Marco Bellocchio - Festival del film Locarno

PardoLive
68° Festival del film Locarno
Marco
Bellocchio
Jeremy Dawson
Alfonso Gomez-Rejon
Sérgio Machado
PardoLive Partner:
Prix du Public UBS
Giant
Feelings
“The way it feels when you see yourself on that gigantic screen is
indescribable. Up there your foot suddenly becomes eight metres
long. There’s nothing as impressive as the images in Piazza Grande.” Young German actress Saskia Rosendahl is describing how it
felt to make her entrance on the international cinema stage at the
Festival del film Locarno in 2012. The film was Lore, by Australian
director Cate Shortland, in which Rosendahl played the young protagonist. “My memory of the moment when the screening started?
I was with my mother, who was watching the film for the first time,
and I kept looking around to see how everyone was reacting. But
magically, despite all those thousands of people around us, the at-
mosphere managed to remain incredibly friendly.” Not least because the film, which tells the story of a group of children travelling
through a devastated Germany in the aftermath of World War II,
touched a chord with 8,000 viewers in one go. That year’s Prix du
Public UBS was a direct result. “To have acted in the film that won
the people’s vote gives you a feeling you’ve never had before. It’s
truly a special honour to receive an award that comes directly from
your audience.” That’s the kind of unfiltered feeling that only Piazza Grande’s uniqueness can bring.
Lorenzo buccella
Fermo immagine
Carlo Chatrian
Artistic Director
Piazza Grande, I pugni in tasca, 14 | 8 | 2015 – 23.00
Fists in the pocket and a head that’s bursting. A mouth
open to show the teeth, but issuing no sound. The
huge family home isolated on the ridge of a hill, surrounded by snow that shows no signs of melting. The
house and its stuffy, shut-up smell: the small rooms
and the large terrace. And, beyond the courtyard, the
road along which one can drive into town…
La rabbia giovane
“Durante la proiezione la gente rideva, ma erano risate per certi versi isteriche,
proprio perché molti erano rimasti spiazzati dalla visione del film”. 50 anni fa,
nel 1965, Marco Bellocchio a Locarno presentava quella sua opera prima, I pugni in tasca, e qui trovava quella rampa di lancio internazionale che divenne
subito storia. Una storia che stasera torna all’origine, perché si riprende lo schermo di Piazza Grande e lo fa con la brillantezza di un bianco e nero appena passato dal restauro dalla Cineteca di Bologna. Che è anche un modo per cercare
di recuperare l’impatto di un film che allora irruppe come una testa d’ariete nel
panorama cinematografico. Con fredda dinamite infilata sotto tutti i legami di
una famiglia di provincia, fuori norma in ogni suo componente, sprovvista per
sempre della figura di un padre e qui attraversata senza alcuna mediazione nar-
Like a map, which from the protagonist leads to the
world around him, Marco Bellocchio’s film unfurls
in our memory. Anyone familiar with his films will
recognize Bobbio, the dialect and a few quips – “Va in
Trebbia” (go to Trebbia). But rewatching it now, it is Italy
that enters the frame in this film, so precisely locatable in terms of history and geography, and so powerful that it leaps out of the era in which it was made.
An Italy that goes beyond the ’68 revolution because,
in the end, Ale is not a revolutionary, but a victim of
himself. Like his brother Leone, or his sister Giulia.
Or their mother, who sees nothing and understands
little. Despite the propensity for irony (certain lines are
indomitable – “Vuoi una caramella?”, do you want a
Marco Bellocchio
rativa. Nella casa malata di Sandro e dei suoi fratelli non c’è più possibilità di nascondiglio, tutto rimane sempre perennemente a “vista”, annodato a quel gorgo
di rivendicazioni e frustrazioni che non sono più solo una frattura generazionale.
Non a caso, nel ritorno a frusta di quell’elastico che divide desideri di fuga verso
la città e l’impossibilità concreta di ogni tipo di allontanamento, l’unica persona
che non pare avere piena consapevolezza di quello che sta accadendo è l’unica
che non può vedere. Ovvero la madre cieca, memoria sbeffeggiata di un’autorità
ormai svanita, ormai ridotta alla stregua di un oggetto ingombrante e, non a
caso, prima vittima della volontà di ribellione dello psicotico personaggio interpretato da Lou Castel. Basta un gesto della sua mano, sventolata tra naso e fronte, e subito salta via quella risonanza emotiva e morale che poco prima impediva
di tradurre in azione i propri sogni omicidi. È il nuovo tic tac di un teatro della
crudeltà sbattuto in faccia al mondo, per un “giovane” film che sembra nato così,
con l’urgenza drammatica di farsi subito adulto, senza nessun filtro o travestimento, e che appena nato è diventato storia.
lorenzo buccella
3
sweet?) and a taste for verging on the grotesque, Bellocchio remains a tragic filmmaker because his characters are subject to a fate (the course of history) that
overtakes and envelops them. In this sense, I pugni in
tasca (Fists in the Pocket) is a cultural-origin film, a
film that already speaks to the relationship between
the director and his material. A film to be watched and
rewatched, even just to savour the beauty of the sound
of the voices and faces speaking different languages.
follow us on www.pardo.ch
PardoLive  14 | 8 | 2015
Focus on Marco Bellocchio
It All Started
Marco Bellocchio is a fighter. A 76-year-old
wonder boy always anticipating his times,
a revolutionary who unmasked conformism before others could even imagine to
do that, fifty years ago he brought his first
film, I pugni in tasca, to Locarno. To this
day, the movie is still present, explosive,
tearing apart.
