Bulle Ogier - Festival del film Locarno

PardoLive
68° Festival del film Locarno
Monday · Lunedì 10 | 8 | 2015
Bulle
Ogier
Rick Alverson
BI Gan
Philippe Falardeau
Mauro Herce
PardoLive Partner:
Pierre Léon
Georges Schwizgebel
Avishai Sivan
Festival del film Locarno
The Syrian Bride, The Human Resources Manager
Vincitori del Prix du Public UBS nel 2004 e 2010
Eran Riklis, regista
Prix du Public UBS
Votate e vincete: scegliete il vostro film preferito
in Piazza Grande e vincete un iPad Air.
www.pardo.ch/ubs
Fermo immagine
Carlo Chatrian
Artistic Director
Piazza Grande, Guibord s’en va-t-en guerre, 10 | 8 | 2015 – 21.40
“Why… ” the brilliant lead of Entertainment obsessively asks his stupefied audience, but they don’t
laugh because in the end there’s not much to laugh
about. Hamburger’s dry wisecracks don’t aim to reveal
through a paradoxical higher level of truth, but to create discomfort. It’s the non-verbal signals that strike
us: the three cups with straws held under the arm, the
fading of the voice as though the words were struggling to come out, the croaking tone…
Il Canada val bene
una guerra?
Il dilemma invade un intero paese: il Canada deve entrare in guerra o meno?
Solo che stavolta il peso della decisione grava tutto sulle spalle di un politico di
periferia (Patrick Huard), un ex-giocatore di hockey che – per una serie di defezioni del destino – diventa l’ago della bilancia per la votazione nazionale. E se
la prossimità, per lui, è tutta un’escalation di strade sbarrate dalle più svariate
proteste, è dalla più improbabile lontananza che gli arriva in prezioso soccorso
uno stagista di Haiti (Irdens Exantus), tanto carico di intuito quanto di citazioni
estratte dai libri dei grandi pensatori politici. Si lancia così, sui ritmi e i toni di
una commedia satirica che trasformano il voto su una possibile entrata in guerra in una vera e propria guerra elettorale, il film che segna il ritorno a Locarno del
regista québécois Philippe Falardeau. Proprio l’autore che nel 2011 con Monsieur Lazhar aveva commosso Piazza Grande, conquistandosi il Prix du Public
UBS grazie alla delicata discesa con cui era entrato nel microcosmo di una classe
scolastica alle prese con l’elaborazione di un lutto. Ora, invece, con Guibord s’en
va-t-en guerre il registro – così come l’impianto narrativo – svolta verso l’iro-
The feeling of being unable to interpret the world’s signals is shared by both the stand-up comedian played
by Turkington and the Jewish scholar in Tikkun, a film
in which black and white acquire a symbolic value,
given that it tells the story of a devotion that overturns
into madness.
The desire to leap beyond realism can also be seen
in Lu bian ye can and Dead Slow Ahead, two films
designed in the form of a journey where instead of
a process of getting to know someone else, there is a
folding in on oneself. In the Chinese film, the journey
takes on imaginary contours and the explored country
is like an interior scenario, while in the Spanish one,
the huge Filipino freighter becomes a kind of ghost
ship. As though in a film by Cronenberg, it seems to
have assimilated the sailors inside its metal heart.
Deux Rémy, deux
nia di un viaggio che, tappa dopo tappa, sbeffeggia e scardina le logiche di un
mondo politico fatto di ricatti, compromissioni e ricompense. Del resto, se una
consultazione preventiva con i propri votanti aprirà una “finestra di democrazia
diretta”, sarà altrettanto evidente che per trovare “l’argomento migliore contro
la democrazia basta una conversazione di soli 5 minuti con l’elettore medio”. Tra
la prima citazione di Jean-Jacques Rousseau e la seconda di Winston Churchill
c’è di mezzo tutto lo zig-zag emotivo di un film in cui l’impasse su un fatidico
voto può dividere o ricomporre famiglie, arrivando a raddoppiare i palcoscenici
persino nell’isola di Haiti, grazie a un collegamento via Skype.
lorenzo buccella
3
In debt to the great Russian literary tradition, Deux
Rémy, deux takes a light approach to the theme of
the double. Pierre Léon’s film is laden with a sense of
suspension from reality which owes much to its stars,
Pascal Cervo (the lead in Vecchiali’s film last year),
Serge Bozon (who has also brought an original short to
Locarno) and Luna Picoli-Truffaut, the granddaughter
of the great French director.
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Piazzaon
Focus
Grande,
Philippe
Guibord
Falardeau
s’en va-t-en guerre, 10 | 8 | 2015 – 21.30
Mocking Politics
Four years after Mounsieur Lazhar screening in Piazza
Grande you’re back at Locarno with a totally different
movie, a satirical comedy. Mr. Falardeau, please reveal
us the secret in order to make people laugh about something they should cry about…
Humor occurs when you have a certain distance. I knew I
would be capable of doing comedy but I needed the right
subject. Politics back home right now is a little fucked-up,
I thought it was the perfect ground to explore it through
humor. But I had to use an internal lens because people don’t
go see films to see politics, they go to see characters, so I had
to internalize all the conflicts inside the family. It took me
a while to have the idea but in the end it was simple: the
wife is for the war, the girl is against the war and the main
character is stuck between the two women of his life.
Which has been for you the funniest scene to shoot in
this movie?
The public assembly scene. We shot in a real village up
North. I had my actors with their lines in the room before the
hundred extras, we rehearsed and then we brought the people, without them knowing what exactly what was going to
be said. Then we filmed and they were really reacting to all
those political or social issues. Using the real people, a real
environment, I think helped to extract the authenticity.
