Walter Murch - Festival del film Locarno

PardoLive
68° Festival del film Locarno
Thursday · Giovedì 13 | 8 | 2015
Walter
Murch
Jean Douchet
LEE Chung
Carmen Maura
Milcho Manchevski
Brian Reitzell
Hamaguchi Ryûsuke
PardoLive Partner:
Festival del film Locarno
Lore
Winner of the Prix du Public UBS in 2012
Saskia Rosendahl, actress
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Fermo immagine
Carlo Chatrian
Artistic Director
Piazza Grande, Qing tian jie yi hao, 13 | 8 | 2015 – 22.45
For Francis Ford Coppola, listening to Walter Murch
is like following a path marked by titbits of wisdom
which, like Hansel and Gretel’s trail of bread crumbs,
represent both guidance and nourishment. The trails
left by Murch are found not only in his extraordinary
book about editing (In the Blink of an Eye), which I recommend every young person to read, but also in the
many films he laid his hands on, giving them a form
they would never have had without his contribution.
Lui, lei
e gli altri
Non ci sono fantasmi, senza ombre. E le ombre crescono a dismisura quando la
luce scappa via, anche se è potente. Qing tian jie yi hao (The Laundryman) è
questo, ha un continuo rimbalzo tra storia e sottotesto, metafora e (iper)realtà. È
un dialogo essenziale, elementare e continuo tra corpi, ma anche e soprattutto
tra sentimenti.
Come la tela del ragno sembra creata da un movimento apparentemente
semplice e invece estremamente complesso nella realizzazione e nel risultato,
così l’opera di Lee Chung, in seconda serata in Piazza Grande, ha le stesse caratteristiche. Il cineasta di Taiwan sa tessere insieme i lati oscuri della coscienza con la spettacolarizzazione del cinema di genere; in quella lavanderia che
nasconde lo sporco della società, attività illecite e omicidi, c’è tutta la lezione tarantiniana (a sua volta appresa da Quentin, ma in parte, prima, anche da
Scorsese, dall’Estremo Oriente) sul colpire con violenza e passione gli spettatori,
giocando sul paradosso. La sposa di Kill Bill, feroce ossimoro umano, non è diversa da questo luogo e dalla sua proprietaria, che cadono in un gorgo impos-
Apocalypse Now
The main reason I’m proud we’re hosting this artist
is that it allows the Festival to focus attention on
sound, an aspect of cinematic art that often languishes in the background. And by sound I don’t mean the
music that often comes in to cover an imperfect link
or to give the right rhythm to a sequence. In the films
on which Murch has worked, the composition of a
soundtrack is not a decorative addition but part of the
The Conversation
sibile da combattere. E così a una regia creativa e allo stesso tempo pop – nei
ralenti come nei duelli coreografati –, attenta e di grande qualità, si alternano
momenti intimisti, virtuosismi di macchina e interpretativi, come nel prologo e nell’epilogo, che denunciano il doppio piano di pensieri e immagini che
viaggiano sul sentiero di Qing tian jie yi hao, non senza qualche scossone.
E così le presenze oscure che infestano gli antieroi diventano elementi di una coralità colorata, movimentata e inesorabilmente dolente di un esordio sorprendente.
boris sollazzo
3
main body of the work. Think of Apocalypse Now and
the famous throb of helicopter blades, which becomes
the expression of a mental obsession. Or The Conversation with that fantastic opening scene in which
Gene Hackman attempts to decipher a dialogue, a
real homage to sound as a tool for interpreting reality.
Walter Murch, who over the years also became an
extraordinary editor, began recording and layering
sounds when he was just a boy. I have no doubts that
hearing him talk about the various components of his
work – recording, mixing and sound design (a term he
coined to define the furnishing of a space with sound)
will be an unmissable event at a Festival that wants to
be a constant discovery of the mysteries and power of
cinema.
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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
Focus on Chung Lee
Fun in a Taiwanese
Laundry
Chung Lee, Qing tian jie yi hao (The Laundryman) is
your first feature film, and it screens tonight in Locarno
for its World Premiere, in front of thousands of people.
How does it feel?