I pugni in tasca in 2015, again in Locarno.
How do you feel about it?
It’s amazing. it’s undeniable how that call
from Camillo Beretta (President of Festival del
film Locarno in 1965, ndr), has been important for me and the movie. I recall the Kursaal
screening, the first ever in a theater for a work
of mine. A unique feeling, I can still hear the
nervous and embarrassed, explosive laughter,
unexpected during the screening. Many told me
some scenes were so strong and unsettling, and
I obviously couldn’t realize it at the time.
The movie won the Vela d’Argento. Since then, you started a long and difficult
relationship with festivals. But, unlike other
directors, you never quit. Why?
A festival is a very important place to face
colleagues, critics, yourself and, above all, the
audience. There are many different rules: for
example I pugni in tasca wasn’t selected at
the Venice Film festival because Chiarini wanted to award Luchino Visconti with the Golden
Lion. He had never won. The Locarno people
saw it, still not dubbed, and fell in love with
it. I was happy for the award, even if it was
the first of many second places. The important
thing is to participate, but even winning is not
bad. That said, I have a lot of lifetime achievement awards…
Do you consider the Pardo d’onore Swisscom
a kind of compensation?
No, I was absolutely happy for that award.
Maybe because of my Jesuit education I’m not a
person thinking “I deserved to win”. That’s the
thing: Marco Ferreri, a jury member, endorsed
me while the Russian juror Čuchraj opposed my
movie. Then, at the Moscow Film Festival, after
many months of international successes, the
movie was banned.
You always seem ahead of your times as
a director. Maybe this is why some of your
works were misunderstood at that time?
It’s not on me saying that. But it’s true that I
pugni in tasca anticipated the 1968 movement which identified with it. I was upset when
films like Diavolo in corpo or Il regista di
matrimoni were misunderstood. I am always
inspired by real life in order to make films,
Prix du Public UBS
PardoLive  14 | 8 | 2015
Vote and win
www.pardo.ch/ubs
which then are considered political or social, or
revolutionary even if I make classic cinema. I
never had an intellectual approach: I remember that, for I pugni in tasca, a critic was so
disappointed because he asked me philosophical questions, thinking I was an Heidegger
academic. He went away bewildered.
What does cinema represent for you today?
Image, in every form. I’m not a writer. As
Astruc said, camera is my fountain pen, my
way to express myself. I hope to be healthy in
order to keep going, but in a lighter way. I think
about Pippo Delbono, who showed Sangue
here in Locarno, shot with his cell phone. We
have to reflect on new ways of filming. Cinema
is for me something still deeply involving. I can
create only with the urgency of emotion.
The rage, the will to innovate that you put in
I pugni in tasca will never let you…
Not the rage, it would be ridiculous to live it
again. On the other hand, describing the issues
of old age is not something appealing to me,
I think nostalgia is pathetic. I prefer working
with younger people, just like in Bobbio, just
like my last project. I prefer the validity of
future to the past.
boris sollazzo
Yesterday’s prize draw winner:
Claude Kissling
4
© Alessio Pizzicannella
Here
5
PardoLive  14 | 8 | 2015
OUR NEW
LEADING ACTOR
TOYOTA AURIS!
toyota.ch
Auris Hybrid Swiss Trend, 1,8 VVT-i, 5-door version, 100 kW, average consumption 3,9 liters per 100 km, average CO₂ emissions 91 g/km, energy efficiency
category A. Average CO₂ emissions of all vehicle models registered in Switzerland: 144 g/km.
Focus on Cineteca di Bologna
Il chiaroscuro
ritrovato
Gian Luca Farinelli
Direttore Cineteca di Bologna
Flying with SWISS
the Festival
welcomed…
7
“È da qualche anno che ci occupiamo di
restauri...” inizia ironico Gian Luca Farinelli, direttore della Cineteca di Bologna.
“Diciamo che se I pugni in tasca compie
cinquant’anni, noi facciamo restauri da 25,
eppure credo che il lavoro fatto sul film di
Marco Bellocchio sia uno degli interventi
più sorprendenti che ci sia capitato di fare.
Questo si deve alla sua qualità, al fatto che
è un film che non invecchia e rimane anzi
non riconciliato e non riconciliante, ma anche alla sua storia produttiva. Il progetto
nasceva in maniera indipendente, ma Bellocchio riuscì ad acquistare per girarlo la
pellicola piu’ importante dell’epoca, la DuPont, quella utilizzata dai grandi autori per
creare un bianco e nero molto contrastato.
Ma purtroppo il piano fallì perché il laboratorio di stampa velò il negativo, e per 49
anni il film venne visto in tanti toni e mezzi
toni di grigio non spinti. Adesso, grazie ad
una serie di “tempi giusti”, ovvero l’uso del
digitale, la disponibilità di Bellocchio a collaborare (anche in quanto attuale presidente della Cineteca), il lavoro di Daniele Ciprì,
che di Bellocchio è l’abituale direttore della
fotografia, abbiamo riportato ne I pugni in
tasca quei contrasti che il suo autore aveva
in mente quando lo girò. Tecnicamente, abbiamo scansionato il negativo originale in
4K, per poi lavorare a livello di post-produ-
Marco Bellocchio, director
Michael Cimino, director
Clotilde Courau, actress
Cécile de France, actress
Andy Garcia, actor
Marthe Keller, actress
Marlen Khutsiev, director
Udo Kier, actor
zione per ottenere i risultati voluti, che sicuramente soprenderanno chi già conosce
il film tra il pubblico della Piazza Grande,
perché scopriranno la vicinanza estetica
del film con i chiaroscuri del “cinema nuovo” di quegli anni, della Nouvelle Vague, di
Cassavetes e tanti altri. È un vero e proprio
caso esemplare, un po’ per le condizioni eccezionali in cui ci siamo trovati, un po’ perche’ il film ritorna a Locarno cinquant’anni
dopo.