When did you decide to tell this story through a young
Haitian’s eyes?
I studied political science and international relations, I was
very young when I got interested in what was happening
outside, and I’m sure that what’s happening very far has
repercussions on us. Having immigrants my movies, not
only this last one, is interesting because you observe yourself
but through another glass, through another set of frames, of
culture and references. It’s a way to look at us in a different
perspective. I like the idea that this guy comes from a country in which democracy is a very fragile thing, and he doesn’t
take it for granted like we do.
Is there any movie which inspired you when you started
thinking about this movie?
In the Anglo-Saxon world the political comedy is a genre.
We had In the Loop a few years back, I also liked films
like Wag the Dog, which takes something that’s real but
spun in a way that it becomes very grotesque. I also looked
at some works of Ken Loach, who did some films that were
funny: Raining Stones or Looking for Eric. Ken Loach was
always my reference, someone I wanted to emulate.
adriano ercolani
Prix du Public UBS
5
Vote and win
www.pardo.ch/ubs
Yesterday’s prize draw winner:
Maria Stanga
PardoLive  10 | 8 | 2015
Piazza Grande, Erlkönig, 10 | 8 | 2015 – 21.30
Re per u
“
In my movies without
dialogues I have often given the
same importance to music and
image. In Erlkönig I loved this
piece for piano based on a poem
by Goethe, and I wanted to replace
the words with the pictures
“
Alberi. Un uomo cavalca con il figlio malato, che sogna il Re degli
Elfi in agguato per rapirlo. Nel suo ultimo lavoro, Erlkönig, l’elvetico Georges Schwizgebel prende le mosse dall’omonima ballata di
Goethe e dalla musica di Liszt e Schubert, ad essa ispirate, per comporre un’opera che è summa dei suoi cortometraggi precedenti.
Corti presentati in un Omaggio che, affiancandosi alla proiezione
in Piazza, ci porta a un’altra cavalcata: quella tra i tratti ricorrenti
nelle sue creazioni.
L’inscenare un dialogo tra arti è uno di questi: l’animazione, spesso tracciata da pennellate di acrilico su celluloide, si disegna sulle
pieghe della musica e ripercorre le trame dei classici letterari (Frankenstein per Le Ravissement de Frank N. Stein, 1982; Cenerentola
per La Jeune Fille et les nuages, 2000; la Storia straordinaria di Peter
Schlemihl per L’Homme sans ombre, 2004…). E perché l’immagine
si fonda al meglio con la musica, il regista abdica ai tagli a favore di
una transizione tra scene all’insegna della metamorfosi: così già nel
giovanile Perspectives (1975) la donna si fa cane e il cane uomo. Le
arti sono celebrate anche tramite citazioni: se in Erlkönig si accenna
a Matisse, protagonisti di Le Sujet du tableau (1989) sono altri capolavori pittorici, mentre in Frank N. Stein si omaggia il cinema.
Cinema Ex*Rex, Omaggio a Georges Schwizgebel, 12 | 8 | 2015 – 15.00
78 Tours.
PardoLive  10 | 8 | 2015
Jeu.
L’Année du daim.
6
una notte
“
It is important to work on
a subject following the ideas
arising during the process.
They can come from a book, a
scene or a dream, feeding the
ongoing project
“
Quest’intreccio di forme espressive provoca una vertigine: dove
siamo? È musica, dipinto, film? L’assenza di tagli accresce il disorientamento: nel flusso ininterrotto d’immagini tutto si confonde,
anche spazio e tempo. Disorientamento che costituisce il vero fil
rouge dell’opera di Schwizgebel: anche nella scelta dei soggetti predilige gli spaesati, i diversi: il Re degli Elfi, il daino rapito dai
boschi di L’Année du daim (1995), il “mostro” di Frank N. Stein…
Di questo viene adottato addirittura il punto di vista, calando lo
spettatore nella sua allucinante avanzata attraverso una fuga di
stanze, tratteggiate con tecniche diverse, in un catalogo delle mo-
L’Homme sans ombre.
7
dalità espressive cui ricorre il regista. È questo un altro tratto che lo
contraddistingue: il desiderio di raccontare, nei film, non solo una
storia, ma anche come l’abbia realizzata. Accade pure in Erlkönig,
dove l’alternanza di stili fa da contrappunto ai punti di vista dei
personaggi: dal tratto spezzato e naif delle minacciose visioni del
Re degli Elfi si passa, per esempio, ai toni morbidi delle scene a cavallo. E forse proprio nella figura della cavalcata vorticosa trova una
sintesi l’opera di Schwizgebel: un percorso al galoppo che batte un
sentiero tracciato dalla musica, e che lo fa a passi di pennellate.
sara groisman
La jeune fille et les nuages.
Le Ravissement de Frank N. Stein.
PardoLive  10 | 8 | 2015
© Alessio Pizzicannella
Focus on Bulle Ogier
PardoLive  10 | 8 | 2015
8
La vie
est Bulle
“
La mia passione per il cinema non è nata da un giorno
all'altro, è cresciuta a poco a poco. C'è una cosa bella
nell'essere attori: siamo flessibili, possiamo addentrarci
nel mondo dei registi
“
Bulle Ogier, an award for a career is also a chance to look back on
an artistic path. When and how did you develop your passion for
theatre and film?
My passion for cinema was not born overnight, it grew a little at a time.
I had no intention of becoming an actress, at age 20 I was already in the
middle of a divorce, with a little girl to take care of, so I was more concerned about figuring out how to survive and raise my child. Then I met
Marc’O. He took me to his atelier where 50 people were learning the craft
of acting on stage, but the acting that Marc’O taught us was a bit different from the traditional style. Then I met Pierre Clémenti, Michel Moretti
and Jean-Pierre Kalfon, and we formed a group. That’s how it all started!
