario Canale finally restores
the jaunty smile of a very much loved artist: his life, work, women, but also his loneliness and frailty, the
exile of a complex author and original writer. The Rome Film Festival (Rome being his adoptive city) and
the Extra section dedicate a special event to his world and films.
DYLAN DOG
World premiere at the Rome Film Festival, Oct. 31, on the Halloween night, the first 20' of the film Dylan
Dog: Dead of Night, a great Hollywood Film inspired by the most famous comic character in the world,
made in Italy (56 million copies sold in 17 countries), born in 1986 from the pen of Tiziano Sclavi and
published by Sergio Bonelli Editore. Dylan Dog is a kind of detective Investigator: fear fascinates him and
he made a profession of it.
Dylan Dog: Dead of Night
by Kevin Munroe, USA, 2010, 20 '
The film, directed by Kevin Munroe, produced by Platinum Studios and Hyde Park Productions with the
approval of Bonelli, is based on an a never published story. The film is even more horror than the comic,
with Dylan Dog to hunt people "differently alive", a parallel world of vampires, zombies, werewolves,
mixed in with normal people. To interpret the main character is Brandon Routh (already seen in
Superman) from the muscular physique, fearless and unconventional, very different by the actor who
inspired the comic at the time of Sclavi, Rupert Everett, the protagonist in the 1994 film version of Della
morte dell’amore by Michele Soavi. The look of Dylan Dog begins to change, he leaves the red shirt and
black jacket to wear casual clothes (only wearing his "uniform" when venturing beyond o’er). The setting
has changed from the original comics, we moved from London to New Orleans, the city of voodoo (always
with the approval of Bonelli). The irresistible allure of the supernatural investigator, however, remains
unchanged.
ENCOUNTER WITH THE ECONOMISTS
In a meeting open to the public, Sen. Mario Baldassarri, chairman of the Finance and Treasury, and Luke
Paolazzi, director of the Centro Studi Confindustria, commenting on the documentary by John Walker,
Crisi di classe
Crisi di classe
by Giovanni Pedone, USA, 2010, 52’
The film looks into the identity of the new poor people, and into the dynamics which brought to the
worldwide recession. The crisis of the middle class is recounted through personal stories, interviews and
in-depth analysis of economists and sociologists. However, the most important and incisive part of the
documentary is when the causes which brought to the current situation are analyzed and explained
through the stories of the “protagonists of the crisis”. In the film, the people are followed around in order
to understand what has changed in their daily lives, and what kind of techniques they have put into action
in order to face the new situation.
ENCOUNTER WITH ENNIO MORRICONE
On the occasion of the publishing of Antonio Monda's book “Ennio Morricone. Lontano dai sogni.
Conversazioni con Antonio Monda” (Mondadori editore), the International Rome Film Festival will be
hosting an encounter with maestro Ennio Morricone, interviewed for the occasion by Antonio Monda. Ennio
Morricone's artistic experience (Rome, 1928) probably has no equals in the history of music. After his
diploma in trumpet and composition under the guide of maestro Goffredo Petrassi, Morricone becomes
famous worldwide as the author of the scores of Sergio Leone's westerns. Since the '60ies Morricone has
been working with the greatest directors (among which Pontecorvo, Pasolini, Bertolucci, Tornatore,
Verneuil, Polanski, Almodovar) binding his name with scores which have become part of the music memory
of all of us. In parallel, Morricone has composed over 100 works consisting in 'just music', and directed
many of the most important orchestras, from the Santa Cecilia Academy to the London Symphony. He has
received, on more occasions, the most desidered acknowledgments. In order to realize his book, Antonio
Monda reconstructed Morricone's long career owing to a series of very personal “conversations” which took
place throughout a whole year, and in which the author convinced the Maestro to talk about himself as he
has never done before.
TRIBUTES
TRIBUTE TO UGO TOGNAZZI
The Festival celebrates one of the greatest Italian actors to come out of the 20th century.Twenty years
after Ugo Tognazzi's death on October 27, 1990, the International Rome Film Festival (October 28 November 5, 2010) celebrates one of the greatest Italian actors to come out of the 20th century. A bold
and modern figure in his stylistic versatility, Tognazzi rather unusually stands as a common thread linking
masters of Italian comedy such as Mario Monicelli, Luciano Salce, and Dino Risi, and sophisticated,
provocative filmmakers like Marco Ferreri and Bernardo Bertolucci (whose film Tragedy of a Ridiculous
Man
earned
the
actor
the
Palme
d'Or
at
Cannes
in
1981).
At the Rome Film Festival, Tognazzi's presence will be felt across the board: in fact, each film in the
competition lineup will be kicked off by a montage of the actor's greatest performances, chosen from his
entire oeuvre as both actor and director (Tognazzi actually directed himself in five films; Il mantenuto,
1961; The Seventh Floor, 1966; Yes Sir, 1968; Cattivi pensieri, 1976; and I viaggiatori della sera, 1979).
The most heartfelt tribute, however, is sure to be the documentary Ritratto di mio padre (Portrait of My
Father), which is having its world premiere at the Rome Film Festival. Directed by Tognazzi's daughter,
Maria Sole Tognazzi, and produced by Matteo Rovere's Ascent Film, this masterful portrait of Tognazzi
does more than just combine anecdotes, the actor's films, and interviews with fellow film personalities he
worked with (ranging from Mario Monicelli, Ettore Scola, and Michel Piccoli to Laura Morante and Valeria
Golino), as well as his sons Ricky, Gianmarco and Thomas. The director has also woven in private super 8s
seen here for the first time, the most genuine records of the actor's family life, social milieu, and work on
the set. The screening will be accompanied by a special event devoted to Ugo Tognazzi's daughter in
which the family and many of those who worked with her father will take part.
Finally, the 2010 Rome Film Festival tips its hat to yet another Tognazzi. We are delighted to announce
the premiere of Ricky Tognazzi's Il padre e lo straniero, starring Alessandro Gassman and Ksenia
Rappoport and based on the novel of the same name by Giancarlo De Cataldo.
These are the "pills" of a few minutes the Festival will show before each screening of the Official
Selection, L'Altro Cinema | Extra and Alice nella Città, drawn from the most important films of Tognazzi.
I mostri
Dino Risi 1963
Oggi, domani, dopodomani
Marco Ferreri 1965
Una storia moderna: L’ape regina
Marco Ferreri 1963
Il fischio al naso
Ugo Tognazzi 1967
La vita agra
Carlo Lizzani 1963
Amici miei
Mario Monicelli 1975
Controsesso
vari registi 1964
La Terrazza
Ettore Scola 1980
La donna scimmia
Marco Ferreri 1964
La tragedia di un uomo ridicolo
Bernardo Bertolucci 1981
Una moglie americana
Gian Luigi Polidoro 1964
Ultimo Minuto
Pupi Avati 1987
Io la conoscevo bene
Antonio Pietrangeli 1965
TRIBUTE TO AKIRA KUROSAWA
The great Maestro at work
Focus Japan 2010 will be opening with a tribute to Akira Kurosawa whose films have inspired generations
of filmmakers all over the world. In an encounter hosted by cinema critic and historian Goffredo Fofi,
Kurosawa's genious will be recounted by Teruyo Nogami, his script supervisor from 1950, and Vittorio Dalle
Ore who started collaborating with him in 1983 as the only Western assistant director and assistant editor
in his crew. Besides, there will be the screening of Rashōmon, the film which launched him on the
international scene with the Leone d'Oro at the Venice Film Festival, presented for the first time in
Europe in a high definition digital version.
Teruyo Nogami, as a direct witness of the making of so much cinema history, will be sharing some of the
many extraordinary and sometimes difficult experiences she had during the years she worked close to the
Maestro. She will be talking about the way of conceiving the images as well as of the many long and hard
times, although just as beautiful, she went through in order to live the magic moment of finally enjoying
Kurosawa's films in the darkness of a screening room.
Vittorio Dalle Ore, instead, will be sharing his captivating experience of being suddenly thrown into a
totally different and fascinating culture, at the court of the man was called the emperor of cinema. He
will be talking about the life of a Japanese crew seen from within, of their different way of conceiving
and organizing work, and of the relationship between Kurosawa and his assistant directors, the actors, his
collaborators and the editing, a crucial moment in his creative work.
In addition, there will be the possibility to appreciate documentaries filmed on Kurosawa's sets,
unpublished photographs of him at work, several of his drawings which he used in order to explain himself
with his collaborators, and some beautiful moments from his films.
What will most speak about the great Maestro will be one of his most acclaimed works, Rashōmon, a film
which surprised everybody when presented at the Venice Film Festival, remaining one of cinema's most
vivid, dynamic, intellectually intriguing and aesthetically beautiful films.
Rashōmon
by Akira Kurosawa, Japan, 1950, 88’
TRIBUTE TO SATOSHI KON
His debut film, Perfect Blue, is the first psycho-thriller in the history of Japanese animation and surprises
for the use of almost revolutionary assembly, consistent with a narrative field that already contains all of
his obsessions. Let us therefore pay tribute to Satoshi Kon with this film that is presented to the Festival
audience by film critic Andrea Fontana.
Satoshi Kon is absolutely one of the animated film's most important and decisive that marked the
imaginary film of the last decade. Died prematurely at the age of 47 years, Kon has been able to impose
its name to international attention with a handful of titles, however, able to develop a consistently lucid
and poetic worth. His is a cinema that has a wavelength different but perfectly blended together, for Kon
cinema, dream, fiction and reality are one universe to discover. His cinema was a look on the impossible,
it was an alternative to the withering of wonder, the last remnant of disbelief throughout the film.
Perfect Blue
by Satoshi Kon, Japan, 1997, 81’
Idol Mima decides to leave the music world to become an actress. This decision unleashes her fan's anger,
some of which would like to see her dead. Perfect Blue, by the talented Satoshi Kon, is the first psychothriller in the history of Japanese animation. The film already contains all of the director's obsessions: the
split personality of Paprika and Paranoia Agent, the metacinematographic context essence of Millennium
Actress and Tokyo Godfathers, while the oniric dimension is the common denominator of Konian's work in
its whole. In Perfect Blue, Satoshi Kon gives homage to maestro Katsuhiro Ôtomo, and at the same time he
shows an intellectual autonomy and a completed mastery of stylistic and content means. Cinema, dream
and animation fuse together in a single view, paradigm of one of the most important directors of the past
ten years.
TRIBUTE TO SUSO CECCHI D’AMICO
MARC’AURELIO AWARD TO THE MEMORY OF SUSO CECCHI D’AMICO
The Festival celebrates the screenwriter with one of its official awards
The International Rome Film Festival is dedicating one of its official awards, the Marc'Aurelio, to the
memory of the recently passed away Suso Cecchi d'Amico wanting to celebrate the screenwriter who, for
over half a century, wrote the most beautiful pages in the history of Italian cinema. During the Festival,
Alessandra Levantesi will be homaging her by remembering the relationship between Emilio Cecchi's and
Silvio d'Amico's families throughout the years. Memories which Levantesi and her late husband Tullio
Kezich collected in a book entitled "Una dinastia italiana". Mario Monicelli, one of the writers who worked
with her the longest and the most, will be presenting the award to Masolino, Silvia, and Caterina, Suso's
son and two daughters. Besides, three well-known Italian screenwriters, Cristina Comencini, Iaia Fiastri,
Francesca Marciano, will be giving their contribution by illustrating the value and significance of the
heritage received from she who preceded them with gifted prestige.