Ci sono progetti per la distribuzione?
“Certamente, attraverso Cinema Ritrovato
al Cinema ri-distribuiremo il film nelle sale
da ottobre, e poi sara’ disponibile in DVD.”
La Cineteca non si occupa solo di classici, ma interviene anche sul cinema contemporaneo, come nel caso di Bella e perduta
di Pietro Marcello, in Concorso internazionale a Locarno: “Pietro fa parte dei giovani
autori per i quali l’uso della pellicola è una
novità. Mi viene in mente una battuta di
Alice Rohrwacher che mi ha detto: “per me
il digitale è la normalità, la mia sorpresa è
la pellicola.” La scelta di Pietro, che e’ un
autore che scava in profondità nella Storia,
di utilizzare una pellicola 35mm, perlopiù
scaduta, per raccontare l’Italia violentata di
questi tempi mi ha molto incuriosito.”
massimo benvegnù
Walter Murch, editor
Edward Norton, actor
Bulle Ogier, actress
Amy Schumer, actress
PardoLive  14 | 8 | 2015
Piazza Grande, Me and Earl and the Dying Girl, 14 | 8 | 2015 – 21.30
An Endle
PardoLive  14 | 8 | 2015
8
You have to deeply love cinema in order to comprehend its role in Alfonso Gomez-Rejon movie.
You have to experience movies on your skin, with
all their emotional power. You have to run on the shore
with Antoine Doinel, or struggle in the Amazonian jungle with Werner Herzog and Klaus Kinski.
Greg, Me and Earl and the Dying Girl’s main character, made movies his purpose in life but, year after
year, movie after movie, he used them to keep it far
from him. That same life inevitably crashes into him in
the worst way, through the eyes and the lovely smile of
Rachel, girl affected by leukemia. Everything changes:
Greg’s vision of the world becomes more intense and
painful, even against his will. And suddenly movies
are not enough anymore: they are something already
created, stories already told, even if in such a wonderful way. In order to confess his true core to his friend,
he needs to come back to the pure meaning of image,
movement, sound. And in doing that he exposes himself and confesses his own inadequacy in a scene about
communion and harmony that’s bound to stay printed
in the audience’s mind for the next few years.
Adapting Jesse Andrews’ novel, Alfonso Gomes-Rejon composes an articulate puzzle, which matches Wes
Anderson and Michel Gondry in it’s aesthetic, but also
has a throbbing heart.
The director puts the entire movie on 23-year-old
Thomas Mann’s surprising powerful shoulders, and he
rewards him with a perfect performance, giving life to
an indolent and absolutely human teenager. Hats off to
all of them.
adriano ercolani
ess Sight
(1)
OFFICIAL PARTNER OF THE FESTIVAL DEL FILM LOCARNO SINCE 2005
CINE+ channels are available in French-speaking Switzerland via π or your TV operator. For more information contact us at 0800 000 901 (toll-free) / www.canalsat.ch/cineplus
9
PardoLive  14 | 8 | 2015
Five questions to Jeremy Dawson
The Lord
of Indies
Mr. Dawson, the last movie you produced is
Me and Earl and the Dying Girl, another
story about a dying teenager in a very short
time in American movies. Is this a clear
message of a youth discomfort running in
the U.S.?
I don’t think so. I think it is part of the long tradition of coming of age stories. In the United States
finishing high school and moving into college is a
major turning point for many people. We go from the cocoon of home life to
living away from our families and on our own. How people learn about and
face the real world as they reach that crossroads and find that life is rich
and complex and imperfect is an enduring theme. This film is ultimately
about friendship and growing up more than about discomfort.
You produced the last four Wes Anderson’s movie. How did you start
working with him?
My original background is in visual effects, often working with directors
with a strong vision and helping them realize it without compromising
their aesthetic. Wes first contacted me when he was making The Life
Aquatic with Steve Zissou and interviewed me. Needed someone to help
with the underwater world in the film. It wasn’t that dramatic a story – I
had an interview and I got the job and that was that!
11
You also have a longtime collaboration with Darren Aronofsky for
whom you created many motion graphics. Isn’t it strange to be a
producer and visual effects designer at the same time?
Yes it is, but I think that it helps me that I have a visual background. I can
often find solutions for the directors using that experience. And keeping up
with my design side is fun and fulfilling for me.
Grand Budapest Hotel has been a huge success and ran among
favourites at the Oscars. Are Indie productions the new majors, just
like the Weinsteins were in the 90s?
I don’t think they are the new majors, I just think that in a world of sequels
and tentpole films the only films that can take the risks to be unique and
interesting are the indies. That makes these films stand out at awards time.
For every Grand Budapest Hotel or Birdman there are many other good
ones we never see except at festivals. Are you excited about screening your movie in Piazza Grande, in
front of 8,000 people?