What was your relationship with Jacques Rivette like?
We did five years’ worth of plays on stage, and one day Rivette, who was
another theatre director, showed up and chose to put Marc’O’s group in
L’Amour fou. So it wasn’t that hard for us because we all knew each
other really well.
And with Marguerite Duras?
That was a unique experience. I was very lucky to be close for years to a
genius bursting with tenderness and love, lucidity and culture, which she
gave to me as a gift. It was like a family. In terms of the craft, she taught
me how to express words differently, to make each word be felt in an
intense and precise manner.
9
When one thinks about you, one sees a season of cinema that
corresponds roughly to the 1960s: the films you made with Barbet
Schroeder, but also directors like Fassbinder and Buñuel, who represent very different kinds of cinema and have ideas about filmmaking
that one needs to access.
Fortunately, actors are flexible. We can enter the director’s world, that’s
what we’re made for!
In the late ‘60s and early ‘70s there was the idea of belonging to a
certain kind of cinema. How do you view that today?
I don’t think young people today can choose the same paths or have the
same wishes as we did in 1968. Take a young fashionable actor everyone
knows, like Louis Garrel, for example. I’ll always tell him: “If you’re going
to make 800,000 Euros, do your commercial!” It would be ridiculous to
turn it down today. Back then, however, we did not do such things.
In relation to Swiss cinema, your collaboration with Alain Tanner
produced La Salamandre, one of the films you hold closest to your
heart. It’s a wonderful film, and your character Rosemonde has
made quite an impression.
Yes, Rosemonde has travelled all around the world. I always say there are
three Swiss people in my heart: Barbet Schroeder, Daniel Schmid and Luc
Bondy. But one shouldn’t forget I’ve also worked with Michel and Francis
Reusser. And most recently I’ve worked with Lionel Baier as well.
carlo chatrian
PardoLive  10 | 8 | 2015
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Scaricate la app «Locarno68», create un selfie Pardo e il vostro volto
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un Samsung Galaxy S6 edge. #IAMPARDO
Benvenuti nel paese delle possibilità.
Condizioni di partecipazione: al termine di ogni giornata del festival
viene assegnato un Samsung Galaxy S6 edge al partecipante, il cui
selfie ha raccolto il maggior numero di «mi piace». In caso di parità
si procede al sorteggio. Una sola vincita per persona. Le condizioni
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accettate online dai partecipanti.
Concorso internazionale, Tikkun, Auditorium FEVI, 11 | 8 | 2015 – 14.00
Miraggi
oscuri
Avishai Sivan è riuscito a portare il suo
film a Locarno, e così Locarno non ce l’ha
fatta ad entrare nell’esilarante collezione
di lettere di rifiuto che il regista israeliano
archivia metodicamente sul suo sito web.
Peccato, ma Tikkun era davvero troppo
convincente per rinunciarvi, la conferma
che il percorso avviato con Ha’Meshotet
(The Wanderer), presentato alla Quinzaine
del Festival di Cannes 2010, si ribadisce al
secondo lungometraggio maturo e coerente. Già in Ha’Meshotet i colori dominanti
erano il bianco e nero, unici permessi nel
guardaroba del protagonista dalla comu-
“
In a scene of the film, HaimAaron speaks about having to
worship god through one’s body,
explaining that he hates his own
body. I, like him, would like this
battle between body and soul to
escalate, in order to enrich life or
discover possible meaning
avishai sivan
nità ebraica di cui fa parte. Con Tikkun la
norma prende il sopravvento sull’intera
tavolozza del film, e Sivan crea un universo monocromatico organizzato secondo
i rituali della setta chassidica di Gur, uno
dei più radicali movimenti ebraici ortodossi. Haim-Aaron però è il personaggio
sbagliato per una banale ribellione: figlio
prediletto e allievo modello di una scuola
teologica, il suo percorso di liberazione non
può che manifestarsi inizialmente in forma
di muto disagio “buster-keatoniano”, nello
stesso silenzio e con la stessa espressione
perplessa con cui noi spettatori lo osservia-
DAS Festival IN KÜRZE > 570
”
mo. Lo scollamento dalla norma educativa
e familiare, la resa alle pulsioni che nessuna ortodossia potrà vietare, spalancano a
Haim-Aaron la scoperta di quel mondo dal
quale era sempre stato protetto. Il percorso
dal quartiere di Me’a She’arim, uno dei più
antichi di Gerusalemme, ai bassifondi di Tel
Aviv diventa così uno sprofondamento (o
elevazione?) visionario, un miraggio oscuro
in cui la religione è un deserto, e il desiderio
la sete.
sergio fant
TV - Web - Mobile
Offizieller Kommunikationspartner
11
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Concorso internazionale, Entertainment, Auditorium FEVI, 11 | 8 | 2015 – 16.30
Stay Angry
Stay Foolish
Not a film that aspires to be loved, liked, or
even enjoyed in the slightest – good basis for
an afternoon at the cinema, right? – Rick
Alverson’s disturbing Entertainment sets
out to discover the two-bit comedy clubs
of the American West and finds a country
with far too much space on its hands. Our
kind-of guide into this widescreen Antonionian world takes the form of a highly alienated Gregg Turkington, who also co-wrote
Entertainment with Alverson and frequent
collaborator Tim Heidecker. An eccentric
performer, Turkington takes the
stage – when there is one –
transformed into his
repulsive comic
persona Neil
Hamburger,
PardoLive  10 | 8 | 2015
he of the delirious, watered-down combover, dated tuxedo, and awkward, nasal delivery. (His jokes, typically skewering celebrity culture are, it can be argued, hilarious.