It’s very exciting, but I am also a bit scared. The film opens
in Taiwan in a week, so this is the first time ever that an audience sees it, and I also still haven’t seen the final product
after I finished it. It’s such a big screen!
How did you come up with the original idea for the film ?
The story began with one simple concept: I wanted to do a
story about a killer, but one where the audience could like
the main character and identify with him. And how do you
make an audience symphatize with a killer? That’s when I
first thought about using the ghosts. And then I decided to
add the love story as well, so it became a mix of genres.
Do the ghosts have to do with spirituality?
Yes, but more of an ethical belief than a religious one. The
ghosts are the symbol of his conscience, and the same time
they add a comical element to the story. I tried to make the
ghosts very human in this film.
What about the Taiwanese release?
The film will open in 85 screens – it is a general commercial
release for an independent action picture. When we found a
budget for the project we were conscious in trying to make a
film that would appeal to audiences.
© Fabrizio Maltese
As a first time filmmakers, who inspired you, and what
were your models for Qing tian jie yi hao?
www.fondazionebally.ch
5
I would say the Coen Brothers, but at the same time no one
knows how to write dialogue like the Coen Brothers. Another
film that comes to mind is Leon – The Professional, and
the cinema of Luc Besson in general. And then my greatest
inspiration is Taiwanese filmmaker Edward Yang – even if
this film cannot be directly associated with his work, he is
my role model as a director.
massimo benvegnù
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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Piazza Grande, La Vanité, 13 | 8 | 2015 – 21.30
Friends
to Die For
The last stop-off in a motel, one night and
three characters shut up in those closed
spaces where the relationship between inside and outside becomes that closer and
more subtle relationship between life and
death. With La Vanité, Lionel Baier once
again takes over the Piazza Grande screen
(after Les Grandes Ondes (à l’Ouest) in
2013), taking on a cinematic challenge
through the coexistence of a “what” and
a “how” that seem worlds apart. Because
while it’s true that the heavy weight of the
film immediately seizes on the theme of
suicide, the light tone with which the whole
affair is sketched out has the bittersweet
flavour of a comedy, able to set in motion a
whirl set to a rhythm of misunderstandings,
surprises and coups de théâtre. The aim is
not to wring belly laughs from a taboo, but
to support an ironic reflection on existence
that involves and blurs together the solitudes of the three characters, gathered together by fate: a lonely, sick man who wants
to die (Patrick Lapp), a woman who has lost
her husband (Carmen Maura) and a Russian gigolo (Ivan Georgiev), dragged by fate
into the role of witness. Inside an interior
made up of red curtains that lead to sudden
glimpses of life in flashback and vanities reproduced in Holbein the Younger’s paintings,
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played out tightly enclosed within that Huis
clos dimension which, being inside a motel,
can’t help but evoke cinematic moments
from Hitchcock and Lynch. All the more if
the theatrical dimension of a three-hander
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Piazzaon
Focus
Grande,
Carmen
La Maura
Vanité, 13 | 8 | 2015 – 21.30
Carmen
Chameleon
“
I will always prefer a full theater than a good review. Audience laughing or
weeping, clapping, is something unique, something we work for. It’s the core of
cinema. I love Locarno for this: in Piazza Grande there is love for movies and popular
taste, it’s a place for everyone
Carmen Maura, la musa di Pedro Almodóvar. Ma la femminilità seduttiva e il
talento esplosivo di quest’attrice hanno
portato anche molto altro nel linguaggio
cinematografico, da Saura a de la Iglesia
passando da Gitai e Trueba a Buñuel, sparigliando le carte del sistema, scegliendo
esordienti e a volte snobbando maestri. È
a Locarno per La Vanité di Lionel Baier, in
Piazza Grande.
”
Cosa cerca quando recita?
A una buona critica, alla vittoria a un festival
preferirò sempre una sala piena. Il pubblico, che
piange, ride o applaude, è qualcosa di unico,
è il cuore del cinema: non dimentichiamo che
quest’arte è anche industria e la sua natura è
piacere. Locarno è bella per questo: nella Piazza
Grande c’è cinefilia e gusto popolare, è un luogo
per tutti.
Questo non le impedisce di fare scelte coraggiose
Cos’è la vanità per lei?