Yes. I can’t wait! I heard you can eat dinner while you watch which sounds
like fun. It is my first time at Locarno and we are truly honored to be here. alessandro de simone
PardoLive  14 | 8 | 2015
Gioventù & Cinema
“
Il film parla di un giovane uomo che comprende che tipo di
persona vuole essere e deve fare i conti con il significato di perdere
qualcuno proprio quando lo si sta cominciando a conoscere
”
thomas mann su greg
“
Interpretare Rachel è stata un’occasione speciale: è una
ragazza che ha una grande dignità. Ci tiene alla maniera in cui gli
altri la percepiscono. Non si tratta solo di apparire carina ma di
saper indossare la propria personalità artistica
”
olivia cooke su rachel
“
Già quando abbiamo fatto il casting ho capito che mi sarei
potuto divertire. Lavorare con Olivia e Thomas è stato fantastico,
siamo diventati una grande famiglia
rj cyler su earl
13
”
PardoLive  14 | 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
Piazza Grande, Heliopolis, 15 | 8 | 2015 – 21.00
La strada
della musica
La più celebre orchestra giovanile composta da ragazzi
tolti dalla strada è certamente l’Orquestra Simón Bolívar
fondata in Venezuela da José Antonio Abreu, sostenuta da
direttori come Antonio Abbado e capace di lanciare una
giovane bacchetta come Gustavo Dudamel, diventando
modello per progetti simili in tutto il mondo. In Brasile
il “sistema Abreu” ha ispirato l’Instituto Baccarelli di São
Paulo, che nel 1996 ha raccolto 36 giovani del quartiere
di Heliópolis, il più grande e degradato della metropoli,
convincendoli a imbracciare violini e violoncelli invece di
ingrossare le fila delle bande che controllavano la favela,
dando così origine alla Orquestra Sinfônica Heliópolis, di
cui Zubin Mehta è diventato patron nel 2005. Una storia di
riscatto da povertà e criminalità, sulla capacità della musica di cambiare il cuore di ognuno, in una città dai mille
contrasti, unica al mondo: gli ingredienti di questa straordinaria vicenda erano perfetti per essere narrati, e per
primo lo ha fatto l’impresario e sostenitore dell’orchestra
Antônio Ermírio de Moraes in Acorda Brasil, pubblicato
nel 2006, a cui Sérgio Machado si è ispirato per Heliopolis.
Perno della trama narrativa che conduce alla scoperta del
mondo e delle difficoltà dei giovani musicisti di Heliópolis
è il personaggio di Laerte, virtuoso violinista residente nei
quartieri bene della città, ma incapace di reggere la tensione delle audizioni che contano, e costretto dalle bollette da
pagare a ripiegare sull’insegnamento. Si troverà di fronte
una classe a malapena al corrente di come si imbraccia
uno strumento e si legge uno spartito, ma dietro quei volti arrabbiati scoprirà qualche vero talento (facendo i conti
col proprio) e soprattutto tante vite non rassegnate al destino che la società ha scelto per loro, determinate a rivendicare in musica la loro dignità.
sergio fant
Mobility Partner
Festival del film Locarno
15
PardoLive  14 | 8 | 2015
Pardo del cuore
Critic’s Verdict
What’s Your #Locarno68 Favorite of All?
“
Many art house films, symbolically speaking, fart in
their audience’s perplexed faces, but the movie ironically
entitled Entertainment does that eschewing all
symbolism and false pretence.
And this uncompromising position I deeply respect ”
Stas Tyrkin
Komsomolskaya Pravda Daily, Russia
Schneider vs. Bax
“
L’olandese Alex van Warmerdam racconta di un sicario che il giorno
del suo compleanno deve ammazzare uno scrittore – con figure bieche,
humor grottesco e immagini meravigliosamente composte e fotografate.
Perfetta unione di cinema d’autore e di genere ”
Christian Jungen
NZZ am Sonntag, Switzerland
Entertainment
“
Non è facile, nell’impegnativo
programma di quest’anno, scegliere un
preferito. Tra i molti titoli non bisogna per
esempio dimenticare il grandioso pezzo
collettivo di Heimatland! Il mio film
preferito del Festival di quest’anno ”
L’Accademia delle Muse
Heimatland
“
My favourite of the festival is L’Accademia delle
Muse, a deceptively simple picture which reveals
increasing complexities as it unfolds. So many directors
these days try to blur the lines between documentary
and fiction, but hardly any do so with the wit, elegance
and rigour displayed by Guerin in this playful but
penetrating disquisition on desire, self-delusion and
hypocrisy. And any film which features Sardinian
shepherds performing their polyphonic drone immediately
places itself some way ahead of the flock Neil Young
The Hollywood Reporter, USA
PardoLive  14 | 8 | 2015
Herbert Spaich
Südwestrundfunk - SWR kulturFILM,
Germany
“
Forse non è il mio film preferito,
ma è quello che ha saputo instaurare
con me il legame più intimo e strano.
Un film sull’indicibile, sul segreto che
ognuno si porterà nella tomba.
Un film sulla vita che se ne va e che il
cinema cerca, invano, di trattenere ”
Raphaële Bouchet
RTS, Switzerland
”
No Home Movie
16
“
“
Il film preferito? Potrei rispondere
la poesia animata da Schwizgebel:
cinque minuti di pennello con Schubert a
raccontare la cavalcata di un padre per
salvare il figlio allucinato dalla febbre. Il
piano sequenza mi ricorda che anche io
sono un padre e che anche io cercherei di
correre più veloce della morte
Un bellissimo affresco rinascimentale
sul bello, la bellezza, la trasmissione della
bellezza ”
”
L’Accademia delle Muse
“
Original, inventive, playful, the new
film from the great catalunian filmmaker
diffuses once more the frontiers between
documentary and fiction and proves that
is possible to make a motion picture with
motion thinking
Damiano Realini
RSI, Switzerland
Luciano Monteagudo
Página/12, Argentina
”
Lorenzo Codelli
Positif, France
Erlkönig
L’Accademia delle Muse
“
Cosmos
“
After a fifteen year absence from filmmaking
Andrzej Zulawski’s return is a real event
and reveals him to be just as inventive and
uncompromising as ever.