But don’t piss him off.) In between gigs he
tries in vain to contact his daughter on the
phone, visits local sites of interest such as
airplane graveyards, and shacks up for a few
nights at the estate of his well-off cousin’s
(John C. Reilly). What starts off as a slightly
off-kilter,
realistic encapsulation of the rank depressions and banalities associated with a lonely
life on the road transforms into angry surrealism, a series of bizarre episodes linked
only by death. Alverson’s film is edited so
radically that as we follow Turkington deeper into the rabbit hole, its scenes bounce up
against each other with a certain amount of
violence; eventually the structure devolves
into something bordering on the Lynchian.
The societal alienation of the performer, especially one who refuses to give the people
what they want, is here a manifest expression of the filmmaker’s.
mark peranson
12
Alverson Comedy
“
Il mio scopo è offrire un contrappeso alla tradizione del cinema
popolare americano il cui solo scopo è creare spettatori passivi. Nella
decadenza delle sale e nella sicurezza dei salotti, la vitalità dello
spettatore dovrebbe essere accresciuta, non attenuata
”
Rick Alverson, how did you meet Gregg
Turkington, who plays the Comedian in Entertainment? Why did you want to make a
film about and with him? And is the standup comedy component of the film essential?
I met Gregg through Will Oldham when I was
casting my last film The Comedy. I was familiar with his stand up persona, Neil Hamburger,
who we ultimately borrowed for the Comedian’s
on-stage persona. Gregg and I shared a mutual
distrust of a lot of corporate and cultural terrors
and got along well. The film, for me, is just as
much a formal experiment about viewership
as it is an expression of my exhaustion with
culture. The comedy component, although outside
my world really, seemed to perfectly sum up an
individual’s effort to reach out into the world:a
man on a stage, in a tuxedo, coughing and
crying into a microphone.
Your film is relatively demanding and leaves
a lot to interpretation.Do you have a specific
take on the film?
I don’t know much about interpretations, I’d
prefer to think about experiences. Is there a
wrong experience? Not likely. I wouldn’t insist
another person take away from the film what we
put in it, at least not in regards to our reasons for
making it. I’d hope it would become something
broader, more varied and open. That having
been said, I think a lot about audiences and their
passivity, there’s a lot of that in the film. It’s also
a lament, from my perspective, of the American
experiment gone awry, but, then, it couldn’t have
gone any other way.
What is the place of morality
in your cinema?
I don’t believe in a moral universe. I don’t
believe in morality in art. I think it’s dangerous. I do believe in fundamentally altering
perception, I believe in a gravity and power of
media, and I suppose there is a responsibility
in that. But from my perspective, that responsibility would be one of form and integrity and
attention and experience over politics or social
engineering.
What is most “American” about Entertainment? In a way it subverts the cliche
of the American Dream.
The film plays a lot with the idea of an American
popular audience. It’s a cat and mouse game.
It toys with our sense of privilege, with our
grotesque concept of exceptionalism. It’s also
just as much an homage to the
American cinema of the 70’s and
that dispossessed view of a
lost ideal, of a betrayal,
that was so honest
and clear.
Lastly, what entertains you?
Interviews. m. p.
Spensierati all’evento e prevendita alla stazione FFS.
13 RA_363 Typo-Inserat Event (i) 186x17, FiFL.indd 1
20.06.14 11:22
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Concorso Cineasti del presente, Lu bian ye can, La Sala, 11 | 8 | 2015 – 11.00
“
Ero disoccupato
quando ho scritto questa
sceneggiatura, mi mantenevo
facendo il fotografo ai
matrimoni. Per questo
motivo, ho inserito uno
spezzone di 40 minuti in Lu
bian ye can, sono immagini
così vicine alla vita reale che
propongono un linguaggio
cinematografico da sogno,
dando un tocco poetico
bi gan
”
Poetry
Travelling
Kaili City, the center of minority Miao culture, is located in the verdant subtropical province of Guizhou in southwestern
China. Far from the industrial zones, it’s an
area rarely seen in indie cinema, and in Lu
bian ye can (Kaili Blues), director Bi Gan
creates a poetic entry point to his home
region, with a mysterious, sometimes mystifying film steeped in Miao culture (Lim
Giong’s score relies on traditional Lusheng
pipes). Chen, the film’s protagonist, shares
a medical practice with an older woman,
who hears that an old lover living in Zhenyuan is on death’s bed. She requests that
Chen deliver him some items from their
past, as he’s headed that way to search for
his young nephew, Weiwei. A selection of
Chen’s poetry provides for an enigmatic
voiceover, featuring couplets like “Human
enzymes are stubborn. The enzymes of
the soul are like water lilies.” (It’s director/
writer Bi Gan’s own work; his collection
www.fondazionebally.ch
15
Roadside Picnic provides the Chinese title.)
Bi Gan’s long-take style begins with circular pans, moves to long tracking shots from
moving vehicles, and finds its apex when
Chen stops in an otherworldly town named
Dangmai, with a tour de force, 40-minute
plan-sequènce that commingles his past,
present and future (it’s no coincidence
the film’s opening quote comes from the
Diamond Sutra). This magic realist showstopper traverses multiple kilometers, and
features no less than four modes of transportation, impossible camera movements,
the reappearance of multiple characters,
two version of the same Chinese pop song
(one live), and all the geographical information you’ll ever need to know about
Kaili. Let it not be said that Bi Gan and cinematographer Wang Tianxing took the easy
road in their stunning debut.
mark peranson
Fondazione Bally per la Cultura ricerca ogni anno un artista ticinese attivo nel
campo delle arti figurative (pittura, scultura, fotografia e grafica) che avrà
l’opportunità di essere sostenuto e supportato a livello internazionale da uno dei
Brand più famosi nel settore del lusso.