EXTRA
This year there are two ghosts going around amid the discoveries of Extra. The first one is the female
sexuality, which documentaries (from the Japanese Yoyochu in the Land of the Rising Sex to the American
The Canal Street Madam, both in competition) and films (the Corean My Heart Beats, the French Le
sentiment de la chair) explore with rare radicality and initiative even for auteur cinema. The second one
is the American indipendent cinema, but perhaps it would be more correct to say the Other America, with
its exemplary directors (like Alexandre Rockwell and John Landis), and actors (like Steve Buscemi and
Peter Dinklage); with its rock music monuments (such as Lillian Roxon and Bruce Springsteen), and the
very new cutting-edge videomakers of post television. Still, with the documentary The Woodmans
(portrait of a young photographer with a tragic destiny), the “mumblecore” cinema of The Freebie, and
the irresistible crazy documentary The People vs George Lucas (although it was actually the American
Embassy in Rome to believe in this operation funding the realization of the event). Therefore, on one hand
Extra's glance came across an authentic obsession: the representation of the female pleasure (in My Heart
Beats a university researcher decides to become a porn actress; Yoyochu is the portrait of a porn film
director who carries out every technique possible in order to capture in images the ghost of women's
sexual pleasure; and in Le sentiment de la chair the protagonist allows her lover, who is a radiologist, to
scan and manipulate her entrails in order to reach the maximum intimacy with him). And on the other
hand Extra's glance found, like after a tide, traces of a kind of cinema, music and video not at all willing
to accept the catatonic flattening of the contemporary mediatic mainstream. The new films by Rockwell
and Landis (who will be protagonists of encounters with audiences and journalists), the film showing
Springsteen in his workshop as singer-songwriter (The Promise), the selection of the international
documentaries in competition (Extra is among the few sections in the world to have a special award for
documentaries, and this year an international jury will be conferring an award to the best international
documentary), but even the selection of the smaller domestic films (realized in collaboration with the
Home Movies archives in Bologna), or the first two short films in 3D made by two young Italian directors
(Laura Bispuri and Anne Riitta Ciccone) are the fruit of a kind of ideal census showing that there is a freer,
more innovative, indipendent and non conventional way of filming. It is for this reason that Extra will also
be presenting one of the greatest living Italian writers, Gianni Celati, author of an African diary (Diol
Kadd. Vita, diari e riprese in un villaggio del Senegal) who recounts the continent as perhaps an Italian
intellectual has not done since Pasolini and Moravia; as well as a no budget Italian film, Ad ogni costo,
new film of the Collettivo Amanda Flor, which is a report on our outskirts, a ruthless and dangerous jungle
like those of the noir films in the '40ies. It is instead with films like Gasland or Rainmakers that we are
reminded that the whole planet is put at risk by corporations and statal molochs, and how important it is
to resist. Finally, the program is completed by a tribute to Corso Salani, the Casa del cinema (“Per Corso,
percorso”, unpublished works by Salani and Costanza Quatriglio, Theo Eshetu, Luca Verdone, Stefano
Pistolini) and by the Duetti – creation and tradition of the section: Margherita Buy and Silvio Orlando,
Giancarlo De Cataldo and Gabriele Salvatores (a “criminal” duet: their conversation will be on Cinema &
Justice).
Mario Sesti
Head of “Extra”
EXTRA
Documentaries In Competition
A Mao e a Luva
by Roberto Orazi, Italy, 2010, 80’
Mother of Rock: Lillian Roxon
by Paul Clarke, Australia, 2010, 74’
The Canal Street Madam
by Cameron Yates, Usa, 2010, 91’
The Promise: The Making of Darkness on the
Edge of Town
by Thom Zimny, Usa, 2010, 85’
Extra – Alice nella città
Ce n’est qu’un debut / Just a Beginning
by Jean-Perre Pozzi, Pierre Barougier, France,
2010, 97’
Il colore del vento
by Bruno Bigoni, Italy, 2010, 80’
Diol Kadd. Vita, diari e riprese in un villaggio
del Senegal
by Gianni Celati, Italy, 2010, 90’
Facing Genocide: Khieu Samphan and Pol Pot
by David Aronowitsch, Staffan Lindberg, Sweden
- Norway, 2010, 94’
De Regenmakers / Rainmakers
by Floris-Jan van Luyn, Holland, 2010, 73’
Vuelve a la Vida / Back to Life
by Carlos Hagerman, Mexico, 2009, 72’
The Woodmans
by C. Scott Willis, Usa, 2010, 82’
Extra –Focus
Yoyochu, Sex to Yoyogi Tadashi no Sekai /
Yoyochu in the Land of the Rising Sex
by Masato Ishioka, Giappone, 2010, 115’
EXTRA
Documentaries Out Competition
Gasland
by Josh Fox, Usa, 2010, 107’
The People vs George Lucas
by Alexandre O. Philippe, Usa, 2010, 93’
Inside Job
by Charles Ferguson, Usa, 2010, 120’
Yves Saint Laurent, l’amour fou
by Pierre Thoretton, France, 2010, 100’
EXTRA
Feature Films Out of Competition
- x - / Minus by Minus
by Hajime Izuki, Japan, 2010, 120’
Pete Smalls is Dead
by Alexandre Rockwell, Usa, 2010, 101’
Ad ogni costo
by Davide Alfonsi, Denis Malagnino, Italy, 2010,
85’
Proie / Prey
by Antoine Blossier, France, 2010, 80’
Burke and Hare
by John Landis, Great Britain, 2010, 100’
Le sentiment de la chair / The Sentiment of the
Flesh
by Roberto Garzelli, France, 2010, 91’
The Freebie
by Katie Aselton, Usa, 2010,78’
Shimjangii-Thyney / My Heart Beats
by Eunhee Huh, Republic of Korea, 2010, 109'
EXTRA
Home-made Cinema
Mongolfiere all'Arena - 1927 - Fondo Aleardo
Felisi - Verona - 9,5mm
Gita in 500 - 1960 - Fondo Luciano Alessandrini Bologna - 8mm
Marisa 80 giorni - 1928 - Fondo Guglielmo
Baldassini - Milano - 9,5mm
Concerto in famiglia - 1966 - Fondo Emilia
Caponnetto - Ravenna - 8mm
Matrimonio Acanfora - Anni '30 - Fondo Ermanno
Acanfora - Napoli - 9,5mm
Altalena a Rimini - 1970 - Fondo Nino Cocchi Bologna - 8mm
Autoritratto di famiglia - 1936 - Fondo Nicolò La
Colla - Palermo - 8mm
Ballo a Ceylon - anni '70 - Fondo Roberto
Vivarelli Colonna - Firenze - Super8
Matrimonio a Bologna - 1939 - Fondo Colletti Bologna - 16mm
Compleanno - anni '70 - Fondo Nello Palazzi Pesaro - Super8
La giostra - 1950 - Fondo Gaetano Carrer Bologna - 8mm
Ritratto tra i fiori - 1972 - Fondo Ines Pignatelli Bologna - Super8
Leçon d'equlibre - primi anni '50 - Fondo Lino Poli
- Bologna - 9,5mm
Yemen - 1979 - Fondo Mauro Matteucci - Bologna
- Super8
Il mercato ortofrutticolo - 1957 - Fondo Adelmo
Cattaneo - Milano - 16mm
EXTRA
Short Films
Apollo e Dafne
by Mojmir Jezek, Italy, 2010, 9’
Salve Regina
by Laura Bispuri, Italy, 2010, 10’
Breve film d’amore e libertà
by Costanza Quatriglio, Italy, 2010, 7’
Victims
di Anne-Riitta Ciccone, Italiy, 2010, 17’
Home
by Philip Bajjaly, Libanon, 2010, 32’
EXTRA
casa del cinema
PER CORSO, PERCORSO ( Tribute to Corso Salani)
Cesena, Italia
by Corso Salani, Italy, 2010, 15’
Deva, Romania
by Corso Salani, Italy, 2010, 12’
Breve film d’amore e libertà
by Costanza Quatriglio, Italy, 2010, 7’
Fryderyk Chopin
by Angelo Bozzolini, Italy, 2010, 54’
Il Futurismo. Un movimento di Arte/Vita
by Luca Verdone, Italy - France, 2010, 52’
La politica del desiderio
by Flaminia Cardini, Manuela Vigorita, Italy,
2010, 75’
Le radici e le ali
by Maria Rita Parsi, Italy, 2010, 96’
L’elefante occupa spazio
by Francesco Barnabei, Italy, 2010, 60’
Nessuna speranza nessuna paura
by Stefano Pistolini, Italy, 2010, 80’
Roma
by Theo Eshetu, Italy, 2010, 58’
CINEMA LESSONS. CONVERSATIONS WITH…
JOHN LANDIS
John Landis started out as a deliveryman, and in the '80ies he became the most successful director in
Hollywood: nobody has ever destroyed so many cars in a single film like he did in The Blues Brothers.
Extremely educated – to the point of dedicating an essay to the best stunt that has ever interpreted a
monkey in a hollywood adventure film- passionate of classic film genres such as horror, discoverer of the
funniest contemporary comic couple in American cinema (Dan Aykroyd and John Belushi), and director of
Animal House and An American Warewolf in London. He is a real scientist of the mechanisms which bring
the audiences to feel the deepest emotions, and an authentic learned man concerning the most brilliant
and evident manifestations from the audiences: laughter and shudders, uncontrollable ilarity and deep
fear. And it is still on these emotions, so deeply radicated in our pleasure of going to the cinema, on
which he seems to insist in his new film Burke & Hare, which will be premiered worldwide in the Extra
section. After over 10 years, Landis goes back to directing a feature film: the story seems to follow a
classic plot typical of the scary movies of the Universal studio of the '30ies, with the two protagonists
stealing dead bodies in order to satisfy the need of doctors and scientists perhaps too unscrupulous.
However, the director of Trading places has also been able to re-write a sophisticated comedy, and with
Thriller (the famous videoclip with Michael Jackson, and maybe the only true commercial “kolossal”
meant for the promotion of pop music), he was able to mix together parody, horror, and musical in a
piece of cinema of extraordinary density which remains unrivalled in its genre. Perhaps, even Landis is a
sort of crazy film scientist who uses genres, and the memory of the films he has always loved since he was
a child, like smoking test tubes which he mixes while watching his experiments full of anxiety and surprise
waiting to see what will come out of them. The explosions, the wispy clouds, the laughter, the shudders
that he has given us up to now are something to which no cinema lover would ever be able to renounce.
Now he is an indipendent author, rapresentative of an American cinema which is courageous and
impartial, fun and full of talent and great passion, all things extremely difficult to find in current
productions. Landis will be the protagonist of one of the encounters which have become a very much
awaited tradition of the Extra section.
ALEXANDRE ROCKWELL
In the '90ies, together with Hal Hartley and Jim Jarmusch, Alexandre Rockwell was one of the most
important writers of the American indipendent cinema, namely that cinema which illuminated the
shadowy areas of American society. He offered original and personal forms of film writing, bringing on the
screen new faces and more modern and contemporary typologies of stories and characters. He followed in
the footsteps of the generation of the '70ies, taking possession of the major consumption tendencies of
the big screen and literally reforming the star system, the language, the traits and the structure of genres
from their foundation. The indipendent cinema of the '90ies did not have the same impact of the
preceding years, but it did leave some excellent subjectivities on the field that continued to use the
language of a surprising cinema out of the schemes, full of corners and unknown narrations, and open to a
manifold of forms of influence and suggestion. The Extra section will be premiering Alexandre Rockwell's
film Pete Smalls is Dead, featuring several actors who are very familiar in the jam sessions of American
indipendent cinema, such as Steve Buscemi, Tim Roth, Peter Dinklage. He is a symptomatic representative
of the idea of cinema made of the utmost liberty and humour, of films open to continuous stylistic
digressions and to amazing escapes within the script. Rockwell is a director who has already made cinema
the object of a comedy and is never short of resources, as with In the Soup. Now, with Pete Smalls is
Dead, he goes back to using details, landscapes and new characters to portray dreams and frustrations,
shabby behaviors and ruthlessness, mistery and commitment which nowadays surround practice and
desire, as well as the production and the realization of a film.