There is a wild energy and intensity to Cosmos that
is hard to resist. The emotions are teased and bruised
by the mixture of absurdist comedy and unexpected
poignancy
”
È stato un Festival eclettico
e molti film mi hanno colpito.
Uno era La Belle Saison,
che trasmetteva molto bene
l’atmosfera dei primi anni
Settanta in Francia, rivoluzionaria
in senso pienamente costruttivo,
con un femminismo che non era
andare contro l’ordine costituito
ma cercare rapporti più equi tra le
persone ”
Mehmet Basutçu
Cumhuriyet, Turkey
La Belle Saison
“
Allan Hunter
Screen International, UK
Per la sua capacità di raccontare,
solo con la forza delle immagini, il
tempo dell’uomo e quello del marmo, e il
desiderio di bellezza degli umili ”
L’infinita fabbrica del Duomo
Francesca Monti
Giornale del Popolo, Switzerland
Tikkun
“
Con il dispiacere di lasciare fuori altri buoni titoli,
direi che il mio voto va a Tikkun di Avishai Sivan: film
ostico ma denso e affascinante che in bianco e nero e con
grande rigore formale esplora dall’interno la problematica
religiosa ultraortodossa, mettendone in luce gli estremi
confini di spiritualità e follia ”
Alessandra Levantesi Kezich
La Stampa, Italy
17
“
Un approccio originale e
sorprendente a una tematica difficile
e complessa. Un disperato inno
all’”inutilità” della bellezza ”
Antonio Mariotti
Corriere del Ticino, Switzerland
Bella e perduta
PardoLive  14 | 8 | 2015
Pardo del cuore
“
“
Per aver cancellato la
frontiera tra documentario e
fiction con la seduzione delle idee
e dei volti che le portano A teenage couple facing the arrival of an unwanted
child. Sound familiar? Maybe, but the young FrancoBelgian director gives the story a rare mix of truth and
intensity, relying on his young stars, Kacey Mottet Klein
and the heartbreaking Galatea Bellugi ”
Nicholas Elliott
Cahiers du Cinéma, France
Aurélien Ferenczi
Télérama, France
”
L’Accademia delle Muse
Keeper
Tikkun
Olmo & the Seagull
“
I’ve been seduced by directors’ feminine
sensibility, they showed the changes caused
in an actress by pregnancy
Rui Martins
Correio do Brasil, Brazil
”
“
Perché va contro tutti
i fanatismi, chiarendo che
l’uomo è libero e il suo dovere è
amare ”
“
Ci sono stati tanti film interessanti ed è difficile
sceglierne uno, ma se devo farlo è Chevalier Guy Lodge
Variety, UK
”
Ugo Brusaporco
LaRegione, Switzerland
Chevalier
“
I sogni del lago salato di Andrea Segre perché è
un’impresa impossibile: mettere a confronto due paesi
così diversi e due epoche storiche distanti in un film
personale che riesce a centrare l’obiettivo Jigeumeun matgo geuttaeneun teullida
“
Between what one does and what one could have done there’s
a gap with a thousand stories to tell, a thousand films to shoot and some are just bigger than others. If déjà vu is nothing but a
construction, Hong definitely knows how to use its powers Francisco Ferreira
Expresso, Portugal
Steve Della Casa
Hollywood Party, Italy
”
”
I sogni del lago salato
“
Between psychoanalysis and magic,
a research about personal and cultural identity Suite Armoricaine
PardoLive  14 | 8 | 2015
Antoine Duplan
Le Temps, Switzerland
”
18
“
For the freshness and Buñuel-like wisdom
with which Iosseliani puts forward his vision
against contemporary cinema’s sense of time
”
Maurizio Porro
Corriere della Sera, Italy
Cosmos
“
A tale full of mysteries where the main character, as usual
in Andrzej Zulawski’s cinema, understands life, love and art as
a feverish state. A charming and beautiful delirium packed with
humor and echoes of Resnais and Oliveira Eulàlia Iglesias
Caimán – Cuadernos de Cine, Spain
Chant d’hiver
”
“
La dimostrazione che si può girare un film intelligente senza
mettere a dura prova la pazienza dello spettatore. Il contrario di certe
operazioni studiate a tavolino per impressionare le giurie e i critici:
furbe, ma pochissimo appassionanti sullo schermo ”
Mariarosa Mancuso
Il Foglio, Italy
Der Staat gegen Fritz Bauer
“
Sharp criticism of society in a compelling story,
current questions about ethics and morals and excellent
acting. The film works as a thriller, historical drama
and psychological study. Thrilling cinema at its best Schneider vs. Bax
“
Watch
the whole list
and all the other
comments on
A buffalo is dreaming aloud,
speaking tenderly about a world
without humans anymore, and
all you want to do is agree:
Pietro Marcello’s Bella e
perduta, a hybrid docu-fictional
reflection on dislocation is one
the most decidedly accomplished
works of this year’s edition Alexandra Zawia
Wiener Zeitung, Austria
”
Bella e perduta
19
”
Peter Claus
Deutsche Presse Agentur, Germany
pardolive.ch
PardoLive  14 | 8 | 2015
A great award
for Marco Bellocchio
and Michael Cimino.