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Concorso Cineasti del presente, Dead Slow Ahead, La Sala, 11 | 8 | 2015 – 19.00
Lost in Navigation
The freighter Fair Lady, adrift at night in the ceaseless ocean, placeless, nationless, out of space but also, perhaps, out of time. Though
the power and the beauty of the high seas at times rages on, the
ship mostly traverses desolate, pseudo-post-apocalyptic landscapes drained of color. It is manned by a Filipino crew of seamen
lacking any sense of their individuality or their humanity, drones
of late capitalism, trapped oceans apart from their loved ones, cogs
in a machine that devours them. In this unfamiliar world dialogue
is for the most part absent, words replaced by a constant murmur,
the howls of wind and the blips and bleeps of metal machine music. That is, until an unexpected disaster strikes in the form of an
intrusion from the natural world, which is only when we realize
the actual purpose of their mission. The labyrinthine interior car-
cass of the (space)ship is lit like a film set, tinted red and green;
the camera very slowly tracks the corridors and the snaking pipes,
creating an atmosphere more familiar to an antiquated sciencefiction or horror film, hypnotic and hallucinatory. Is the Fair Lady a
seafaring version of The Black and White Lodge from Twin Peaks?
Are these outtakes from a remake of Alien? Because we might as
well be in outer space. Spanish cinematographer Mauro Herce has
named his debut feature Dead Slow Ahead, probably the most earnest and apropos title in this year’s festival. This transfixing film
about a sea journey is also an allegory for capitalism itself, an ideology that finds itself lost at sea, but keeps on keeping on, slow, slow
speed ahead…
mark peranson
“
Volevamo girare un documentario
sulla vita in mare come se si trattasse
di un film di fantascienza nello spazio.
Perché il confronto tra questa vita e
quella su un’astronave del futuro
non è così distante. Il futuro
sta già accadendo oggi
mauro herce
Proudly presents
the latest arrivals
17
”
Rick Alverson, director
Aaron Traitel, actor
Fabrice Aragno, director
Serge Bozon, director
Pascal Cervo, actor
Julie Desprairies,
director/coreographer
Matthias Günter, director
Andy Herzog, director
Pierre Léon, director
Mario Martone, director
Gregg Turkington, actor
PardoLive  10 | 8 | 2015
Vivere momenti commoventi:
la Posta è anche questo.
La Posta fa molto più di quanto si pensi. Noi patrociniamo vari
festival cinematografici svizzeri. Favoriamo la cultura per
permettervi di vivere momenti unici: posta.ch/sponsoring
Sponsor e partner retrospettiva Festival del film Locarno
First Look
Locarno Got
the Look
Never judge by appearances, they say.
But most of the time, Industry professionals know the value of a
project straight away. It just takes a first look.
This is the philosophy behind First Look, the section of the Festival del film Locarno, where a participating country is invited to bring
a number of projects at different stages of post-production for sellers, buyers and festival scouts to glimpse at and make an early decision to commit.
“The original idea is to support filmmakers and help them in
finding a seller, and at the same time find new films for the festival,
while still in post-production”, says Nadia Dresti, Delegate of the
Artistic Director and Head of International.
This year the spotlight was on Israeli cinema, a filmography that
has a long legacy with Locarno, since through the years it showcased
a number of films that represent its different cultures and stories.
“Each time we try to pick a country that has a yearly production big enough, and at such level that we can find and select five
to seven films that are in their finishing stages”, continues Dresti,
“The choice of films focuses on trying to highlight different styles
and showing the different geographic areas of the chosen country.”
19
In the current shape of the Film Industry, it is essential to create
joint ventures early on in the process, what with the enormous competition among titles for an available slot.
“Sellers, usually, engage on a film at screenplay level” says Dresti,
“or when the film is still not finished, in order to develop a launch
campaign along with the producers, that would allow the film to
receive maximal exposure and therefore generate a better sale.”
The films of this year’s selection “are at different stages – some
had no definitive color correction or mixing. Others are still in the
editing process. At the same time, it is essential that they are still not
finished, otherwise they could not benefit from the prize offered by
post-production facility Rotor, worth 60,000 Euro” questions Dresti.
“It is definitely a pretty good sum of money for an independent producer.”
Other partners in the First Look initiative included the Israel Film
Fund and the magazine Le Film Français.
massimo benvegnú
PardoLive  10 | 8 | 2015
Semaine de la critique, The Ground We Won, Teatro Kursaal 13 | 8 | 2015 – 11.00
Poland of
Trecentosessanta film. Documentari. Arrivati quest’anno, a Locarno, per la Semaine de
la critique. A riempire gli occhi, le orecchie,
i taccuini di chi li seleziona e del delegato
generale Stéphane Gobbo, a cui spetta l’ultima parola. E che ha deciso di scommettere
su una cinematografia come quella polacca,
presente con ben tre opere nella selezione
che, come sempre, conta sette lungometraggi. Una scelta forte, coraggiosa, come avviene da 25 anni (e 26 edizioni) a questa parte in zona Kursaal (ma anche L’altra Sala e
PalaVideo, il giorno dopo) e che assicura alla
sezione file di spettatori in attesa delle
proiezioni.
Il programma è molto eurocentrico, proprio in nome di una libertà di scelta che porta sempre la Semaine alla ricerca di ciò che è
nuovo e alternativo, senza essere mai schiavi
di un facile esotismo.