Non è un sentimento che conosco, sono sincera.
Forse perché al successo sono arrivata tardi, a
50 anni, a quell’età non c’è tempo per essere
vanitosi. Mi emoziona più chi mi offre un bel
ruolo che il tappeto rosso.
Ha tante donne dentro di lei. In due anni è
passata da La madre all’infermiera di Baier.
Come fa?
A tutt’oggi non ho ancora capito cosa faccio e
come, per essere un’infermiera non passo un
mese all’ospedale. Sono camaleontica. Prendo lo
script, lo leggo e a un certo punto succede: entro
nelle donne che dovrò essere. Mi aiuta l’importanza che do al testo e alla messa in scena. Le
parole, il senso della narrazione, il genere dell’opera che affronto mi danno il tono, la musica,
l’atmosfera del mondo in cui tuffarmi. Il regista
in questo percorso deve capirmi, guidarmi: so
obbedire se te lo meriti.
Ricordo la fatica degli inizi e per questo faccio
ancora cortometraggi e opere prime. Ho ancora
in testa tutti i lungometraggi che Cannes
rifiutò ad Almodóvar prima di farlo arrivare
sulla Croisette. Parlo dei suoi primi capolavori:
vinceva e vincevamo premi in tutta Europa
ma loro ci ignoravano. Noi avevamo il pubblico
dalla nostra.
Cos’ama di più del cinema?
La commedia. È più difficile, devi avere talento
e fiuto per cavalcare certi ritmi. Far ridere è affidato a meccanismi che han qualcosa di magico.
Devi avere qualcosa in più, come Lionel. Avreste
dovuto vederlo sul set: calmo, nonostante avesse scelto un genere difficile per il tema trattato.
Lo guardavo ammirata, come quando mio figlio
prende l’iPad e risolve un problema per me
insormontabile solo toccandolo.
Prix du Public UBS
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Pedro Almodóvar. Com’è nato il suo rapporto
artistico con lui?
Lui lavorava alla compagnia telefonica, io venivo da un ambiente snob che mal sopportava la
mia carriera di attrice. Mi raccontava bellissime
storie, mi ha fatto ridere come pochi altri nella
mia vita e ha saputo mostrarmi al mondo in
una maniera sorprendente anche per me. Con
lui è sempre stato speciale: Volver è arrivato
dieci anni dopo l’ultimo lavoro insieme, passati
senza parlarci o vederci. E dopo la prima battuta sbagliata, le sue prime indicazioni, tutto è
tornato come prima. Ora, però, è finita, almeno
sul grande schermo: succede alle relazioni lunghe, è stato bellissimo ma non credo lavoreremo
più insieme. Siamo su strade diverse.
Un sogno, un regista con cui desidera lavorare ce l’ha?
Un tempo rispondevo Woody Allen. Ora, invece,
mi preoccupo di chi evitare: il regista che parla
troppo. Rischia di annoiarmi e se questo accade,
è finita.
boris sollazzo
Yesterday’s prize draw winner:
Matteo Rossi
8
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Focus on Walter Murch
The Wizard
of Sounds
and Visions
Mr Murch, you are considered the father of the discipline
of “sound design”. How did it happen?
I think it was a natural evolution. The significant modification
that we did in the late 60s with the Zoetrope Studio (founded
by Francis Ford Coppola and George Lucas) was to allow the
sound editor to also be the mixer of sound. Until Apocalypse
Now, for example, I worked in monophonic sound and,
suddenly, not only there was the stereo sound but a completely
new format on six tracks. My challenge was to design the
sound in this new space.
In 1980 you won the Academy Award for Sound on Apocalypse Now. What was it like working with Coppola?
And since we showed American Graffiti in Locarno in
1973, what was it like working with Lucas?
I have loved working with both of them, they’re very different.
Francis is a great delegator of responsability, he does not get
involved all the way through in specific definitions even if he
sees what you are doing. George, more specifically, wants to be
involved at every step of the evolution of the sound. In American Graffiti we were always together, sometimes staying
up until three o’ clock.
If we think about a movie, our thoughts instinctively
dwell one of its distinctive scenes. Which scene lives
most vibrantly as you look back on your career?