DUETS
MARGHERITA BUY AND SILVIO ORLANDO
Created by Mario Sesti, the Duetto is a very much awaited appointment within the section L’Altro Cinema
| Extra, and a real tradition by now for the Rome Film Festival: after Bertolucci and Bellocchio, Servillo
and Verdone, Muccino and Tornatore, this year the duet on the platform of the Sala Petrassi will be
performed by two actors who have had a decisive role in the cinema over the past twenty years,
Margherita Buy and Silvio Orlando. Their popular and unique faces became part of the new kind of
imaginary which the Italian cinema started to create and produce at the end of the '80ies, while they
worked together in films which indelibly marked specific seasons (such as Not of This World [Fuori dal
mondo] by Giuseppe Piccioni or The Caiman [Il caimano] by Nanni Moretti). However, from La stazione to
Lo spazio bianco, from Ferie d’agosto to Il pPapà di Giovanna, their adorable defenselessness and
sensitivity, their ability to switch deftly from humour to tragedy, the technique and versatility of their
style, the dignity of the firmness of their looks are all elements which have been indispensable resources
throughout these years for directors such as Carlo Verdone, Paolo Virzì, Pupi Avati, Sergio Rubini, Daniele
Luchetti, Ferzan Ozpetek, Francesca Comencini and many others. Both of them will be choosing some of
their favourite scenes from each other's films and commenting on them during an encounter which will be
open both to audiences and press. “Silvio and I are friends! I love him, not in a conventional way, but
we've known each other for a long time now. - Margherita Buy says about Silvio Orlando - He overwhelms
you with his intelligence, sensitivity and healthy skepticism. And all I have to do is look at him and I just
laugh like mad, I can't help it: He walks with a waddle, his hands behind his back, and with that typical
attitude of an intellectual from the country, the kind of person who explains life and politics while you are
sitting at a cafè. But it is a privilege to be sitting with him in that cafè, because everything he says is
extremely precious.”“I am glad I met her – Silvio Orlando says about Margherita Buy - and also that I
detested her, that I was present in the delicate phases of her complex career, and perhaps that I even
helped her a little, but especially that we have laughed a lot together.
“Margherita is an elegant person and actress, although elegance is the last thing I usually look for in the
way a collegue works, and in cinema in general. I find it boring, as if it were an attitude which almost
indicates indifference, like a shrug towards life. However Margherita's elegance is not like that. Hers is full
of bewilderment, disorientation, and poetry; it is her way of participating to the matters of life without
judgement, and with the willingness to move about in fear but at the same time with an irresistible
curiosity.”
GIANCARLO DE CATALDO - GABRIELE SALVATORES: CRIMINAL LESSON
Another duetto, a very unique one actually, in which one of the most well-known directors of the Italian
contemporary cinema Academy Award Gabriele Salvatores will be encountering Giancarlo De Cataldo,
author, screenwriter, and judge. The two leading writers of the big screen will be discussing on a very
stimulating topic: Cinema and Justice. How often have we seen important films realized both in Italy and
in the rest of the world in which the concentration on courtrooms, the fight against crime, and conflicts
among individuals have given form to an overbearing idea of justice and of its need. The director of
Mediterraneo and of Io non ho paura, together with the author of Romanzo criminale, the most powerful
Italian contemporary saga on Italian misteries and the underworld, will be talking about how cinema is
capable of representing in an amazing way the procedure and the importance of justice, and how justice
can put on a show transforming itself so docily into cinema: an actual “criminal lesson”.
Here is what Salvatores said to De Cataldo: “Dear Giancarlo, I am really happy to meet you, even if we
will be in the presence of witnesses: there will be Mario Sesti, our public prosecutor, and a popular jury,
the audience. However, we do have something to talk about: I was a musician, then an actor and now a
film director. You are a judge and a writer, and perhaps you know more about cinema than many others
who are convinced of making it. We are both restless, and a couple of charges could come against us! But
who knows? We might come up with a new plan of some sort for a robbery within the dark side of the
imaginary. We have been talking about it for quite some time now, haven't we?”
They will both be showing some of their favourite scenes and commenting on them during an encounter
which will be open both to audiences and press.
“My father was a lawyer – Salvatores explains - and perhaps I learned the art of acting from him, and from
the many fake trials we saw together! As of late, though, lots of obstacles come up when trials become
serious... It is not so different in Cinema. However, the combination Cinema and Justice also makes me
wonder if there is a just and an unjust cinema. Can Cinema “do justice”?
According to De Cataldo: “In the end a trial is a scene with three set characters: The Defendant, The
Prosecutor, The Judge. Every judicial account must necessarily resort to one of them, which is like having
to choose between Man, Satan, or the divinity”. The two are very fond of each other: “I really admire his
courage in avoiding to repeat himself – De Cataldo says about Salvatores – He is a writer of whom nobody
will ever be able to say that he always makes the same film".
MARC’AURELIO ACTING AWARD
JULIANNE MOORE
Julianne Moore is the youngest among the great interpreters (Sean Connery, Sophia Loren, Al Pacino,
Meryl Streep) who have received the Acting Award at the International Rome Film Festival. However, her
career has already brought her a great number of international acknowledgements among which a Golden
Globe, Academy Award nominations, as well as awards in Berlin and Venice. As a matter of fact, it is quite
impressive how her professional and artistic adventure has so quickly won the attention of audiences and
critics. Before 1994, when she came to the fore during a sensational actor's jam session in Short cuts
directed by Robert Altman, she had mainly acted in television series and played second lead in several
Hollywood mainstream films. Less than five years later she was already considered one of the most gifted
and personal actresses of her generation when she featured in Magnolia directed by Paul Thomas Anderson
in 1999, giving life to Linda Partridge and to a memorable female neurosis with almost unbearable heights
of frailty and rage. In between there are films such as Safe, Vanya on 42nd Street, Boogie Nights, The
great Lebowski. Perhaps her most surprising quality is the ease with which she passes from characters
with grotesque, wilful, determined and exuberant features, to female figures (in films such as The End of
an Affair, Far from Heaven, The Hours) who are exposed to perturbed feelings, trapped relationships, and
social conventions, their awkwardness and perturbation seeming to gain on her face a quiet startling
denotation. She is therefore capable of manifesting the aggressive and ironic erotism of a Mae West, and
at the same time she has to her credit the fact of being able to dig deep within the soul of women
supended between madness and silence, comparable to the virtuosity of Meryl Streep. The dimmed
luminosity of her appearance, given by her peach colored skin and her copper hair, suggests a
transparency of her vulnerability and a psychic intimacy with her characaters that not many can equal.
For this reason, when almost without notice she explodes with energy, with a pleasure to play, and a
fightful discipline (in films such as Children of Men, Chloe or A Single Man), one remains surprised and
impressed by the extension of a personality that has a range of expressions and camouflage which seem
compressed by the delicacy, defencelessness and reservedness implicit in her appearance.
Clearly she is an actress destined to occupy a prominent role among the great names in the contemporary
acting industry. The Rome Film Festival wants to highlight this aspect and celebrate Julianne Moore by
conferring this award to her career.
ALICE NELLA CITTÀ
The competition will be opened by the premiere of the political musical Leila, directed by Audrey
Estrougo (Regarde-moi), in which the musical atmospheres of the '60ies and '70ies go along with the story
of a complicated love. In the background, the illegal immigrants who manifested for their rights in Paris
occupying the Saint-Bernard church.
Films in contrast, therefore, interferring with the present. Stories with a strong social vocation, like that
of the debuting director Pascal Elbè in his banlieue movie Tête de Turc. Stories which seem more than
ever to choose adolescence as the territory for a dispute, in order to reveal disobbedience to evil, Adem,
to mistakes, to what is wrong in life, Matching Jack. Whereas, Felice Cappa's documentary, Un sasso nello
stagno, presented within the Special Events, will be the background of an unpublished portrait dedicated
to Gianni Rodari. Massimo Natale with his first film, L’Estate di Martino, a contemporary fairy tale, goes
back to 1980 giving shades to the blackest of colors of a tragic Italian summer. Whereas, the fulminating
beginning of Kaspar Munk, Hold om mig, talks about the violence within schools and the extreme
consequences of an irresponsible gesture.
A theme present throughout the whole Festival, starting from Salvatore Mereu's project in the Special
Events, Asse mediano directed by Michele Mossa where school is a welcoming place, to the documentary
by Academy Award Davis Guggenheim, Waiting for Superman, which is a fierce analysis of the failure of
the American education system. If it is true that the younger spectators seem to access images from
decentralized entrances, Christian Molina's film, I want to be a soldier, with Valeria Marini at her debut as
producer, talks about abandonment and the feelings produced by such a threat. However, there are other
points of view as well: Pau Freixas's intense and surprising Herois confers the idea of reconnecting to a
present memory, as well as the road movie My brothers by Paul Fraser; whereas, there is an initiation
journey in the pursuit of a forgotten childhood in Sam Garbarski's direction of Quartier lointain which,
after the success of Irina Palm, is an adaptation of the omonimous Japanese manga cult by Jiro Taniguchi.
As said, films in contrast, almost schizophrenic. On the other hand, it is a tradition of this section to
encounter phenomena with the most daring strategies, as in Winx Club 3D – Magica avventura, mixed with
adolescence paradoxes, as emphasized in Laís Bodanzky's As melhores coisas do mundo, childhood
irresponsibilities and threats of adulthood, as in the Colombian film Los colores de la montaña directed by
Carlos César Arbeláez. Points of view, which in Blinda Chayko's film, Lou, overturn the most taken for
granted perspectives, and which reveal for Ian Power in The Runway, the revolutionary force of this
wonderful age of dissent. Let's have a close up look, we just might convince ourselves that every thing can
and will be reinvented.
Gianluca Giannelli
Head of “Alice nella città”
ALICE NELLA CITTÀ
COMPETITION
Adem / Oxygen
by Hans Van Nuffel, Belgium, 2010, 98’
Cast: Stef Aerts,Wouter Hendrickx, Maarten
Mertens, Anemone Valcke
As melhores coisas do mundo / The Best Things
in the World
by Laís Bodanzky, Brazil, 2010, 104’
Cast: Denise Fraga, Paulo Vilhena, Gabriela
Rocha, Caio Blat, Francisco Miguez, Gabriel
Illanes, Fiuk, Jose Carlos Machado e Gustavo
Machado
Herois / Forever Young
by Pau Freixas, Spain, 2010, 105
Cast: Alex Brendemüh, Eva Santolaria, Rull
Ferran, Alex Monner, Mireia Vilapuig, Joan
Sorribes, Constantino Romero
Los Colores de la Montaña / The Colors of the
Mountain
by Carlos César Arbelaez, Colombia, 2010, 90’
Cast: Hernán Mauricio Ocampo, Nolberto
Sánchez, Génaro Aristizábal, Hernán Méndez,
Carmen Torres
Lou
by Belinda Chayko, Australia, 2010, 82’
Cast: John Hurt, Emily Barclay, Lily Bell-Tindley
Matching Jack
by Nadia Tass, Australia, 2010, 103’
Cast: Jacinda Barrett, James Nesbitt, Tom
Russell, Richard Roxburgh, Kodi Smit-McPhee
My Brothers
by Paul Fraser, Irland, 2010, 90’
Cast: Timmy Creed, Paul Courtney, T.J. Griffin
Hold om mig / Hold me tight
by Kaspar Munk, Danemark, 2010, 76’
Cast: Julie Sandra Brochorst Andersen, Wili
Julius Findsen, Sofia Mileva Cukic, Patricia
Schumann, Frederik Christian Johansen, Hicham
Najid
Quartier Lointain / A Distant Neighborhood
by Sam Garbarski, Belgium, France, Luxemburg,
2010, 99’
Cast: Pascal Greggory, Léo Legrand, Alexandra
Maria Lara, Jonathan Zaccai
I Want To Be a Soldier
di Christian Molina, Spain – Italy, 2010, 88’
Cast: Danny Glover, Fergus Riordan, Jo Kelly,
Valeria Marini, Ben Temple, Andrew Tarbet
Tête de Turc / Turk’s head
by Pascal Elbé, France, 2010, 87’
Cast: Pascal Elbé, Roschdy Zem, Ronit Elkabetz,
Samir Makhlouf
L’estate di Martino
by Massimo Natale, Italy, 2010, 85’
Cast: Treat Williams, Luigi Ciardo, Matilde
Maggio
The Runway
by Ian Power, Irland – Luxemburg, 2010, 100’
Cast: Demian Bichir, Kerry Condon, Jamie
Kierans
Leila
by Audrey Estrougo, France, 2010, 87’
Cast: Leila Bekhti, Benjamin Siksou, Cécile
Cassel
ALICE E LA SCUOLA
Alice nella città - Extra
Asse Mediano
by Michele Mossa, Italy, 2010, 60’
da un’idea di Salvatore Mereu e Antioco Floris
Alice nella città - | Extra
Waiting for ‘Superman’
by Davis Guggenheim, USA, 2010, 111’
Un sasso nello stagno / A stone in the pond Ripple Effect
by Felice Cappa, Italy, 2010, 97’
OCCHIO SUL MONDO | FOCUS
Occhio sul Mondo | Focus is perhaps one of the most transversal and eclectic sections of the International
Rome Film Festival. In this 2010 edition it turns its spotlights on Japan, framing some of its significant
fragments with a contemporary approach.