A great honour for us.
For the 19th time, Swisscom is the main sponsor of the Festival del film Locarno.
And just like every year, the Pardo d’onore is going out to two of the most
influential directors of our time. We would like to congratulate Marco Bellocchio
and Michael Cimino and thank everyone who helped us make this Festival del
film Locarno possible.
Welcome to the country of possibilities.
Panorama Suisse, Chrieg, Auditorium FEVI,
15 | 8 | 2015 – 11.00
Dry Cold
Swiss-German
Summer
Matteo (brilliantly played by Benjamin Lutzke) is a 15-year old boy who, like many of
his peers, thinks no one really understands
him. Then, one night, two men remove him
from his home and take him to a summer
camp where he’s supposed to do hard labor.
Except his fellow youngsters have effectively taken over the camp, rebelling against
adult authority.
Nearly a year after its world premiere
at the San Sebastian festival, Simon Jac-
quemet’s first feature film remains a blistering cinematic experience. Chrieg is a
portrait of troubled youth that abandons
the usual urban environments for the punishing mountain landscape, beautifully
captured by Lorenz Merz’s cinematography,
which won the Swiss Film Award in March.
Zurich-born director Jacquemet follows his
young protagonist and his friends with an
empathetic eye, showcasing the doubts
and problems of a “typical” teenager with
News
15.15
Change in the Program
11.00
Rialto 3
15 | 8 | 2015
11.00
Rialto 1
15 | 8 | 2015
Concorso internazionale
Heimatland
Concorso Cineasti del presente
Les Êtres chers
Rialto 1
15 | 8 | 2015
17.00
Rialto 1
15 | 8 | 2015
17.00
Rialto 2
15 | 8 | 2015
the right balance between tenderness and
brutality. Loneliness, peer pressure, bullying and sexuality are the main ingredients of a genuine gut-punch that shocks
from the very first scene on and never lets
go, while never forgetting its human core.
Chrieg showcases a violently promising directorial talent that deservedly closes this
year’s Panorama Suisse program.
max borg
Concorso internazionale
Bella e perduta
Concorso internazionale
Tikkun
Semaine de la critique
Lampedusa in Winter
YOUR APP FOR MOVIE THEATRES & MOVIES
SCHEDULE I TRAILER I MOVIE REVIEWS
21
PardoLive  14 | 8 | 2015
Eat different.
Mediterranean Cuisine,
Japanese Restaurant,
Berber Tent, Lounge
Bar, panoramic terrace,
wide wine selection,
Kid’s Corner and
a keen eye for details.
BLU Restaurant & Lounge
Via G. Respini 9
+41 (0)91 759 00 90
www.blu-locarno.ch
[email protected]
re è
obilia
La M Partner
t
Even ival del
st
al Fe
rno.
Loca
m
l
fi
Potete contare sul
nostro rapido aiuto
senza formalità.
www.mobi.ch
PardoLive  14 | 8 | 2015
22
Beyond the Festival
Buon compleanno, Ticino Film Commission
Sono passati 16 mesi dalla fondazione della
Ticino Film Commission, ente senza scopo
di lucro volto a sostenere ogni tipo di produzione audiovisiva realizzata (anche solo in
parte) in Ticino per promuoverne il territorio
e l’economia. Sostenuta dal Cantone, l’associazione ha da poco varato un nuovo sito
Internet (www.filmcommission.ch) che dà la
possibilità di esplorare alcune delle suggestive location offerte dal territorio, ma anche di
informarsi circa le possibilità di produzione
presenti in Ticino e conoscerne i professio-
nisti attivi nell’audiovisivo. Tra i servizi formalizzati in questi primi mesi di attività vi
sono anche l’assistenza per l’ottenimento di
permessi di ripresa, l’aiuto nella ricerca di
strutture nonché l’intermediazione con hotel e ristoranti del luogo.
Per celebrare questo primo anniversario,
la Ticino Film Commission ha presentato nel
corso della 68° edizione del Festival del film
Locarno un’importante iniziativa dedicata a
tutte le donne attive nel mondo dell’audiovisivo cantonale. Queste sono state contattate
e invitate a fotografarsi in un ritratto comprendente un nastro rosso – il colore ufficiale dell’associazione. Gli scatti sono stati i
protagonisti di una serie di affissioni e oggi
visibili sul portale della fondazione.
Il Festival del film Locarno è uno dei
quattro membri fondatori della Ticino Film
Commission, insieme all’Associazione film
e audiovisivi Ticino (AFAT), Gruppo registi
e sceneggiatori indipendenti della Svizzera
italiana (GRSI) e Ticino Turismo.
mattia bertoldi
Beyond the Festival
Cinema Around the Clock
This year, Swatch and the Festival del film
Locarno are even more connected. The 68°
edition, in fact, gave the opportunity to
launch a new collaboration which has involved and has been felt on several levels:
on the one hand Swatch proposed a special,
Pardo-like Swatch which has become one of
the most wanted Festival gadgets. On the
other hand it introduced two new Prizes: the
Swatch First Feature Award (Prize for Best
First Feature) and The Swatch Art Peace Ho-
tel Award, a special mention offering a 3 to
6 month stay in the Shanghai hotel of the
same name. A special place where art and
creativity are hosted by a historic luxury
building, shaping unpredictable collaborations. One, however, has already been established: thanks to the Locarno Summer
Academy, one of the artists coming from the
Shanghai residency will be among the participants of this Festival initiative.
m. b.