It is always a hard question, because my perspective is not
always the perspective of the audience, but the Valkyries
attack section in Apocalypse Now was a huge amount of
work – both picture and sound editing. I think the moment the
music is playing very strongly and then suddenly it cuts to
the Vietnamese school, and it is quiet and you’re just hearing
the singing of the Vietnamese children, and you’re starting
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to hear from the back the Valkyries theme... It was not in the
script, it was created in the editing of the sound. I am very
happy when that moment happens, because I remember the
struggle to get there.
Working with pictures and sounds, you have a clear
vision of how sound is related to the plot and the general
atmosphere of a movie. Could you cite an example of
how you have maximized the relationship in your work?
Well, certainly the sudden cut to silence in Apocalypse Now
we just talked about. Francis’ original intention was to break
the Valkyries’ theme tape, he wanted to stop the sound of
music. I knew what he wanted, but I knew there was another
way to get that idea. I felt that the emotion of the film at that
point with the music was so big that going into a breaking
moment could be counterproductive. Then I tried to pitch this
to Francis, and he liked it.
We know that today you are very much involved in
teaching, but who were the teachers that most impacted
your life? What is the main teaching you’ve ever received?
The filmmakers that inspired me to go into film were my
big teachers: Fellini, Bergman, Kurosawa, Godard, Truffaut...
I was also inspired in sound with the school of musique
concrète in Paris: Pierre Schaeffer and Pierre Henry. I heard
their work when I was very young, I was 12 years old. At that
age I dedicated myself to try to do the same thing they did,
looking at the world of cinema. About the teaching there is
a motto from the I Ching, a Chinese divination book. It says,
in English: “Perseverance Furthers”, that means: keep going,
don’t stop. And that has been a big lesson for me at many,
many times in my life.
mattia bertoldi
10
© Alessio Pizzicannella
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Concorso internazionale, Happy Hour, Auditorium FEVI, 14 | 8 | 2015 – 14.00
Parole di donna
Prima considerazione. Happy Hour non è una serie televisiva ridotta
(si fa per dire) a formato cinematografico. Non ingannino il linguaggio di Hamaguchi Ryûsuke e la sua scrittura di base: la presunta
linearità del suo stile e il soffermarsi a lungo sulla definizione dei
personaggi hanno valore se messi in relazione con la durata complessiva del film. Il racconto delle quattro protagoniste e delle loro
relazioni con i rispettivi compagni è concepito come un lungo fluire
con corsi e ricorsi, salti e rimandi che danno il senso (tragico) del
tutto. Il tema di fondo di questo coraggioso lavoro è il linguaggio. Il
film attraversa il linguaggio non verbale (nella lunga scena dedicata
al workshop), affronta la parola giuridica (la sequenza nel tribunale
è uno dei suoi punti di snodo), incrocia la testimonianza (l’incontro
con la donna nel pullman), sfiora la parola letteraria, mette in scena
la parola domestica (quella che si pronuncia solo dentro le mura di
casa). Nel film i personaggi si dicono le cose in faccia o all’opposto si
prendono in giro con bugie evidenti, come mai accade in un cinema
molto codificato come quello nipponico. Senza voler svelare il mistero della femminilità, Hamaguchi costruisce un ritratto prospettico
della donna giapponese vista in quattro sue variazioni: Sakurako,
che vive con il marito preso dal lavoro, la suocera e il figlio adolescente, Fumi, elegante e silenziosa compagna di un giornalista innamorato di se stesso, Akari, l’infermiera sicura di sé e dei suoi sentimenti, Jun, che non riesce a ottenere il divorzio dal marito. In Happy
Hour, che all’incongruenza della vita s’ispira, non ci sono vincitori
né vinti. Solo ferite da leccare. E il desiderio di portare con sé questi
personaggi, incontrati in un frammento della loro esistenza.
carlo chatrian
“
This film is like a letter which waits to
be read by you. A long letter. I believe what
is written in it is important, but hard to
be said briefly. So I had to send it to you in
this form. I hope you receive it
hamaguchi ryûsuke
”
pressbooks.ch
13
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The Hour
of Women
Focus on Hamaguchi Ryûsuke
Happy Hour deals in an intimate and not too stereotypical way with
the relationship between four friends in their thirties. How did the
project start ?