Japan has always been in a precarious balance between the two extremes: tradition and contemporaneity,
beauty and pain, kindness and violence. Besides, it is often described as “the last stop before reaching the
moon”. Therefore in choosing the films, the languages and the artists, our main attempt consisted in
trying to shorten the distance a little.
This section will be presenting seven films selected among the most recent productions, a retrospective
dedicated to the giant of Japanese animation, Studio Ghibli, and two tributes: one to Akira Kurosawa, the
director who introduced the world to the Rising Sun's cinema, and the other to the young director Satoshi
Kon, just recently passed away.
Once again Focus dedicates its attention to the visual arts by presenting a photo exhibition “Mika
Ninagawa for International Rome Film Festival”, and a floral installation on the red carpet by the
Japanese artist Shogo Kariyazaki: canes of various dimensions weaved among each other and adorned with
800 white, red and pink orchids.
Finally, the opening evening of the Festival will be hosted by Maxxi, Zaha Hadid's fascinating museum. It
will be an event made of artistic inserts, signs from the millenary Japanese culture, meant to coexist for a
night with the contemporaneity of the new Roman area.
A Focus celebrating the Japanese culture which, as Roland Barthes wrote in his “Empire of signs”: “(…) As
a unique astronaut, I go from one world to another without stopping in any of them: the snowy whiteness
of the paper, the form of the signs, the figure of the words, the rules of the language, the needs of the
message, the profusion of the senses (…)”
The Festival starts under Japan's banner.
Gaia Morrione
Head of “Focus”
THE FILMS
Box - Hakamada Jiken Inochi Towa / Box – The Hakamada Case
by Banmei Takahashi, Japan, 2010, 117'
Cast: Masato Hagiwara, Hirofumi Arai, Riona Hazuki, Ryo Ishibashi
Fuwaku no Adagio / Autumn Adagio
by Tsuki Inoue, Japan, 2009, 70'
Cast: Rei Shibakusa, Peyton Chiba Takuo Shibuya, Kazuhiro Nishijima
Sakuran
by Mika Ninagawa, Japan, 2007, 111'
Cast: Anna Tsuchiya, Kippei Shiina, Hiroki Narimiya, Yoshino Kimura, Miho Kanno
Toilet
by Naoko Ogigami, Japan – Canada, 2010, 109'
Cast: Alex House, Tatiana Maslany, David Rendall, Masako Motai
Yoyochu, Sex to Yoyogi Tadashi no Sekai
by Masato Ishioka, Giappone, 2010, 115’
Karugurashi no Arietty / Arrietty
di Hiromasa Yonebayashi, Japan, 2010, 90’
Inshite Miru - Nanokakan No Desu Gemu / The Incite Mill: 7 Day Death Game
di Hideo Nakata, Japan, 2010, 107’
Cast: Tatsuya Fujiwara, Haruka Ayase, Satomi Ishihara, Tsuyoshi Abe, Aya Hirayama, Masanori Ishii, Takuro
Ohno
STUDIO GHIBLI RETROSPECTIVE
Japanese animation celebrated its first success in the '70ies, which was then renewed in the '90ies, and is
now well rooted in the imaginary of more than a generation of Western audiences. The graphic style of
Japanese drawing has spread especially among the youth, being considered the ideal vehicle of a new
popular culture.
However, the only name which has globally affirmed itself as a trademark of the Japanese stylistic
tradition and as a guarantee of excellence is Studio Ghibli, established thanks to the association between
the acclaimed directors Takahata Isao and Miyazaki Hayao. Owing to his profound intellectuality, Isao is
the author of countless past animated successes and of actual masterpieces of drawn neorealism. Hayao,
instead, is a visionary creator of fantasy worlds who in Japan has been consacrated as a downright god of
animation. In its homeland, Studio Ghibli and the names of its authors are associated to ageless films that
witness the genuine tradition of Japanese animated drawings. At the same time, in the West, it is thanks
to Studio Ghibli's film productions that critics and audiences have heralded the definitive consacration of
Japanese animation.
Nevertheless, Miyazaki Hayao has always been surprised about the international success of his films,
openly affirming how the creations of his Studio have always and only been directed to domestic
audiences. Therefore the aim of this section is to make Studio Ghibli known for its real characteristics,
through the presentation and analysis of its most important authors and works.
THE RETROSPECTIVE FILMS
Kaze no Tani no Naushika / Nausicaä of the
Valley of the Wind
by Miyazaki Hayao, Japan, 1984, 116'
Yanagawa Horiwari Monogatari / The Story of
Yanagawa's Canals
by Takahata Isao, Japan, 1987, 165’
Majo no Takkyūbin / Kiki's Delivery Service
by Miyazaki Hayao, Japan, 1989, 102'
Omohide Poro Poro / Only Yesterday
by Takahata Isao, Japan, 1991, 118’
Kurenai no Buta / Porco Rosso
by Miyazaki Hayao, Japan, 1992, 94’
Heisei Tanuki Gassen Ponpoko / Pom Poko
by Takahata Isao, Japan, 1994, 118'
Mimi wo Sumaseba / Whisper of the Heart
by Kondo Yoshifumi, Japan, 1995, 111’
Mononoke Hime / Princess Mononoke
Sen to Chihiro no Kamikakushi / Spirited Away
Otsuka Yasuo no Ugokasu Yorokobi / Yasuo
Otsuka's Joy of Animating
by Uratani Toshiro, Japan, 2004, 107’
EXHIBITIONS
Mika Ninagawa for the International Rome Film Festival
It was immediately clear that Mika Ninagawa's art is in syntony with the transversality of this year's Focus
section since in this edition the International Rome Film Festival wants to offer to its audiences significant
fragments of the Japanese culture. Mika Ninagawa is a prolific and versitile artist who has affirmed
herself as a photographer capable of venturing in multiple paths: fashion, music, advertisement and
cinema. Her photos go beyond the visual brightness of the colors utilized, and strongly affirm her personal
point of view. Dominated by a vivid and very personal way of using colors, Mika Ninagawa's photography is
aimed at fixing on camera irreal fragments of life in their exceptionality. Her ephemeral universe is made
of flowers, fish, and portraits which, owing to their extreme chromatism, give a unique view of the world
as only photography can. Her fish, flowers and portraits become part of a colored universe that does not
belong to this world, and which art critic Midori Matsui defines as made of “terrestrial flowers and
heavenly colors”. Mika Ninagawa takes analog photographs none of which are retouched.
She has also achieved success as a director, and not surprisingly: her film “Sakuran”, selected in the Focus
section, highlights how her art has the ability of putting together images and audiovisual language, setting
audiences off-guard with her vision of contemporaneity mingled with the canons of Japanese tradition to
which she always remains faithful.
Owing to her multi-faceted personality, the International Rome Film Festival will be hosting an exhibition
and a film made by the artist. She is totally dedicated to the female world, as even Mika Ninagawa herself
underlined during a recent interview: “I consider it a great fortune to be a woman, and in a second life I
would still want to be so. I highly respect the female gender, and when doing my portraits I am pervaded
with a feeling of strong empathy. Perhaps this is the emotion that reaches my female fans. They enjoy my
works, and their pleasure triggers a special feeling inside me”.
The exhibition will be located in the Auditorium Arte area and it will be realized in collaboration with the
Koyama Gallery in Tokyo. It is composed of 50 photographs of various dimensions disposed on the walls
according to a precise thematic order. The colored walls in the background add contrast among the
various colours highlighting the artist's distinctive and original chromatic research.
OPENING EVENT
The empire of signs
Once again the International Rome Film Festival opens with the desire to dialogue
with the geography of its city, and does so by involving a new entry: Maxxi, Zaha
Hadid's fascinating museum, an architectural lash in the context of the quiet
Roman area in which it is set. Owing to the unrivalled protagonism of the location,
the Festival will be offering artistic inserts, or actual signs, giving the possibility to
experience for a night the contemporaneity of the structure and of Japan itself.
The event wants to celebrate the Japanese culture while the Festival becomes for
a night what Roland Barthes wrote in his “Empire of signs”: “As a unique astronaut,
I go from one world to another, without stopping in any of them: the snowy
whiteness of the paper, the form of the signs, the figure of the words, the rules of the language, the
needs of the message, the profusion of the senses…”. The Festival starts under Japan's banner.
Directed by
MARTUX_M
DJ & Live set
DJ KRUSH
MARTUX_M GROUP
DJ Manga (KOCLEO)
Piano solo
CHIHIRO YAMANAKA
With the special participation of
JUNKO KOSHINO
HIROYUKI NAKANO
Video installation
STEFANO IRACI
Visual art
CLICHÈ
AUTEUR RED CARPET
Artist Shogo Kariyazaki and his floral installation
An “auteur” red carpet will be accompanying the stars' parade at the Festival. Artist Shogo Kariyazaki's
floral installation will be composed of cains of various dimensions weaved among each other and adorned
with 800 white, red and pink orchids. In this edition inspired to the art of ikebana, even the red carpet
will become an aesthetic representation made of signs and symbols.
OFFICIAL AWARDS
AWARDS CONFERRED BY THE INTERNATIONAL JURY
These are the awards conferred to the films in competition in the Official Selection. The 2010
International Jury – which will confer the Special Plaque of the President of the Italian Republic to the
film which will best emphasize human and social values – is presided by actor and director Sergio
Castellitto, assisted by journalist and writer Natalia Aspesi (Italy) Pietro Bianchi Award for film journalism,
director Ulu Grosbard (United States-Belgium) director of feature films among which Falling in love with
Meryl Streep and True Confessions featuring Robert De Niro, writer Patrick McGrath (United Kingdom)
author of best sellers such as Asylum and Spider, director Edgar Reitz (Germany) who directed the series
Heimat, and Olga Sviblova (Russia) director of the Multimedial Art Museum in Moscow. The International
Jury will be conferring the following awards:
• Special Plaque of the President of the Republic to the film which will best emphasize human and
social values
• Marc'Aurelio Award for Best Film
• Marc'Aurelio Award for Best Actress
• Marc’Aurelio Award for Best Actor
• Marc'Aurelio International Jury Award
AUDIENCE AWARD
The International Rome Film Festival invites all festivalgoers to participate in conferring the Marc’Aurelio
Audience Award for Best Film – BNL. Every ticket holder, upon entering the theater, will receive a card
listing the films which will be screened, with which the audiences will be able to express their liking. The
films in the running for the Audience Award are those in competition in the Official Selection. The award
includes a 40.000 euro acknowledgement. The audiences will confer the:
• Marc’Aurelio Audience Award for Best Film - BNL
KIDS AWARDS
Two awards for Best Film in the Alice nella città section will be conferred by two juries: one composed of
kids under 12 years of age and the other by youngsters over 12. The awards come with a financial
contribution of 10,000 euros each. The Kids Juries will confer the:
• Marc’Aurelio Alice nella città Award under 12 years of age
• Marc’Aurelio Alice nella città Award over 12 years of age
MARC'AURELIO AWARD FOR BEST DOCUMENTARY IN THE EXTRA SECTION
An international jury of documentarists, presided by Folco Quilici, will be conferring the award for the
best documentary in competition in the Extra section.