Conta “lo sguardo laterale” come afferma
lo stesso Gobbo, che ricorda come “il cinema
polacco abbia già fatto parlare di sé, con 15
Corners of the World, qui anche premiato”,
a sottolineare come nulla vi sia di casuale
nel percorso doc di Locarno. E da Varsavia
e dintorni si è partiti per costruire questa
edizione. “Body che vince l’Orso alla miglior
regia a Berlino, poi l’Oscar con Ida: in Polonia
si è fatto un grande lavoro, a livello artistico
ma anche istituzionale, le nuove scuole di
cinema e gli investimenti nel settore hanno
portato a una nuova generazione di cineasti
e di artisti visivi in genere. Basta guardare
alla nouvelle vague polacca nella fotografia”.
Ma nel poker rimasto c’è ancora
YOUR APP FOR MOVIE THEATRES & MOVIES
SCHEDULE I TRAILER I MOVIE REVIEWS
PardoLive  10 | 8 | 2015
20
Plenty
molto. C’è “la rivoluzione in atto in questi
anni nel genere documentario, la capacità
di andare in luoghi un tempo tabù, come la
morte. A Nyon il festival ha aperto con il racconto di un uomo che osservava la madre
morire, qui a Locarno in Concorso troviamo
James White, che tratta un tema simile. E
anche noi proviamo a introdurci in comunità
e narrare ciò che è forse sconosciuto anche a
loro”. Nell’intimità dei due fratelli del polacco Bracia; nel viso, nella fatica, nel dolore dei
figli degli alpinisti morti nella spedizione del
1986, raccontata in K2. Touching the Sky;
nella Lampedusa in Winter, in uno stato
di isolamento politico costante che diviene
letterale, fisico, nel particolare momento
catturato nel film. E ancora scopriamo un
nonno, medico a Hiroshima nel 1945, indagato dalla nipote regista nello svizzero-finni-
co Als die Sonne vom Himmel fiel, e una
bella quarantenne che combatte contro la
sua famiglia per essere se stessa, cambiando sesso, in Mów mi Marianna. Hanno nascosto troppo a lungo qualcosa di enorme,
entrambi. E anche quando le comunità si
allargano come in My Name is Gary (dove
vediamo sopravvivere una città fantasma) o
in The Ground We Won (dove la campagna
neozelandese diventa il ruvido spogliatoio di
una squadra di rugby perdente e pugnace),
quel senso di vicinanza non ti lascia. Non sei
uno sguardo terzo, ma partecipe. Il privato
è pubblico, il privato è politico. “Non a caso
andiamo a Lampedusa e Gary, in cui la questione razziale, ora centrale nel mondo, esplode da anni in tutte le sue contraddizioni”.
Raccontare se stessi, per raccontare tutto.
boris sollazzo
K2. Touching the Sky
Brothers
Als die Sonne vom
Himmel fiel
Mów mi Marianna
My Name is Gary
Teatro Kursaal
11| 8 | 2015 – 11.00
Lampedusa
in Winter
Teatro Kursaal
12 | 8 | 2015 – 11.00
pressbooks.ch
21
PardoLive  10 | 8 | 2015
Fuori concorso, Contre-pouvoirs, La Sala, 11 | 8 | 2015 – 16.15
Prima pagina Algeria
All’inizio c’è la notte. E la voce del
presidente, l’anziano Bouteflika,
che nasconde la sua immagine di
uomo in sedia a rotella dietro una
campagna dalle tinte forti. Sullo
sfondo, Algeri appare una città in
transizione verso una modernità
fatta di palazzi e nuove infrastrutture. Già la prima inquadratura, divisa tra immagine e parola, informa
di un film che si china a confrontare
le due facce della stessa medaglia.
Malek Bensmaïl ci ha abituato a ritratti complessi e per nulla
compromessi sul suo paese. Qui
sceglie di posizionarsi nella sede di
un giornale, “El Watan”, e da lì testimoniare come la discussione a più
voci interna alla redazione del quotidiano possa riflettere un paese in
preda a un cambiamento. Scandito
del percorso che precede le elezioni presidenziali, Contre-pouvoirs è
un film che sceglie di stare dentro
e fuori il giornale, nelle sue stanze
dove si decidono titoli e si commissionano vignette, e per le strade,
dove la gente comune esprime il
proprio dissenso verso una politica considerata perduta. Il giornale,
dunque, come filtro per leggere la
realtà, lasciando in fuoricampo l’esplosione delle news fai dai te, che
non interpretano il reale ma lo manipolano.
carlo chatrian
Signs of Life, Deux Rémi, deux, PalaVideo, 11 | 8 | 2015 – 21.00
One Rémi too Many
Rémi is an ordinary guy. As harmless and
discrete as a wandering cat. His very normalcy, however, is what a writer would find
of particular interest. How tempting indeed,
to disturb his daily routine with an element
of chaos. For example, a perfect double, appearing out of nowhere. The resulting variations of imbroglios and confrontations are
infinite.