The film was born out of a theatrical lab. In the city of Kobe, I have given
an acting workshop as part of the KIITO art residence, from September
2013 to February 2014. There were seventeen participants, of which four
very charming women. I have made them work not in general classes on
acting, but more focusing on their own experiences and making natural
answers coming out of their physical reactions. We started from an
everyday life story that I wrote with a friend of mine, but in the group
I was particularly taken by the performances of the four young women
and it was through this collaboration that the subject for the film was
born. We met every weekend, for a total of 23 times, until we presented a
public reading of what would then become Happy Hour.
The movie has a very peculiar rhythm, with some scenes taking
place in almost real time. How did you manage to find the pace of
the film?
Since in the group, and especially the four protagonists, there were no
professional actors, we wrote a story that would incorporate our acting
method. For this reason, we have very long scenes where the emotion
builds, and others which are shorter and more immediate. We developed
them in this way, but there’s no improvisation in the film : everything is
the result of long hours of working with actors, who took time to enter
their characters.
In the film, the weight that Japanese society puts on women’s independence comes out strongly.
Definitely Japanese society is extremely harsh towards women, it’s difficult for them to find financial and emotional freedom. But my film does
not want to criticize, but just tries to enter deeply in the soul of these four
friends, who are busy in matching the image others have of them with
who they really are and what they actually want.
daniela persico
Proudly presents
the latest arrivals
15
Marco Bellocchio, director
Todd Burns, producer
Olivia Cooke, actress
RJ Cyler, actor
Valérie Dréville, actress
Fabio Gullane, producer
KIKUCHI Hazuki, actor
Sérgio Machado, director
Thomas Mann, actor
Brian Reitzell, composer
KAWAMURA Rira, actress
Athina Tsangari, director
PardoLive  13 | 8 | 2015
Focus on Milcho Manchevski
PardoLive  13 | 8 | 2015
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Coffee
with Milcho
We had the pleasure of speaking with director Milcho Manchevski (Before the Rain,
Dust, Shadows, Mothers) while sipping an
espresso in his hotel lobby.
Mr Manchevski, you are here at the Festival
as the President of Jury for the Pardi di
domani selection. Your own International
career started in a festival, the Venice Film
Festival edition of 1994, where your first
feature film, Before the Rain, received the
Golden Lion. How did it feel like ?
It felt like vindication. And relief. First of all,
it was a success just to get the film made and
get it shown in Venice. The production on that
film was very difficult, the camera arrived half
a week later than the day of start of principal
photography, then we lost some footage, and
we had some further problems in financing, so
completing the film was an award in itself. Of
course then it went on to Venice, which was my
very first film festival ever, where it received ten
awards, including the main award.
How did things change for you after that?
Like a collision with a train. Before that, I would
send a script to producers, and they wouldn’t
even read it, because I didn’t have an agent.
Then all of a sudden Robert Redford wanted to
be my producer. And it’s amazing that still a lot
of people relate to that film, and they tell me how
they are moved, or inspired to become filmmakers themselves because of it.
Do you feel a responsability now, handing
awards to young filmmakers, and put them
on collision with their own train?
No, I never think of that, because I always have
a pure relationship with the material. I only
relate to the films, whether I make them, I judge
them, or when I teach.
How’s the jury work going so far?
I have to say that I am particularly happy in
regards of the selection in Locarno, because this
festival focuses on so many different aspects of
filmmaking in terms of narratives.
This year the festival presented Michael
Cimino with the Pardo d’onore Swisscom,
and he famously had problems working
within the studio system. You also had a fair
share of struggles there. Does the struggle
continue?