MARC’AURELIO AWARD FOR EMERGING NEW TALENTS
As of this 2010 edition, in collaboration with the Department of Youth Affairs of the Presidency of the
Council of Ministers, the Festival has instituted the Marc’Aurelio Award for Emerging New Talents. The
new acknowledgement will award the best director or best actor at his/her first film experience.
MARC'AURELIO AWARD FOR BEST ACTOR
After Sean Connery (2006), Sophia Loren (2007), Al Pacino (2008) and Meryl Streep (2009), this year's
award will be conferred to actress Julianne Moore.
MARC'AURELIO AWARD IN MEMORY OF SUSO CECCHI D’AMICO
The International Rome Film Festival dedicates one of its official awards to the memory of screenwriter
Suso Cecchi d'Amico, recently passed away, who wrote the most beautiful pages of Italian cinema for
over half a century.
MEMBERS OF INTERNATIONAL JURY
President
Sergio Castellitto
Actor, writer and director Sergio Castellitto starred in some of the most important European films from
the '80s such as La Famiglia by Ettore Scola, Le grand blue by Luc Besson, L'uomo delle stelle by Giuseppe
Tornatore, Il grande cocomero by Francesca Archibugi, Va Savoir! by Jacques Rivette, Caterina va in città
by Paolo Virzì, La stella che non c’è by Gianni Amelio, Il regista di matrimoni and L’ora di religione by
Marco Bellocchio (for which she won the EFA prize in 2002 together with the film Mostly Martha by Sandra
Nettlebeck) and then more recently The Chronicles of Narnia: Prince Caspian by Andrew Adamson, Matter
of Point of View of Jacques Rivette, Alza la testa by Alessandro Angelini. Made his directorial debut film
in 1998 with Libero Burro. His second film, Non ti muovere, with Penelope Cruz, was presented at Cannes
in 2004 in the section "Un Certain Regard." Presented at Cannes in 2007 his “Leçon d'Acteur”. He is
currently engaged in the edition of his third film in which he is writer, director and actor, La bellezza del
somaro, always written with Margaret Mazzantini.
Natalia Aspesi started her journalistic career at the daily La Notte in the 60s, then worked for Il Giorno
and later became a correspondent for La Repubblica even before it appeared on the newsstands. She still
writes for the newspaper about news, film, and literature, and has a column called “Questioni di cuore”.
Ulu Grosbard
was born in Belgium in 1929. He is a theater director and a filmmaker. He began his career as a diamond
cutter. He moved to the United States where he attended the University of Chicago and the Yale School of
Drama. He began working, during the sixties, as an assistant director to Elia Kazan, Robert Rossen and
Arthur Penn among others. He directed his first film in 1968: The Subject Was Roses. Others followed:
Who is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971), Straight Time
(1978), True Confessions (1981), Falling in Love (1984), Georgia (1995) and The Deep End of the Ocean
(1999). His has been very active in theatre where he directed many successful plays on Broadway. He lives
in New York City.Patrick McGrath is the author of ten books, including ASYLUM, which was a major
bestseller in Italy. Three of his novels have been made into films, including SPIDER, which was directed by
David Cronenberg from a script by Patrick McGrath. His work is published in Italy by Bompiani. His new
novel is titled CONSTANCE.
Edgar Reitz, filmmaker and author, studied German language and literature, journalism and theatre arts
in Munich. He was a member of the “Oberhausen group” which developed the German “Autorenfilm” in
1962. In 1963 he founded the Institut für Filmgestaltung (Institute for Film-Making) in Ulm. Edgar Reitz
made his first feature film Mahlzeiten (Table of Love) in 1966. It was awarded the Silver Lion in Venice,
and numerous feature and experimental films as well as documentaries that followed received
international attention. He published articles about film theory and film aesthetics, and from 1994 on he
was professor at the Staatliche Hochschule für Gestaltung (State Academy for Design) in Karlsruhe. Among
his most important films are: Cardillac, The Trip to Vienna, Zero Hour and the world-famous epic Die
Heimat Trilogie, which spans a whole century and - with its more than 54 hours of duration - numbers
among the longest narrative works in film history.
Olga Sviblova graduated from the Moscow State University with a degree in Psychology. She went on to
obtain a Phd in Psychology of Art. From 1996 to 2009 she curated more than 500 exhibitions of Russian
artists, in Russia and abroad. Between 1987 and 1995 she wrote and directed many award-winning
documentaries: Krivoarbatski Pereulok 12’, about the Russian architect Konstantin Stepanovic Melnikov,
The Black Square on avant-garde art in Russia (1953 – 1988), In Search of a Happy End and Dina Verni. In
1996 she founded the Moscow House of Photography and in 2003 the Multimedia Art Museum which she
currently directs. She worked as artistic director at numerous photography festivals between 1997 – 2008.
In 2007 and 2009, she was in charge of the Russian Contemporary Art Pavillion at the Venice Biennale.
MARC'AURELIO AWARD FOR BEST DOCUMENTARY IN THE EXTRA SECTION
President
Folco Quilici
His dedication to cultural cinema started with The Sixth Continent (1954), followed by L’ultimo paradiso
(1957), winner of a Silver Bear at the Berlinale, Tiko and the Shark (1961) co-written with Italo Calvino,
and The Wind Blows Free (1970), prize-winner at Taormina and winner of a David di Donatello award.
Then came God under the Skin (1972), Fratello mare (1974) and Only One Survived (1992). His television
series include Mediterraneo and L’Uomo Europeo with Fernand Braudel and Italia dal cielo with Italy’s
most important authors (Calvino, Sciascia, Soldati, etc.). His films made in collaboration with great
archaeologists include Il mare dei Fenici, Etrusco vivo with Sabatino Moscati, I greci d’occidente with
George Vallet and Un isola nel tempo (2008) with Sebastiano Tusa. His L’ultimo volo won the 2010 “Acqui
Storia” award . He has also published books of essays and fiction, such as the recent Libeccio (2008).
Anna Glogowski
Born in Brazil. Graduated in Sociology and Psychology at the University of Paris X. Since December 2005,
Commissioning Editor for Social Issues and Politics (Documentaries) at the French Public Television. From
1984 to 2002 at CANAL+ as Deputy Director and later Director of the Documentary Department. From 2003
to 2005 she is programming and selecting films for the new festival Paris Cinema. International advisor for
the festival It’s All True in Brazil. Since 2007, Member of the Selection Committee of DocLisboa and
Programme Advisor for the Festival Europeen des 4 Ecrans in Paris. Member of the Hot Docs International
Advisory Board in Canada and of the documentary project financing commissions at the Centre National du
Cinéma. Sound person on several documentary films shot in France and Portugal.
Alexandre O. Philippe
Born and raised in Geneva, Switzerland, Alexandre holds a Master in Dramatic Writing from NYU’s Tisch
School of the Arts. He has directed several narrative and documentary shorts, including Left, The Spot and
Inside, which screened at numerous international film festivals, and won a slew of awards. The People vs.
George Lucas is his third feature documentary, after Chick Flick about Colorado¹s Mike the Headless
Chicken and Earthlings, a corky and stylish examination of the Klingon language phenomenon. Alexandre is
Creative Director of Denver-based Cinema Vertige (http://www.cinemavertige.com). He is currently
directing the official documentary about Paul the Psychic Octopus, and has many upcoming projects up his
sleeve, including a feature Western, and several short and feature documentaries.
Kayo Yoshida
After graduating at the University of Paris V in France, she entered in a company 'HERALD ACE'
represented by Mr. Masato Hara, producer of Ran french-japanese co-production film directed by Akira
Kurosawa. In 1989 she acquired Nuovo cinema Paradiso, which made a huge hit in Japan and became a
buyer of the quality European films to distribute in Japan. She made many hits with the French and Italian
films. She produced Life on a string by Chen Kaige, Figaro Stories by Alejandro Agresti and Claire Denis,
Pillow Book by Peter Greenaway, 1st film by Suguru Kubota Kohei's Race and the 1st film by Testuo
Shinohara Moon and Cabbage. In 2000 she founded Europa Corp Japan with Sumitomo, Kadokawa, Asmik
Ace. In 2003-2004 she worked as programming director of the competition at Tokyo Int'l Film Fesival. Since
2005 she has been working at Asmik Ace in charge of the international productions and marketing of
Sakuran, Handsome Suit, Air Doll, Tetsuo the Bulletman, Dear doctor, A crowed of Three, Solanin,
Norwegian Wood.
Jury for Emerging Filmmakers Award
Andrea Piersanti
Age 51, is married and has 2 children. He’s a journalist, writer, TV and radio programme host. He works
as Senior Consultant for Media and Entertainment, is President of the Short Films and Documentaries Jury
for the David di Donatello Awards, teaches “Theory and techniques of audiovisual production” at the
University of Rome “La Sapienza”, sits on the Advisory Board of Centro Sperimentale di Cinematografia
(National Film School), has written books on the evolution of the language and technology of mass
communication ( including, “Giornalisti nella rete” and “Bytes all’arrabbiata”). He is a member of the
board of directors for “Media 2000”. He also served as past Chairman of Istituto Luce, member of the
board of Cinecittà Studios, Editor-in-Chief of “La rivista del cinematografo”, Chairman of Ente dello
Spettacolo and President of Associazione dei critici radio e tv italiani (Italian Association of radio and TV
critics).
Valentina Carnelutti
She made her theatre debut in 1989 and her film debut in 1994. She has worked with numerous directors,
among them Gianni Zanasi in Nella Mischia, Cecilia Calvi in Mi sei entrata nel cuore come un colpo di
coltello, Lucio Pellegrini in Let’s Mambo!, Ridley Scott in Hannibal, Giovanni Maderna in L’amore
Imperfetto, Marco Tullio Giordana in The Best of Youth, Vittorio Moroni in Tu devi essere il lupo. She
played a part in one episode of Manuale d’amore II directed by Giovanni Veronesi and stars in Jimmy on
the Hill, by Enrico Pau and Angelo Orlando’s Sfiorarsi. Her latest endeavors include Gianluca Tavarelli’s
Aldo Moro, Her Whole Life Ahead directed by Paolo Virzì, Un gioco da ragazze by Matteo Rovere and Coco
Chanel directed by Christian Duguay. She also starred in Citto Maselli’s film, Il fuoco e la cenere, and in
Mare piccolo by Alessandro De Robilant, where she plays an Italian teacher.
She has acted for Radio 3 since 1998, works in dubbing, and is the co-writer of the screenplays Sfiorarsi,
with Angelo Orlando, and Casa libera tutti, with Andrea Caccia. Currently she is co-starring with Anna
Galiena in Voglia di Tenerezza.
Claudio Giovannesi
He was born in 1978 in Rome. He has a degree in Modern Literature which he obtained in 2002. He
completed his diploma course in directing at the Centro Sperimentale di Cinematografia di Roma
(National Film School) in 2005. He has studied jazz guitar at the Saint Louis Music Center in Rome. He
worked on the TV programme Blob (Rai Tre) from 2001 to 2004. His first feature-length film, La casa sulle
nuvole (2009), has won many awards, among them the Special Jury Prize at the Brussels Film Festival
2009, Amilcar Young Jury Prize at the Festival du Film Italien Villerupt 2009; the Italy in Cinema Prize at
the MedFilm Festival 2009. In 2009 he presented his documentary film, Fratelli d’Italia, which deals with
the lives of 3 foreign adolescents in a school on the outskirts of Rome. Fratelli d’Italia received a Special
Jury Mention at the International Rome Film Festival/Extra 2009 and was nominated for a Silver Ribbon
for Best Documentary in 2010. At the moment he’s working on his second feature film which will be
produced by Fabrizio Mosca’s Acaba Produzioni.