So fängt Zukunft an.
Ins_Pardo_Live_2014_DE_1156_4C_186x17.indd 1
23.06.2014 15:17:25
<wm>10CAsNsjY0MDAy0bUwNzSzMAMA8JRbZw8AAAA=</wm>
<wm>10CFXKrQ6AMAxF4Sfqcm9Z28EkmSMIgp8haN5f8eMQR51vWaolfM1t3dtWCWiWEvTi1ejPKTmNXhEcFLSJ0EL1bD8roKoB_TWCEA6dEA3R3CPGdB3nDWDcj6puAAAA</wm>
23
PardoLive  14 | 8 | 2015
<wm>10CAsNsjY0MDAy0bWwtDAxMgEA0zgGsg8AAAA=</wm>
<wm>10CFXKIQ6AMAwF0BN1-e26raWSzC0Igp8haO6vCDjEc2-MKAmftW9H34MBUTI3FY1aOYmFoyXzQIMJuCzwrKy12m8TWKQA8z2ERrAJp5yJdRqQ7vN6AJXbTVtwAAAA</wm>
Beyond the Festival
Wellness Destination
There is no better way to relax and recharge
than enjoying the Mediterranean climate
and the stunning landscape of our lake region. Vacationing on Lake Maggiore is good
for the soul, with magnificent views like for
example thermal pools reflected in the calm
of the lake, providing moments of deep relaxation. These are some of the reasons why
Ascona-Locarno has received the “Wellness
Destination” quality label awarded by the
Swiss Tourism Federation. Proof that the region offers top quality wellness services! At
Ascona-Locarno you will find modern thermal baths (Termali Salini & Spa and Lido
Locarno), wellness hotels, special health facilities as well as a wide selection of walking
and nordic walking trails and vitaparcours
(health paths). To complete the offer, you
will find magic places offering you peace
and quiet such as the mythical Monte Verità and the yoga path along the hills of the
Gambarogno area. Set within a breathtaking
landscape and rich with cultural heritage, a
wide selection of hiking trails through nu-
<wm>10CAsNsjY0MDAy0bWwtDQ1NQMAasI3qg8AAAA=</wm>
merous valleys – Centovalli, Onsernone, Vallemaggia and Verzasca Valley, will lead you
to discover our most hidden gems.
Escape into a world of pleasure … Your
wellbeing deserves a treat in one of our renowned resorts. Leave behind the daily routine and rejuvenate your body and soul.
info:
www.ascona-locarno.com/wellness
+41 848 091 091
<wm>10CAsNsjY0MDAy0bWwtDQ1NAUA1FZSVw8AAAA=</wm>
<wm>10CFXKuw6DQAxE0S_yamaw1xCXiA6liOi3QdT5_yqPjuI2V2ffKxr-rdvz2F5FQG7zskT0Ys8m96K8pbyQ7ALjwYSIjBs3UApg_IghjX0wv9cmDU3Z3uf1ATtRN69xAAAA</wm>
<wm>10CAsNsjY0MDAy0bWwtDQyMAcAPBAIpQ8AAAA=</wm>
<wm>10CFXKrQ6AMAxF4Sfqcm9pGaOSzC0Igp8haN5f8eMQR52vtfCEr6Wue92CgJpMpTg9OOakZkG1lNUCmaagz6QTxcby8wKqOtBfI8hC66Q4RIf-jHQd5w08uzK3cgAAAA==</wm>
<wm>10CFXKrQ6DQBBF4Seazb3zw3QZSXAEQfBrmuq-vyrFIY44ybdtFQ13y7qf61EE1OXVuyKLUzZ1L6q3VC8kTcGYySC6TfnwAqoGMP5GrqcNUgJiNi7Wvu_PD7MyIVByAAAA</wm>
Piazza Grande 18 - 6600 Locarno_CH
Telefono +41 (0)91 752 00 61
<wm>10CAsNsjY0MDAy0bWwtDQ1MgAAmPEVDA8AAAA=</wm>
<wm>10CAsNsjY0MDAy0bWwtDQyNAYAZOV-uw8AAAA=</wm>
<wm>10CAsNsjY0MDAy0bWwtDQ3NAAANXa8JA8AAAA=</wm>
<wm>10CFXKIQ6EQBBE0RP1pKqWngZaknFkxQY_hqC5vwLWIb75eeuaXvBvad-t_ZKABhunyYVkjeJKaiheE8EQ6DMDImvlSxsoOdAfYwhjdMZ9Tezjx8u5Hxdql7UDcAAAAA==</wm>
<wm>10CFXKIQ7DQAwEwBf5tOuzY18Mo7AoICo_UhX3_6hqWMCwOY7yhtu2n6_9KgJqkmMoe3GJpmZFtRZqhWBX0FfSEjksH19AVQfm_whC2CcpFmI5Pb19358f1KnkPnIAAAA=</wm>
<wm>10CFXKqw4DMQwEwC9ytLuy86hhFRYdOB0PORX3_1HVsoJhs1ZGwc9zHtc8k4Dc-hiNSNZW1JPy0hNNEhgPOkmv4l82UApgf4-hmbTphmExNgLlfb8-1TmVQG8AAAA=</wm>
ALLETORRI CAFFÈBAR
VIA VARESI 14 • 6600 LOCARNO
25
... have
!