It’s simply not worth it. It’s not worth the time
and energy to deal with the suits. They don’t
have a single creative bone in their body, and
they want to influence your creative vision. It’s
like if someone would buy a painting from a
famous artist, and then decide one day to change
the color of the sky.
massimo benvegnù
“
Cerco di mantenere una
relazione pura con il cinema –
quando dirigo, quando lo guardo
o quando lo insegno
”
17
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Focus on Brian Reitzell
“
Sono soprattutto un amante
della musica, in tutte le sue forme:
reggae, sinfonica, punk, opera…
Aiuto i registi con cui lavoro a
raccontare una storia creando
l’atmosfera, solo che poi io la porto a
casa con me. E a volte l’horror chiede
un tributo al mio sonno
brian reitzell
PardoLive  13 | 8 | 2015
”
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The Music
of Chance
You are in Locarno to hold a masterclass organised by
Red Bull Music Academy about your work as a composer
and music supervisor. And you have really a lot to tell
since you’ve worked on many important scores, ranging
from comedy (Stranger Than Fiction) to drama (Lost in
Translation), from horror (Red Riding Hood) to thriller
(the TV-series Hannibal), to period pieces like Marie Antoinette. How do you choose the right tone for a film?
I like to go really deep and experiment: it’s the most challenging part of my job. It’s like designing a menu. The story, time
and place suggest so much as do the characters. Once this is
cracked then it’s all about execution, which is the easy part. I
am above all, a music fan. I can appreciate all styles of music
as long as it’s good, from Reggae to Raga to Symphonic to
Punk to Opera and everything in between and beyond. Many
of my favorite directors were adept at going from drama to
horror to comedy…; for me it’s the same. I’m helping them to
tell a story and create mood and atmosphere, except I do take
them home with me. And sometimes horror takes a toll on my
sleep!
What’s the challenge for a musician in tackling a score?
To find the sound, to create something that is special and unique to the project, because every project requires it’s own sonic
identity. Everything flows from there. Once the voices and the
instruments are in place, the composing begins.
With which directors did you feel the most affinity?
I have felt in synch with every director I have worked with,
but I would say that Sofia Coppola, Gus Van Sant and David Slade have been the most natural collaborators for me.
Your collaboration with Coppola has given birth to many
acclaimed soundtracks, like Lost in Translation and
Marie Antoinette. For this one you made an audacious
choice: to adopt electronic and rock music for an historical drama. How do you decide if the music acts as a
complement or as a counterpoint of the visuals?
It depends on the scene. Sometimes the music is at the forefront and others is more textural, tonal or rhythmic – guiding
the story along. With Marie Antoinette, Sofia and I from
the very beginning knew we wanted to get across the feeling
of adolescence and to do so in a way that would translate to
our audience. We just felt that Gang of Four, New Order, Bow
Wow Wow and Adam Ant did that better than Boccherini,
Vivaldi, Rameau... Though all of these composers are part of
the soundtrack. Marie Antoinette gets much attention for
the 80’s New Romantic and post Punk music but it equally
contains historically correct ‘period’ music and it’s this contrast that makes it all work.
Do you prefer to create the score before the scenes are
shot or afterwards?
With Sofia I often start during the writing process so the music plays a larger role in the overall development. The actors,
cinematographer, etc. can all be listening to some of the music
as they prepare which creates a nice cohesive universe for all
the players to live in. With something like Hannibal I prefer
to have a locked picture so I can go straight in and begin
scoring the first time I see the episode. So I can capture my
first response, which I find to be the best way to score horror.
I don’t want to overthink anything, I want to get my first
instincts and capture the same response that the audience
would feel.
sara groisman
Forum: Red Bull Music Academy presents
A Conversation with Brian Reitzell
Hosted by Todd Burns
14 | 8 | 2015 – 13.30
Spazio Cinema (Forum)
19
PardoLive  13 | 8 | 2015
OUR NEW
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Focus on Jean Douchet
Present
Peckinpah
Mr Jean Douchet, you’re here in Locarno as director – your
short movie Et crac was screened in Histoire(s) du cinéma:
Bulle Ogier – but above all as film critic you are introducing
the Retrospettiva of the Festival del film Locarno dedicated
to Sam Peckinpah. In which way did he change not only
the idea of western, but also the way to conceive cinema?
Sam Peckinpah was able to change the way to conceive time
into the dramaturgy of a movie. The radition of western, a
genre of the classic cinema, was strictly connected to the
reaching of a goal: the happy ending. The traditional scheme
was: the past is posing some problems, the present is used
to face the crisis in order to be happy in future. At the time
this model was put in question and Peckinpah continued this
tradition, proposing movies based on action, but he is telling
about a present which is based on uncertainty and doubts.