Uliana Kovaleva
She obtained a degree in Marine Engineering in 1992, and a Master in International Economics in 1997. She
graduated from the Moscow International Film School in Television and Film Production in 2005. She has
studied Italian in Perugia and is the youngest founding member of the United Film Company in Moscow.
Her first feature, Avventure alla fattoria di Dikanka, was produced in 2008. In 2009, she co-produced,
together with Roberto Bessi, the Centro Sperimentale di Cinematografia and Rai Cinema,
Ten Winters, by first-time filmmaker Valerio Mieli and starring Michele Riondino and Isabella Ragonese.
This year she’s produced the documentary Matrona di Mosca (St. Matrona of Moscow) commissioned by the
Russian government, and is working on her latest project Tre russe a Roma, a new Italo-Russian coproduction.
Giampaolo Rossi
Since 2004, Giampaolo Rossi, aged 44, has been President of Rainet, the Rai Group company that handles
the development of all the public broadcaster’s web content. He graduated with honors from Rome’s
Università degli Studi La Sapienza with a degree in literature. With a background in history and the
humanities, Rossi has worked extensively in the field of integrated communications. For many years he has
dealt with issues related to the evolution of language and cultural development in the information
society. From 1996 to 2006 he served on the board of directors of the Istituzione Biblioteche di Roma,
Italy’s largest library system, designing multi-media projects involving reading and writing. In 2002 and
2003 Rossi was President of the Lazio Region Cultural Commission. He teaches theory and technique of
cross-media language at the Università degli Studi Suor Orsola Benincasa in Naples.
COLLATERAL AWARDS OF THE FIFTH EDITION
- Libera Associazione Rappresentanza di Artisti (L.A.R.A.) Award for Best Italian Actor
- Enel Cuore for Best Social Documentary
- Farfalla d’oro (Agiscuola)
-Focus Europe Award for Best European Project
- Eurimages Co-Production Development Award
- [CINEMA.DOC] Award to the Best Italian Documentary
- Politeama Catanzaro Award– Istituto Poligrafico and Zecca dello Stato. Great music for Cinema
- HAG Award- Pleasure Moments
- Lancia Musa and Diva
Award
- WWF Award for Biodivesity
- 3 Social Movie Star Awards
THE BUSINESS STREET
NEW CINEMA NETWORK
28th October - 1st November 2010
As of 2006, producers, buyers and sellers have been coming to Rome in October from all over the world in
order to meet at The Business Street and the New Cinema Network, the International Rome Film Festival's
platforms dedicated to the film industry. Since its very first edition, The Business Street has benefited
from a strong impulse given by the Chamber of Commerce of Rome for the coexistence of a Market place
within the Festival, as well as from the intense support given by the program agreement between the
Lazio Region and the Ministry for Economic Development, and by the practical support of ICE (National
Agency for Foreign Commerce) and the Agenzia Sviluppo Lazio (Lazio Regional Development Agency).
The Business Street (TBS) offers professional screenings, a videolibrary and premieres selected among the
latest national productions. With its simple structure and informal atmosphere it is a valid, efficient and
flexible opportunity for buyers, sellers, professionals and experts to meet and confront each other on the
most current topics within the international industry, through workshops, presentations and round tables.
The New Cinema Network (NCN) is the Festival's co-production market aimed at supporting the new
indipendent filmmaking. It gives the opportunity to a selection of the world's most interesting talents
within the indipendent film scene to find the ideal platform where they can present their new projects
and get in touch with the most important representatives of the European film industry. As a matter of
fact, 42% of the projects selected during the past editions and presented by the NCN are at present
completed films or are being shot or are in post-production phase (just to mention a few: L’Uomo che
verrà by Giorgio Diritti, Simon Konianski by Micha Wald, Life in One Day by Mark de Cloe, Illegal by Olivier
Masset-Depasse, La Mirada Invisible by Diego Lerman selected at the Director’s Fortnight 2010, and Il
canto di Paloma by Claudia Llosa, Golden Bear at the Berlin Film Festival in 2008).
The NCN 2010 will be presenting 29 projects from 16 countries, and it will have two sections: the NCN
Focus Europe, dedicated to emerging European directors on their second film project, consisting of 15
projects selected by producers Cedomir Kolar, Rosanna Seregni and Simon de Santiago; and the NCN –
Circuit aimed at supporting some of the most interesting projects worldwide at a more advanced phase of
development, consisting of 13 projects selected in collaboration with Berlinale Co-Production Market,
Cinéfondation L’Atelier, Film London Production Finance Market, Sundance Feature Film Labs, Screen
Institute Beirut, 100Autori. Over 120 production companies from all over the world (selected in
consolidated partnership with Atelier du Cinéma Européen, Catalan Films and 21 European agencies for
film promotion) will be participating for three days at co-production meetings organized, as always, well
in advance by the NCN's staff so that every project may find its right co-producer while in Rome.
The TBS and the NCN reflect the great industrial synergy among producers, distributors and international
sellers for the making and distribution of films. Throughout the years the two sections have become ever
more complementary to the point of blending aims, activities and logistics in order to offer a more and
more efficient service to all participants.
The venue chosen for the meetings and events which will be taking place during the five days of the
market is highly symbolic both for the Italian and the International film industry: Via Veneto, the street
made famous by Fellini in La dolce vita, and icon of the golden era of Italian cinema.
Within the setting of Via Veneto, three places in particular have been chosen for the meetings: the
DISARONNO Contemporary Terrace in collaboration with the well-known brand, the beautiful Roof Garden
of the Hotel Bernini Bristol, and the terrace located on the first floor of the Hotel Majestic. The latter,
owing to ANICA's support, will become the ‘Spazio Cinema’, a permanent place of confrontation on the
most pressing topics of the international audiovisual industry. Within the Spazio Cinema, besides ANICA,
there will be a corner dedicated to MEDIA Desk Italia (an information desk concerning all competitions
announced by the Programma MEDIA) and another one dedicated to FAPAV, the Federation of Audiovisual
AntiPiracy. This year, for the first time, the Terrace of the Marriott Grand Hotel Flora will become the
NCN's headquarters and will be hosting the co-production meetings. Moreover, at the cinemas Barberini,
Fiamma and Quattro Fontane there will be a total of eight screening rooms reserved for buyers and hence
for the market screenings.
Another important aim of the market is to give impulse and international visibility to the Italian film
production. In these few years, The Business Street has become an important driving force for our
audiovisual industry, attracting an always larger number of buyers and sellers from all over the world. In
this perspective, the Festival will be repeating the past successful experience of Italian Screenings. In
collaboration with Cinecittà Luce and Unefa, on 29th and 30th October The Business Street will be
organizing at the Cinema Quattro Fontane 28 screenings dedicated exclusively to Italian premieres, with
the aim of offering a selection of our latest productions to international buyers.
Moreover, all participants will be able to benefit from two digital Video Libraries organized by The
Business Street in collaboration with Rai Trade, located at the Hotel Bernini Bristol and at the Greenhouse
of the Auditorium Parco della Musica. The Video Libraries will include the titles present at the market,
those selected in the official sections of the Festival, and the first features of the directors whose new
projects have been selected in the New Cinema Network. On the basis of the past editions, these Libraries
have proved to be an efficient and useful way for professionals to consult the products at disposal. By
using a code combined with one's accreditation, each participant has the possibility to view films perhaps
not seen in the screening rooms, to have detailed reports in real time of the companies supporting the
selling of the titles, and a quick and simple access to information concerning the films (synopsis, crew,
cast, international sales).
Furthermore, this year will be enriched by the beginnig of a new Business: the Industry Books, an initiative
realized by Fondazione Cinema per Roma with the support of the Province of Rome, the Ministry for
Economic Development, ICE, Sviluppo Lazio, in collaboration with Associazione Calipso, AIE, ANICA and
APT. Its aim is to create a bridge between editors and film producers. Considering the progressive
intensification of the relationships between the book and the audiovisual industries (of which the constant
increase in the number of films and television series based on novels or literary stories is an evident sign),
it has been coherently decided to offer to all participating producers a selection of stories with a strong
potential for film adaptation. On 31st October 13 publishers will be presenting selected books in a brief
public presentation followed by one-to-one pre-organized meetings, according to a formula already tested
by the NCN with success.
Among the novelties, the NCN is proud to announce the conferring of the Eurimages co-production
development Award: starting from this year Euroimages, the European Council's Fund, has decided to side
with three of the most important and efficient European co-production film markets (New Cinema
Network – Rome, Cinemart – Rotterdam, Cinelink-Sarajevo) and to give a prize of 30.000 euros to each
market to be used for the development of the best project presented by all three. Besides, this year,
Euroimages will be announcing, within the NCN, the name of the best European producer winner of the
Prix Eurimages award, which will be conferred during the European Film Awards. Moreover, in
collaboration with European Film Promotion, the NCN will be hosting for the first time an event dedicated
to Shooting Stars, emerging actors from all over Europe award-winners at the Berlin International Film
Festival.
The Business Street has always given particular attention not only to co-production meetings and
commercial exchanges, but also to conferences, seminars, workshops and round tables dedicated to the
most pressing topics within film economy. These events are a fundamental moment of confrontation and
reflection among the main players of the sector. Five years after the first edition, the World Forum on
Strategy and Finance for Cinema, created in collaboration with Media Consulting Group, will be analyzing
once again the funding models for the audiovisual industry in the light of new technologies such as the
digital and the 3D, as well as the new modalities of use which are quickly taking place. Even the emerging
prestigious American magazine of the sector, “Variety”, will be collaborating in organizing a panel on new
technologies and new models of use, where the main topics of discussion will be: the relationship between
print media and new media, the influence of film journalism on the outcome of films, and changes
introduced by the internet era.
Programma Media, which has been supporting the TBS and the NCN since 2007 with its ‘Access to Market’,
will be illustrating to producers the guidelines of the main European support patterns; whereas Roma &
Lazio Film Commission will be organizing at the Majestic and GreenHouse the usual ‘CRC’ co-production
meetings and other initiatives connected to audiovisual promotion throughout the territory.
Moreover, the Spazio Cinema of the Majestic will be hosting, together with the prestigious Gran Premio
del Doppiaggio, the seminar: ‘Cinema: innovation, territoriality, and resources’, organized by the
Fondazione Ente dello Spettacolo, concerning prospects of the film business in a market in continuous
evolution.
As of 2007, the Fondazione Cinema per Roma has also been active in audiovisual professional formation in
collaboration with the Youth Department of the Presidency of the Council of Ministers and the Centro
Sperimentale di Cinematografia, leading to the realization of the project NCN Lab: 20 students from the
Centro Sperimentale di Cinematografia who have followed courses in screenwriting, direction, production
and editing, have written three scripts for short films on bullism under the guide of prestigious tutors. The
35,000 euro prize for the realization of the film was conferred to “Tiro a vuoto” by Roberto Zazzara, in
collaboration with Giulia Meriggi, Luca Ravenna, Francesca Sorce, Antonio Basso and Luigi Capalbo. The
short will be presented at the Auditorium Parco della Musica in December. During the 3 days of the NCN,
special meetings will be organized between the young participants and the professionals of the film
industry in collaboration with the producers of AGPC (the Association of Young Film Producers).
Throughout these five years, and despite the global crisis, The Business Street's market formula has
confirmed to be a success, owing to the qualified representation of producers and distributors, to the
quality of the films presented, and to its competitive costs. The TBS and the NCN have fit in harmoniously
in the circuit of the great International Festivals, offering a further moment of encounter and
confrontation, and being a worldwide much awaited fixed appointment. In fact, negotiations started in
Cannes, Berlin or Toronto now have the wonderful setting of Via Veneto to be carried on and concluded,
while others will have the possibility to start in Rome and to continue later on in Los Angeles during the
AFM.