Pierre Léon returns to Locarno with an
original adaptation of Dostoevsky’s The
Double, rich with joyous twists and turns
PardoLive  10 | 8 | 2015
that unfold at a swift rhythm and exult in
vibrant contrasts of light and color. Léon’s
intimate knowledge of the Russian master
allows him to make many a judicious choice
here. Primarily, he detaches himself from
the gloom usually relied upon by authors
less imaginative than the duo he forms with
co-writer Renaud Legrand. Cheering up the
Doppelgänger scenario, they give Rémi’s
adventures a freer emotional balance and
grant their characters more credit. The female lead thumbs her nose at temptations
to make her the mere object of seductive
manipulations, improvising instead a very
Doinelian investigation. The double himself
is more intriguing than spooky and Pascal
Cervo’s great dual performance titillates
the viewer’s curiosity more even than their
loyalty. Trust characters to reveal their full
potential for fantasy and they won’t disappoint.
aurélie godet
22
Fuori concorso, Topophilia, PalaVideo, 11 | 8 | 2015 – 16.15
Chasing the Pipeline
Few moving-image artists can claim to
have developed and practiced their own
recognizable genre, but in the three feature-length pieces he has made since 2010
– Psychohydrography (2010), Tectonics
(Special Mention, Concorso Cineasti del
presente, 2012), and now Topophilia (2015)
– Peter Bo Rappmund has done just that.
His work realigns the way we look at linear geographical landmarks, (the Los Angeles River, the Mexico-U.S. border) and his
23
aesthetic has been consistent: a series of
photographs shot with an intervalometer,
which, when edited together, resemble
stunning time-lapse photography, always
accompanied by on-location field recordings. Topophilia (from the Greek for “love
of place”) is a portrait of 800-mile-long
Trans-Alaska Pipeline, which, as opposed
to most of the buried pipes transporting
oil through the continental United States,
runs above ground for more than half of
its distance; it reconfigures the landscape
that surrounds it, and vice versa. Over four
years, Rappmund traveled from north to
south, photographing every mile of the
pipeline – amassing tens of thousands of
pictures – and presents the linear structure
as a continuous building that allows for an
energized meditation on the relationship
between industry and nature.
mark peranson
PardoLive  10 | 8 | 2015
Eat different.
Mediterranean Cuisine,
Japanese Restaurant,
Berber Tent, Lounge
Bar, panoramic terrace,
wide wine selection,
Kid’s Corner and
a keen eye for details.
BLU Restaurant & Lounge
Via G. Respini 9
+41 (0)91 759 00 90
www.blu-locarno.ch
[email protected]
Concorso internazionale
Heimatland
Michael Krummenacher, Jan Gassmann, Lisa Blatter
Gregor Frei, Benny Jaberg, carmen Jaquier, Jonas
Meier, Tobias Nölle, Lionel Rupp, Mike Scheiwiller
Fiction, 2015, 99 min, Switzerland
Tuesday, 09:00, FEVI
Panorama Suisse
Wintergast
Andy Herzog, Matthias Günter
Fiction, 2015, 82 min.
Switzerland
Tuesday, 11:00, FEVI
Swiss Highlights in Locarno
on Tuesday, August 11
R E N D E z-VO U S D U c I N É M A S U I S S E
Special event
In collaboration with
Rendez-vous du cinéma suisse
International film critics Peter Debruge [ Variety ], Boyd Van Hoeij [ The
Hollywood Reporter ] and Anne Thompson [ Indiewire ] discuss Swiss films
HEIMATLAND
[ Concorso internazionale ]
LA VANITÉ
[ Piazza Grande ]
THE DAY THE SUN FELL
[ Semaine de la Critique ]
ABOVE AND BELOW
[ Panorama Suisse ]
Tuesday, August 11
14:30–16:00
Spazio RSI [ Magnolia ]
PardoLive  10 | 8 | 2015
www.swissfilms.ch
24
Beyond the Festival
L’origine di un’emozione
Che cosa distingue la Settima arte, il cinema, dalle altre sei? Per
farlo, per “mostrarlo”, è necessario passare attraverso un sistema di
lenti – siano esse di una cinepresa o di un proiettore – che a nulla
servirebbe se non fosse alimentato dalla corrente elettrica. Le arti
scaturiscono dalle emozioni umane, ma quando si parla di medium
è la tecnologia a entrare in campo.
La cabina di proiezione di Piazza Grande – un cubo color nero
che avrete visto in decine di foto, se non sui giornali perlomeno sui
media sociali – è una delle tante infrastrutture del Festival del film
Locarno alimentate dall’energia elettrica garantita dall’Azienda
Elettrica Ticinese (AET). Una collaborazione instaurata nel 2002 che
ha portato l’azienda a divenire uno degli sponsor principali della
kermesse – di nome e di fatto.
Lo slogan scelto per celebrare questa unione nel corso della
68esima edizione è inoltre uno dei più azzeccati, nel marasma di
locandine, manifesti e cartelloni pubblicitari che affollano le strade
della Città Vecchia e gli spazi circostanti i luoghi di proiezione. “Insieme, l’energia diventa emozione”: un processo di trasformazione
che genera applausi, sospiri, grida di spavento. In attesa di quella
persona, perché una c’è sempre, che a metà del film si volta verso la
finestrella di proiezione e si chiede da dove arriva tutto questo.
Fateci caso: di solito è un bambino. Il perché, appare evidente.
mattia bertoldi
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PardoLive  10 | 8 | 2015
La regista Karolina Bielawska.
La cineasta Lea Glob
Loïc Corbery, attore di Dom Juan
Il cineasta Georges Schwizgebel
PardoLive  10 | 8 | 2015
26
I registi di Heimatland.
Il Pardo d’onore Swisscom Michael Cimino.
La regista Natalie Beder .
Il regista Philippe Falardeau.
e i suoi attori Irdens Exantus e Patrick Huard.
Diego Balanta, attore di Siembra
L’attrice Giorgia Würth.
e la regista Caterina Mona.
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27
PardoLive  10 | 8 | 2015
«Eine gute
Geschichte bleibt
spannend bis
zum Schluss.»
Sorg für dich.