Could you make some examples?
Already in the second Peckinpah’s movie, Ride the High
Country, there is not future anymore, but a very doubtful
present. This innovation also changed the way to make
cinema: for example it was possible to edit a movie mixing
past and present, passing from continuity to a present which
gives you no idea of what is coming. You cannot prepare
future, future comes and you cannot be ready. People could
understand that he was an important director, but they
anyway did not love his cinema because they could not completely understand the way he made cinema. Thanks to the
Retrospective offered by the Festival del film Locarno, I think
that people can shape a new idea of what Peckinpah did. I
am doing that myself.
Peckinpah’s cinema was full of anarchy and nihilism,
but not pessimistic.
Of course not. He just put America in question, and he was
fundamental from a political point of view. The problem of
future was faced from a dramaturgic way. His cinema was
not nihilist or pessimistic, not at all. It was full of awareness,
and made people of aware.
Choose three movies that could tell the future generations who Peckinpah was.
I do not know, I would like that you do choose those movies.
It is matter of taste, it is totally personal. I just recommend
to pick up one movie from his early career, one from his midcareer and one from his last years of activity. But I can tell
you this: there is one very important movie in which people
fight against politics, police and institutions asking them
only present, and to be present. The title was “Convoy”.
adriano ercolani
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21 Pardo_Live_L186xHt17mm.indd 1
23/06/2015 12:49
PardoLive  13 | 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
Panorama Suisse, Grozny Blues, Auditorium FEVI, 14 | 8 | 2015 – 11.00
Locarno-Grozny
solo andata
Una nota apparentemente stonata, una musica lenta e bassa, Grozny Blues è quel pezzo che ti accompagna anche e specialmente
quando il mondo smette di sorridere. E nel
bel lavoro di Nicola Bellucci selezionato per
Panorama Suisse, al di là della sfida formale
e dei contenuti, senti la felicità di una visione e di una fluidità che cozzano contro l’amarissima realtà.
Grozny è una città contraddittoria, come
solo il blues più amaro sa essere. Troppo
grande per essere davvero comunità, troppo piccola per non soffocarti. Moderna e
piena di opportunità – dalle speculazioni
edilizie alle pubblicità, tutto ci parla di un
23
futuro agognato e che vorrebbe essere salvifico – ma anche arcaica e selvaggia, nelle sue
proteste così come in quell’anima religiosa e
nell’islamizzazione fondamentalista che sta
diventando la nuova corazza per sopportare
l’imperialismo putiniano. E tutto questo è
declinato al femminile, nell’arte, nelle Don
Chisciotte che combattono per i diritti umani, nella musica. Grozny è un luogo fisico e
dell’anima dove non sembra esserci riscatto
per chi vuole sopravvivere, finché non senti
una giovane donna, con un sorriso irresistibile, dire “abbiamo bisogno di una Woodstock”. In Cecenia. L’intuizione lacerante e
stupenda, la verità imbarazzante nella sua
bellezza, lo scarto di un cinema che qui non
si nasconde, anzi. Si moltiplicano i punti di
vista e di visione: il riquadro di un programma di lettura video di un file su pc, skype, le
telecamere spesso in campo, perché la finzione deve essere reale, senza filtri. Anche se
così la (ri)costruzione è ancora più complessa, naturalmente.
Poco più di 100 minuti di montato per
500 ore di girato. Un’impresa contraddittoria
come Grozny: titanica e volutamente non
conclusiva.
boris sollazzo
PardoLive  13 | 8 | 2015
Il Ticino è di moda.
14.00
News
Change
in the Program
Concorso Cineasti del presente
Dom Juan
Rialto 1
14 | 8 | 2015
17.00
Semaine de la critique
K2. Touching the Sky
Rialto 2
14 | 8 | 2015
21.00
Concorso internazionale
Chant d’hiver
Rialto 1
14 | 8 | 2015
23.00
Retrospettiva Sam Peckinpah: Films
Pat Garrett & Billy the Kid
Cinema Ex*Rex
14 | 8 | 2015
Special Version 2005
PROFUMA
LA TUA CASA.