Roberto Cicutto
Director of The Business Street
NEW CINEMA NETWORK – 2010 SELECTION
FOCUS EUROPE
MY FIRST THOUGHT by Kaspar Munk (Denmark)
Producer Anders Toft Andersen
ALIVE BEFORE DEAD by Nicolo Donato (Denmark)
Producer Per Holst
EUROPEAN PSHYCO by Kadri Koussar (Estonia)
Producer Aet Laigu
DEMOLITION DERBY by Saara Saarela (Finland)
Producer Mark Lwoff and Misha Jaari
DIRECTOR’S CUT by Nader Takmil Homayoun
(France)
Producer Caroline Bonmarchand
THE END OF CHILDHOOD by Philip Koch
(Germany)
Producer Philipp Worm
OBJECTS OF INTEREST by Stephen Burke (Ireland)
Producer Jane Doolan
THE SECOND-LAST JOURNEY by Alessandro
Aronadio (Italy)
Producer Isabella Cocuzza
KILLIN’ DOGS by Claudio Noce (Italy)
Producer Valentina Avenia
BABY BLUES by Katarzyna Roslaniec (Poland)
Producer Agniezska Kurzydlo
RISE AND FALL OF A SERBIAN WORKING-CLASS
FAMILY by Vladimir Paskaljevic (Serbia)
Producer Ines Vasilijevic
MR. KAPLAN by Alvaro Brechner (Spain)
Producer Alvaro Brechner
CIRCUIT
CIRCUIT
RUE DE TOURNON by Gracie Otto (Australia)
Producer Lisa Shaunessy
COCKEYED by Ryan Knighton (Canada)
Producer Susan Cartsonis and Jody Hotchkiss
IVAN by Misha Shptits and Aljosha Klimov (Russia)
Producer Masha Vasyukova
LIZA, THE FOX-FAIRY by Karoly Ujj Meszaros
(Hungary)
Producer Csanad Darvas
SOUTH IS NOTHING by Fabio Mollo (Italy)
Producer Jean Denis Le Dinahet
HERITAGE by Philippe Aractingi (Lebanon)
Producer Christophe Barreyre and Sylvie Cazin
LA JAULA DE ORO by Diego Quemada Diez
(Mexico)
Producers Diego Quemada Diez, Inna Payán, Luis
Salinas, Edher Campos
THE SHADES by Darrell James Roodt (South
Africa)
Producer Natalie Stange
NAPOLEON & BETSY by Benjamin Ross (UK)
Producers Kwesi Dickson and Carola Ash
FARMING by Adewale Akinnuoye-Agbaje (UK)
Producer Charles Steel and James Wilson
DEAD, GONE, BURIED by Matthew Thompson (UK)
Producer Christine Alderson
CHAIKA by Miguel Angel Jimenez (Spain)
Producer Koldo Zuazua
A BIRDER’S GUIDE TO EVERYTHING by Rob Meyer
(USA)
Producer Paul Miller
BITCH HUG by Andreas Ohman (Sweden)
Producer Bonnie Skoog Feeney
ZEROES AND ONES by Avi Weider (USA)
Producer Amy Hobby and Anne Hubbell
FOLLOW, FOLLOW, LEAD by Jens Jonsson
(Sweden)
Producer Helena Danielsson
LUCIA by Ruben Sierra Salles (Venezuela)
Producer Raul Bravo
INDUSTRY BOOKS
IO DENTRO GLI SPARI by Silvana Gandolfi (Salani, Italy, 2010)
Cinema and TV Copyright Owner: Adriano Salani Editore
ITALIA by Marco Lodoli (Einaudi, Italy, October 2010)
Cinema and TV Copyright Owner: Giulio Einaudi Editore
L’ ARIA DELLA GIOCONDA by Roberto Piumini (Carthusia, Italy, 2009)
Cinema and TV Copyright Owner: Carthusia Edizioni
LA CIRCONFERENZA DELLE ARANCE by Gabriella Genisi (Sonzogno,Italy, 2010)
Cinema and TV Copyright Owner: Sonzogno Editori
LE COSE FONDAMENTALI by Tiziano Scarpa (Einaudi, Italy, 2010)
Cinema and TV Copyright Owner: Tiziano Scarpa (managed by Agenzia Letteraria Internazionale)
LA FUTURA CLASSE DIRIGENTE by Peppe Fiore (minimum fax, Italy, 2009)
Cinema and TV Copyright Owner: minimum fax
LA MONACA by Simonetta Agnello Hornby (Feltrinelli, Italy, October 2010)
Cinema and TV Copyright Owner:Giangiacomo Feltrinelli Editore
LE MILLE BOCCHE DELLA NOSTRA SETE by Guido Conti (Mondadori, Italy, September 2010)
Cinema and TV Copyright Owner: Arnoldo Mondadori Editore
LE QUERCE NON FANNO LIMONI by Cosimo Calamini (Garzanti, Italy, 2010)
Cinema and TV Copyright Owner: Garzanti Libri
MILANO NON ESISTE by Dante Maffìa (Hacca Edizioni, Italy, 2009)
Cinema and TV Copyright Owner: Kindustria di Francesca Chiappa
LOST LUGGAGE by Jordí Puntí (Empúries, Spain, 2010)
Cinema and TV Copyright Owner: MB Agencia Literaria
THE DUCHESS OF BERRY by Laure Hillerin (Flammarion, France, 2010)
Cinema and TV Copyright Owner: Flammarion S.A.
THE CANVAS by Benjamin Stein (Verlag C.H. Beck, Germany, 2010)
Cinema and TV Copyright Owner: Verlag C.H.Beck oHG and Agentur Literatur Gudrun Hebel
LA DOLCE VITA
THE PROGRAM
A tribute evening in honor of Fellini's masterpiece La Dolce Vita, in its 50th annniversary year, will take
place at the Auditorium Parco della Musica on October 30th with the world premiere of the 4k digitally
restored version of the film. The restoration was carried out by the Cineteca di Bologna at the L’Immagine
Ritrovata laboratory in association with The Film Foundation, Centro Sperimentale di CinematografiaCineteca Nazionale, Pathé, Fondation Jérôme Seydoux-Pathé, Mediaset and Medusa Film, Paramount
Pictures and Cinecittà Luce. The restoration of La Dolce Vita has been made possible by Gucci as part of a
longstanding commitment to restore and preserve significant films through the work of The Film
Foundation.
THE RETROSPECTIVE
The crazy night of La Dolce Vita
Even this year, the Centro Sperimentale di Cinematografia - Cineteca Nazionale will be collaborating with
the International Rome Film Festival. On the occasion of the tribute to La Dolce Vita, the Cineteca
Nazionale will be presenting, during the same dates of the Festival (28th October - 5th November), at the
Sala Trevi “Alberto Sordi” (Vicolo del Puttarello, 25), an exhibition of 24 titles themed on the nocturnal
and “sweet” life in the capital.
Le infedeli di Mario Monicelli e Steno (1952)
Viale della speranza di Dino Risi (1953)
Io la conoscevo bene di Antonio Pietrangeli
(1965)
La donna del giorno di Francesco Maselli (1956)
Io, io, io… e gli altri di Alessandro Blasetti (1966)
Il principe fusto di Maurizio Arena (1960)
La notte pazza del conigliaccio di Alfredo Angeli
(1967)
Un amore a Roma di Dino Risi (1960)
Risate di gioia di Mario Monicelli (1960)
Toby Dammit (ep. di Tre passi nel delirio) di
Federico Fellini (1968)
Via Margutta di Mario Camerini (1960)
Necropolis di Franco Brocani (1970)
Divorzio all’italiana di Pietro Germi (1961)
Roma bene di Carlo Lizzani (1971)
La notte di Michelangelo Antonioni (1961)
Ingrid sulla strada di Brunello Rondi (1973)
Una vita difficile di Dino Risi (1961)
I prosseneti di Brunello Rondi (1976)
Totò, Peppino e… la dolce vita di Sergio Corbucci
(1961)
Night Club di Sergio Corbucci (1989)
Paparazzi di Neri Parenti (1998)
La cuccagna di Luciano Salce (1962)
Moltodipiù di Mario Lenzi (1980)
Gli arcangeli di Enzo Battaglia (1963)
EXHIBITION
Images in Motion
MACRO Museum of Contemporary Art, Rome
MACRO’s new exhibition lineup is linked to the broad theme of the cross-pollination between genres and
art forms that is one of the cornerstones of the Festival programme. Thus MACRO once again confirms its
vocation as a home and a laboratory for images: images in motion across time and space: images from
interweaving generations and intersecting fields of endeavor. In Laboratorio Schifano, for the first time,
hundreds of retouched photos by Mario Schifano blend painting with photography in an immersive
exhibition that sweeps viewers up into its impetuous creative flow. The third edition of MACROradici is
dedicated to the gallery L'Attico, directed by Fabio Sargentini since 1966, which proposes an extraordinary
visual journey back in time to Rome in the 60s and 70s, by means of images and locations, and the arts
and leading cultural figures of the period. Concurrently, the third edition of roommates / coinquilini
features young artists and curators active on the Roman scene, who have been invited to create original
works for a shared space, like the novel combination of video installations by artists Carola Bonfili and
Luanna Perilli, which fit neatly into the space. The latest multimedia project by British artist Jamie
Shovlin, Hiker Meat, is also quite innovative in its reconstruction of a film that never got made by the
piecing together of the various materials that composed it. Starting with posters and studies for the film
set, the artist manages to make an actual film, editing hundreds of clips from found footage, and turning
an imaginary event into a possible reality.
Theatre in fashion
Stage Costumes. Great Designers
Rome, Fondazione Roma Museo
5 November - 5 December, 2010
A spectacular exhibition dedicated to fashion in theatre will bask in Roman Limelight. The glamour of 100
original costumes designed for famous theatre, opera and dance productions, by some of the world’s
most celebrated Italian designers, can be admired along with models, sketches and rare documentary
video footage.
Information and booking
Tel: 199 500 200
www.teatroallamoda.it
LA DOLCE VITA 1950-1960
STARS AND CELEBRITIES IN THE ITALIAN FIFTIES
the exhibition “La Dolce Vita. 1950-1960. Stars and Celebrities in the Fifties Italian” is dedicated to the
Italian 50ies and its stardom which was the real protagonist of those days. Curated by Marco Panella and
promoted by the City of Rome, Department of Cultural Affairs and Communication - Superintendent of
Cultural Heritage, Artix and Cinecittà Luce, in collaboration with the International Rome Film Festival it
will exhibit about 100 pictures, mostly unpublished, from the Archivio Storico Luce and 100 magazines of
the '50s.
Museo dei Fori Imperiali - Mercati di Traiano (via IV Novembre 94, Roma)
Info: www.mostradolcevita.it
ENVIRONMENTAL AND SOCIAL ACTION FESTIVAL
PEOPLE WITH PHYSICAL DISABILITIES AT THE 2010 FESTIVAL. The International Rome Film Festival will
be providing special services so as to enable the participation of those who have physical disabilities. The
Sala Cinema Lotto will be re-screening the Italian films in the Official Selection with special subtitles and
audio descriptions. Besides, since its very first edition, the Festival has taken measures to remove
architectural barriers, even as far as the ticket office is concerned. This initiative is carried out in
partnership with Consequenze, in charge of coordinating the different hearing and visual disability
associations, and Sub-Ti for all technical aspects.
TELETHON will be present at the International Rome Film Festival with a charity dinner which will be held
at the Open Colonna (Rome - Palazzo delle Esposizioni). The aim will be to gather funds in order to
support research on genetic diseases.
Info + 39 06.39746222 / +39 06.39746000 –
[email protected]
BULGARI FOR SAVE THE CHILDREN. On Wednesday 3rd November, Bulgari will be organizing a gala event
which will culminate in an auction sale of an exclusive selection of jewellery, watches and accessories.