Swiss Life unterstützt als offizielle Partnerin der Pardi di domani
Schweizer Filmtalente und bietet umfassende Vorsorge für ein
selbstbestimmtes, längeres Leben. www.swisslife.ch/sorgfuerdich
Beyond the Festival
Sport, Fun & Adventure
Ascona-Locarno has become an important
destination for practicing a wide range of
sports. Its extraordinary nature, with hills,
mountains and forests, is the “ideal stage”
for marvellous walks, hikes and runs. Bike
lovers can easily cycle along the shore of
Lake Maggiore or choose among one of the
more arduous itineraries climbing up into
the valleys. In addition, rock climbing is another sport activity offered by the region. The
Mediterranean climate of Lake Maggiore is
also ideal for playing golf all year through on
one of the fantastic golf courses of the region, as for instance the 18 hole courses Golf
Patriziale Ascona or the Golf Gerre Losone.
Many people and sports groups are also attracted to the Centro Sportivo, the National
Youth Sports Centre based in Tenero, a true
sportsman’s paradise.
For adrenaline seekers there are plenty of
different sport adventures to experience: the
220 meter high dam of the Verzasca Valley –
famous for being the highest one in Europe
as well as for being the setting of the opening
scene in the James Bond Goldeneye movie
starring Pierce Brosnan – is a must for all
those wanting an unforgettable experience
in a wonderful setting. In fact, from the Ver-
zasca dam one can enjoy a beautiful view
over Lake Maggiore. Canyoning and rafting
are other great adventures to be found in the
spectacular mountain rivers and waterfalls
of the Ascona-Locarno region. As to complete the offer, parachuting and paragliding
from Cardada-Cimetta are fun and exciting
ways to enjoy the region’s beauty from a different perspective.
info:
www.ascona-locarno.com/outdoor
+41 848 091 091
Beyond the Festival
Beyond the Festival
The Cameron Diaz Connection
Locarno, 17 years ago: There’s Something
About Mary is screened in the Piazza
Grande, showing the Festival audience a
brilliant Cameron Diaz who earned her
first Golden Globe nomination for the comedic role. Many things have changed
since that edition of the Festival and the
Californian actress has not only been
nominated three other times (for Being
John Malkovich in 2000, Vanilla Sky in
2002, and Gangs of New York one year later), but she has also revealed that her best
acting in both comedies and dramas is always characterized by her natural energy
and elegance. However, that movie which
screened in the Piazza Grande is not the
only connection between Cameron Diaz
and the Canton of Ticino.
In the last few years in fact, the actress has choose to wear Akris clothing – a
Swiss company founded in 1922 by Alice
29
Kriemler-Schoch – for film premieres and
photoshoots. This fashion company, which
is currently run by the grandson of the
founder Albert Kriemler and Peter Kriemler is the only Swiss couture house at
present and has recently decided to move
part of its activity to Mendrisio, employing
about 200 people – a choice which reveals
the importance of fashion not only for the
Ticinese economy, but also for the fashion companies themselves which can find
in Ticino the best conditions to develop
their undertakings. Also, thanks to Ticino
Moda, an association which gathers the
main industries in the territory, the Canton of Ticino is happy to declare itself as
a “Fashion Valley” where anything is possible: even dressing one of Hollyood’s most
important stars.
mattia bertoldi
Tirate
fuori
gli artigli
Le gigantografie dei volti pardati che riempiono i poster ufficiali del Festival del film
Locarno - trovando spazio anche su cataloghi e programmi ufficiali - non sono prerogativa di un manipolo di testimonial provenienti da tutto il mondo. Grazie all’app
multimediale di Locarno68 - sviluppata con
il supporto di Swisscom - ogni visitatore può
chiazzare il proprio volto di giallo e di nero e
condividerlo coi propri amici. Basta lanciare
la modalità Pardo-Selfie, inquadrarsi e scattare. La parola d’ordine è #IAMPARDO. Più
che un hashtag, un modo di vivere.
m. b.
PardoLive  10 | 8 | 2015
lucasdesign.ch | Foto: © Festival del film Locarno
Insieme, l’energia
diventa emozione.
Azienda Elettrica Ticinese
Anche quest’anno, AET e il Festival del film
Locarno uniscono la loro energia per illuminare
la Piazza Grande d’emozione. Buona visione!
www.aet.ch
Sponsor principale del Festival del film Locarno
The Last Tweet
@lorenzobuccella
Shining Nachtmahr
with Carolyn Genzkow #Locarno68
www.gettyimages.com/entertainment
mov(i)e
Editor
Lorenzo Buccella
Graphic design
Dimitri Bianchini
Aris Dotti
Michela Di Savino
31
Writers
Massimo Benvegnù
Mattia Bertoldi
Max Borg
Alessandro De Simone
Adriano Ercolani
Lorenzo Esposito
Sergio Fant
Aurélie Godet
Sara Groisman
Mark Peranson
Daniela Persico
Boris Sollazzo
Guest photographers
Alessio Pizzicannella
– cover
Sabine Cattaneo
Fabrizio Maltese
Vittorio Zunino
Celotto – mov(i)e
Photographers
Gabriele Putzu
(TiPress)
Fotofestival (Marco Abram, Massimo Pedrazzini, Samuel Golay, Sailas Vanetti)
by Vittorio Zunino Celotto
Advertising
Raphaël Brunschwig
Elisa Bazzi
Luca Spinosa
publicitas
Print
Salvioni Arti Grafiche
PardoLive  10 | 8 | 2015
© UBS 2015. All rights reserved.
Enjoying together
Unique moments at the Festival del film Locarno.
ubs.com/festivaldelfilmlocarno