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boutique
via Cittadella/via Motta 18
6600 Locarno
T. +41(0)91 7514468
[email protected]
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Ambianze - MILLEFIORI
Via al Forte 1 - 6900 Lugano
Tel. 091 921 33 29
il labirinto
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via cittadella 7
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www.disalvobags.ch
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via Cittadella
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T. +41(0)91 7511260
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Piazzetta de’ Capitani 8 (dietro il Municipio) a Locarno
Tel. +41 (0)91 751 47 88 • www.pariedispari.ch
La trama
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Tel: +41 (0)91 752 36 50
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25
PardoLive  13 | 8 | 2015
La cineasta Pascale Breton
Il regista Lionel Baier
La regista Jola Wieczorek
Il Vision Award Nescens Walter Murch
Valérie Dréville, attrice di Suite Armoricaine
Sara SA – Ufficio con personalità
www.sara-suisse.ch
PardoLive  13 | 8 | 2015
26
Il regista Lee Chung.
Il cineasta Hong Sangsoo.
Bruno Ganz, interprete di Amnesia
Kim Min-hee,.
attrice di Jigeumeun matgo geuttaeneun teullida.
Spensierati all’evento e prevendita alla stazione FFS.
27 RA_363 Typo-Inserat Event (i) 186x17, FiFL.indd 1
20.06.14 11:22
PardoLive  13 | 8 | 2015
re è
obilia
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Potete contare sul
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Panorama Suisse
Grozny Blues
Nicola Bellucci
Documentary, 2015, 103 min.
Switzerland
Friday, 11:00, FEVI
Swiss Highlights in Locarno
on Friday, August 14
Film delle giurie
Un dia y nada
Lorenz Merz
Fiction, 2008, 21 min.
Switzerland
Friday, 16:15, L’altra Sala
Film delle giurie
cherry Pie
Lorenz Merz
Fiction, 2013, 85 min.
Switzerland
Friday, 16:15, L’altra Sala
www.swissfilms.ch
PardoLive  13 | 8 | 2015
28
Beyond the Festival
A Flourishing
Paradise
Thanks to its favorable climate, the AsconaLocarno region can boast a stunning scenery and lush vegetation. Just by wandering
around the town of Locarno, one encounters
various gardens and green spots ideal for a
picnic, to relax or just enjoy the sunny climate. Undoubtedly, nature is shown at its
bests in the botanical parks located around
the area. Thanks to the enchanting flowers
and plants from all five continents, the Botanical Garden on the Brissago Islands is of
major importance. Both its Mediterranean
climate and position in the middle of the
lake offers the ideal grounds for over 1,700
different plants, many of which are unique
in Switzerland.
On the lakeshore and very close to the
centre of Locarno lies another extraordinary
beauty: the Camellia Park with over 900 species of this beautiful flower, some of which
very rare. Open all year round, the park
hosts the annual camellia exhibition at the
beginning of every Spring season.
Spring bloom is shown at its best also
on the other side of the lake: the botanical
park of Gambarogno, located on a hill between Piazzogna and Vairano, hosts in fact
the world’s largest collection of magnolias
(aprox. 450). The Monte Verità Park is located
on the hill above Ascona and is completed
with a lovely Zen Garden, the “Loreley” tea
house with an attached exhibition laboratory and a tea path. Last but not least, a
guided tour through the Bolle di Magadino
(wetlands), a natural reservoir of National
importance and also a refuge for numerous
animal and plant species.
info:
www.ascona-locarno.com
+41 848 091 091
PERCHE LA SICUREZZA NON È UN CASO.
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]
29
PardoLive  13 | 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
The Last Tweet
@lorenzobuccella
Camera, Jump, Action: #GreatCinema
@sakisrouvas dives into #Locarno68
www.gettyimages.com/entertainment
Sakis Rouvas – Chevalier
Editor
Lorenzo Buccella
Graphic design
Dimitri Bianchini
Aris Dotti
Michela Di Savino
31
mov(i)e
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  13 | 8 | 2015
© UBS 2015. All rights reserved.
Enjoying together
Unique moments at the Festival del film Locarno.
ubs.com/festivaldelfilmlocarno