The
proceeds
of
the
evening
will
go
to
Save
the
Children.
Info:
[email protected].
AGENDA SANT'EGIDIO AND ALTAROMA, in collaboration with the International Rome Film Festival, will be
organizing a charity event on the occasion of the opening of the exhibition "Teatro alla Moda”
(“Fashionable Theater”). For every ticket sold, a euro will be donated to Agenda Sant’Egidio. The nonprofit association is involved in promoting and supporting all the activities against poverty promoted by
the Sant'Egidio Community which has been operating on the territory since 1968 and is committed in
assisting the needy. Thursday 4th November 2010 – At 7:30 p.m. - Museum Fondazione Roma
EVERYDAY HEROINES will be an exhibition organized by Maria Rosaria De Luca for the Association Libreria
dell’Anima, taking place from 30th October to 8th December at the Chiostro del Bramante. It will be
characterized by fifteen black and white portraits realized by photographer Claudio Porcarelli,
representing women who have a particular aspect in common: they discovered to have cancer, they
totally recovered from it and therefore want to send a message of confidence and hope. Within the
exhibition, there will be a space dedicated to “Tre donne” (“Three women”), a film directed by Gabriele
Muccino which will be screened on 29th October at 3:30 p.m. at the Teatro Studio of the Auditorium Parco
della Musica.
HIVIDEO is an event which will be taking place on Wednesday 3rd November at the Auditorium Parco della
Musica at 7:30 p.m. During the evening there will be the screening of the best commercials realized for
communication campaigns against Aids together with the best commercials of the past editions.
CINEMA and DIFFERENCES. “BLACK SILK TULIPS: A DIFFERENT SMILE”. On 4th November 2010, the heart
of the International Rome Film Festival will be holding a conference in which Rai's Social Secretariat,
MEDUSA FILM and renowned cinema and show business personalities will be talking about what cinema has
done and will be doing as a cultural tool for the integration of people who are different. The
manifestation is organized by the Association “Università
Cerca Lavoro”, Diego Righini being the Production Manager.
The main aim of the event will be to promote the work of
young directors. Info: www.tulipanidisetanera.it.
ITALY AND JAPAN: TWO COUNTRIES FOR THE ELDERLY? The Foundation Sigma – Tau will be organizing a
meeting on the topic: “Italy and Japan: two countries for the elderly? Stories of extraordinary longevity
between cinema and medical research”. The meeting will be coordinated by Fabio Ferzetti, critic of Il
Messaggero. Two worldwide experts on ageing will be participating: Masashi Tanaka (Tokyo Metropolitan
Institute of Gerontology) and Claudio Franceschi (Department of Experimental Pathology, Università di
Bologna). The two will be recounting stories of longevity and centenarians ranging from cinema, to
genetics, to metabolism. Auditorium Parco della Musica, Sala Studio Tre, 30th October, at 5:00 p.m.,
Free entrance
THE INTERNATIONAL ROME FILM FESTIVAL FOR THE REDUCTION OF GAS EMISSIONS. Even this year the
Rome Film Festival confirms its conscious commitment in environmental sustainability projects, and its
close collaboration with partners such as Lifegate and Samsung.
Therefore, the Festival will be once again involved in supporting the Impatto Zero® project wanting to
compensate for the CO2 emissions caused by its whole organizational structure through a project which
will enable the creation and safeguard of forests in the Madagascar regions.
Festival Areas
AUDITORIUM PARCO DELLA MUSICA AND CINEMA VILLAGE www.romacinemafest.org
Auditorium Parco della Musica is the heart of the International Rome Film Festival. Besides the
official screenings, it will also be the venue for panels, exhibitions and other non-cinema-related
events. Facing the Auditorium Parco della Musica is the Cinema Village, set up along viale Pietro
de Coubertin for the occasion, featuring two temporary screening facilities, pavilions with an info
point, ticket offices, a large food area with a cafeteria, restaurant, cocktail bar, cinema shop and
partners’ stands.
THEATRES FOR SCREENINGS AND ENCOUNTERS:
Sala Santa Cecilia
Sala Sinopoli
Sala Petrassi
Teatro Studio
Studio 3
Salacinema LOTTO (Cinema Village, Via Norvegia)
Salacinema ALITALIA (Cinema Village, on the corner of Viale Pietro de Coubertin/Via Gran
Bretagna)
EXHIBITIONS:
Foyer - AuditoriumArte
FOOD AREAS:
Cinecaffè (Cinema Village): cafeteria, restaurant and cocktail bar open from October 28 to
November 6, from 9.00 until midnight
Kiosco Kebab:
Kebab from October 28 to November 5, from 8.00 to 15.00 and from 15.30 to 1.00
Bar of the Auditorium:
Auditorium (inside the Auditorium) open from 8.30 until midnight
ReD:
ReD open from 9.00 to 2.00. Reservations: (+39) 06 80 69 16 30
The Cinema Village is open from 9.00 to midnight, except Cinecaffè open until late at night
OTHER VENUES
The Business Street - Via Veneto
Casa del Cinema www.casadelcinema.it
Largo Marcello Mastroianni, 1
(Screenings and meetings)
Cinema Metropolitan www.cinemadelsilenzio.it
Via del Corso, 7
(Reruns)
Sala Trevi “Alberto Sordi” www.csc-cinematografia.it
Vicolo del Puttarello, 25
(Screenings of The Crazy Nights of La Dolce Vita retrospective)
COLLATERAL EVENTS
MACRO – Via Reggio Emilia, 54
www.macro.roma.museum
MACRO Testaccio,
Testaccio La Pelanda - Piazza Orazio Giustiniani, 4
Biblioteca del Senato della
www.senato.it
della Repubblica – Piazza della Minerva, 38
Mercati di Traiano – Via IV Novembre, 94 www.mercatiditraiano.it
Museo Fondazione Roma – Via del Corso, 320
www.museodelcorso.it
Auditorium Conciliazione Via della Conciliazione, 4
www.auditoriumconciliazione.it
VENUES HOSTING THE FIFTH EDITION OF THE FESTIVAL
Discovering the territory
The Auditorium Parco della Musica is the heart of the International Rome Film Festival and it will be
hosting screenings, encounters, exhibitions and events. It is composed of five theaters (Santa Cecilia,
Sinopoli, Petrassi, Teatro Studio, Studio 3) as well as other areas, such as the Foyers and the Auditorium
Arte. The screening rooms will be equipped with new technologies, namely the D-Cinema digital
projection and the stereoscopic 3D vision system, although each and every structure will be provided with
the traditional projection system as well.
The Cinema Village, located in front of the Auditorium, will accomodate an info point, a ticket office, the
partner stands, the Business Street's Greenhouse, and refreshment stands open until late at night.
Moreover, for the fifth consecutive year, the location will be provided with two large theaters: the
Salacinema LOTTO with about 900 seats, and the Salacinema ALITALIA with about 700 seats.
The whole city will be involved in the Festival's program. The Metropolitan will be re-screening the films
already performed at the Auditorium, while the Sala Trevi “Alberto Sordi” will be giving a retrospective on
La Dolce Vita, organized by the Centro Sperimentale di Cinematografia – Cineteca Nazionale.
The Business Street will be taking place in the area around Via Veneto, the street which represents Italian
cinema. The headquartes will be at the Hotel Bernini Bristol in Piazza Barberini. The cinemas Quattro
Fontane, Fiamma and Barberini will be reserved for the market screenings.
The Terrace of the Hotel Bernini Bristol, the DISARONNO Contemporary Terrace, and the Business Lounge
on the first floor of the Hotel Majestic, with its Spazio Cinema, will be the three areas dedicated to the
meetings between sellers and buyers, whereas the Terrace of the Marriott Grand Hotel Flora will be
hosting the co-production meetings of the New Cinema Network.
The “Shooting Star” Project and “Per corso, Percorso” will both take place at the Casa del Cinema at Villa
Borghese.
The MAXXI Museum will be hosting the opening event, while the MACRO will be presenting four
contemporary art exhibitions connected with cinema. The exhibition “Labirinto di Fellini” (“Fellini's
labyrinth”) and the “Bulgari” Charity Dinner will be taking place at La Pelanda, the MACRO in Testaccio.
The Museum Fondazione Roma, the Agenda Sant'Egidio and Altaroma are organizing a charity event for the
opening of the exhibition: “Il Teatro alla Moda” (“Fashionable Theater”). At the Mercati di Traiano there
will be the exhibition: “La Dolce Vita 1950-1960. Stars and celebrities in the italian fifties”, whereas the
Emeroteca del Polo Bibliotecario Parlamentare - Biblioteca “G. Spadolini” of the Senate of the Republic
will be the location of “La Dolce Vita dalle Immagini dei Giornali” (“The Dolce Vita from the photos in the
newspapers”). The “Gran Premio Internazionale del Doppiaggio” (the “International Dubbing Award”) will
be held at the Auditorium Conciliazione, while the Palazzo delle Esposizioni will be hosting the “Telethon”
Charity Dinner. Finally, the Musei Capitolini will be the venue for the exhibition: “Leonardo e
Michelangelo a confronto” (“A comparison between Leonardo
and Michelangelo”), dedicated to Leonardo's “Portrait of a
Musician”.
HOW TO REACH THE FESTIVAL
A special bus route will connect the city centre to the Auditorium
Cinema Bus Route
ATAC will be offering to all festivalgoers a daily service which will enable them to reach the Auditorium
Parco della Musica by means of shuttles with a capacity of 100 seats.
The bus stops are as follows:
•
•
•
•
•
•
•
•
Auditorium Parco della Musica
Via Flaminia
Piazzale delle Belle Arti
Piazzale Flaminio (Piazza del Popolo)
Viale S. Paolo del Brasile (Villa Borghese)
Porta Pinciana
Via Veneto
Piazza Barberini
From 28th October to 5th November the shuttles will leave every 7 minutes from 8:00 a.m. to 12:00 noon;
every 5 minutes from 12:00 noon to 11:00 p.m.; and every 7 minutes from 11:00 p.m. to 2:00 a.m.
For “Alice nella città”, “The Business Street” and the special events of the Festival, sixteen 50 seat buses
will be put at disposal every day (Sundays included) for the transportation of students from the various
schools to the Auditorium and back. Upon request, a daily bus will be granted for people with physical
disabilities.
For the special evening on 28th October, ATAC will be organizing a special shuttle service with three 30
seat buses, from piazza Barberini to the MAXXI museum, from 9:30 p.m. to 2:30 a.m.
All the services offered for the Festival will be recognizable thanks to personalized stickers.
MORE THAN 160 PARTNERS
SUPPORTING THE INTERNATIONAL ROME FILM FESTIVAL
The fifth edition of the International Rome Film Festival is glad to communicate that also this year
important national and international companies have participated in the event with their projects.
MAIN PARTNER
BNL – Gruppo BNP Paribas
OFFICIAL SPONSORS:
HAG, Il Gioco del Lotto, Lancia, Istituto Poligrafico e Zecca dello Stato
OFFICIAL CARRIER:
Alitalia
TECHNICAL PARTNER
Cinemeccanica
From the first edition to present:
•
•
•
•
•
589 - the total number of Partners throughout the five editions
1032 - the companies contacted
352 - the companies which have become our partners (34,10% of those contacted)
180 - the companies which have partecipated in more than one edition
38 - the companies which have participated in all five editions
The 2010 edition has been enriched by 39 new partners, among which important national and
international companies:
Istituto Poligrafico e Zecca dello Stato, Lancia, Shiseido, RaiMovie and Radio 2, Disaronno, Enel Green
Power, H3G, Inaassitalia.
Throughout the five editions, the Partners belong to the following sectors:
•
•
•
•
140 Services
124 Wide consumption
36 Industry
38 Institutional and International

the press kit 2010

Transcript

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