k
a
e
r
ab
<wm>10CAsNsjY0MDAy0bWwNDc0NgMAA7q7Gw8AAAA=</wm>
packet LUNcH
<wm>10CFXKMQ4CMQxE0RM5mrE9IcEl2m61BaJPg6i5f8VCR_GlX7x9LzX8um3HY7sXAU8b88LoJY42ptc4Qc4sdJeDulJMBj3_vIHuAtbXGLq51jkMU6wItffz9QEAPRjjcgAAAA==</wm>
PANINO + DOLCE + FRUTTA
TEL +41 (0)91 751 45 45 • [email protected]
CHF
9.50
1
IS
GRAT
d
botteler or
wat fee
cof
WWW.ALLETORRI.CH
PardoLive  14 | 8 | 2015
La masterclass del compositore Brian Reitzell
Il vescovo di Lugano, monsignor Valerio Lazzeri,
con il Presidente Marco Solari
Kawamura Rira, Mihara Maiko, Kikuchi Hazuki e Tanaka Sachie,
attrici di Happy Hour.
La squadra di Me and Earl and the Dying Girl
Spensierati all’evento e prevendita alla stazione FFS.
RA_363 Typo-Inserat Event (i) 186x17, FiFL.indd 1
PardoLive  14 | 8 | 2015
20.06.14 11:22
26
Il regista Hamaguchi Ryûsuke
I registi Philip Cartelli e Mariangela Ciccarello
Il Pardo d’onore Swisscom Marco Bellocchio.
Il direttore della fotografia Marcelo Durst, il regista Sérgio Machado
e il produttore Fabiano Gullane di Heliopolis
pressbooks.ch
27
PardoLive  14 | 8 | 2015
«Una bella
storia rimane
entusiasmante
fino alla fine.»
Pensaci, ora tocca a te.
Swiss Life, partner ufficiale dei Pardi di domani, sostiene i talenti svizzeri del cinema
e offre una previdenza completa – per una vita più lunga e secondo le proprie scelte.
www.swisslife.ch/pensacioratoccaate
Beyond the Festival
Ticino Moda Wears Gucci
Cinema and fashion seem to be two worlds
apart, but it is extraordinary to see how they
are sometimes necessary to each other. On
the one hand luxury brands are promoting
their articles through advertisements which
are often small cinema jewels, on the other
hand movies’ producers are often helped by
the charisma and the importance of some
companies. And we are not only talking
about Devil Wears Prada and other fiction
features focused on fashion industry.
Let’s take Gucci as example: the Italian
company has cultivated a Hollywood con-
www.fondazionebally.ch
nection since the Fourties and from 2006 to
2013 donated more than 2 millions dollars
to Martin Scorsese’s Film Foundation, which
has preserved and restored classics, such
as John Cassavetes’s A Woman Under the
Influence (1974) to Francesco Rosi’s Il Caso
Mattei (1972). The brand also established an
annual Gucci Award for Women in Cinema,
dedicated to women’s artistic achievement
in film.
It is then even more surprising to discover that most of the clothing articles and
accessories sold worldwide by Gucci are
passing through its logistics centre in the
Canton of Ticino, a real strategic centre for
the Italian company. Logistics, in fact, is one
field of fashion business which is widely developped on our territory and proudly represented by Ticino Moda, the association
which gathers the main fashion industries
in our Canton and help them to grow up
in our economy organising events, putting
them in connection with local schools and
representing them in front of politics and
public institutions.
mattia bertoldi
Fondazione Bally per la Cultura ricerca ogni anno un artista ticinese attivo nel
campo delle arti figurative (pittura, scultura, fotografia e grafica) che avrà
l’opportunità di essere sostenuto e supportato a livello internazionale da uno dei
Brand più famosi nel settore del lusso.
Swiss Highlight in Locarno
on Friday, August 14
Panorama Suisse
chrieg
Simon Jaquemet
Fiction, 2014, 110 min.
Switzerland
Friday, 11:00, FEVI
www.swissfilms.ch
29
PardoLive  14 | 8 | 2015
lucasdesign.ch | Foto: © Festival del film Locarno
Insieme, l’energia
diventa emozione.
Azienda Elettrica Ticinese
Anche quest’anno, AET e il Festival del film
Locarno uniscono la loro energia per illuminare
la Piazza Grande d’emozione. Buona visione!
www.aet.ch
Sponsor principale del Festival del film Locarno
The Last Tweet
Warning! My Film is to Die For #Locarno68
@lorenzobuccella
www.gettyimages.com/entertainment
Olivia Cooke – Me and Earl and the Dying Girl
Editor
Lorenzo Buccella
Graphic design
Dimitri Bianchini
Aris Dotti
Michela Di Savino
31
Writers
Massimo Benvegnù
Mattia Bertoldi
Max Borg
Alessandro De Simone
Adriano Ercolani
Lorenzo Esposito
Sergio Fant
Aurélie Godet
mov(i)e
Sara Groisman
Mark Peranson
Daniela Persico
Boris Sollazzo
Guest photographers
Alessio Pizzicannella
– cover
Sabine Cattaneo
Fabrizio Maltese
Vittorio Zunino
Celotto – mov(i)e
Photographers
Gabriele Putzu
(TiPress)
Fotofestival (Marco Abram, Massimo Pedrazzini, Samuel Golay, Sailas Vanetti)
by Vittorio Zunino Celotto
Advertising
Raphaël Brunschwig
Elisa Bazzi
Luca Spinosa
publicitas
Print
Salvioni Arti Grafiche
PardoLive  14 | 8 | 2015
© UBS 2015. All rights reserved.
Enjoying together
Unique moments at the Festival del film Locarno.
ubs.com/festivaldelfilmlocarno