“IF SPRING DOES NOT COME, I WILL SIMPLY PROCLAIM IT”
Cristina Soldano, Artistic Director of European Film Festival
The 15th European Film Festival, continuing in its editorial line, presents itself again as a laboratory of analysis of the Creative Thinking, as a deep moment of play in the common search for universality.
European Feature Films Competition. Experiences of ontology-driven narration, ten films, high expressions of the 2013-14 cinematography, evoke the immaterial dimension of the soul. They depict the warmth and delicacy of human relationships even in areas in Europe where social problems are more persistent, they strike for the unexpected paths of life in the contemporary world which seems to need an urgent qualitative transformation. They show, in the different creations, a common poetic in the dominance of the sense of beauty, of the aesthetics, of the fulfillment and an incredible sense of space.
Marco Bellocchio Protagonist of the European Cinema, Golden Lion for Lifetime Achievement. A retrospective of 26 films, selected with the director, in order to identify a common thread in the evolution of the issues, in which the permanent features are present, and of styles whose diversities are dictated by the stories themselves. Born in a time that has suffered the wind of revolution, Bellocchio, in his development as a human being and as an artist, raises questions on a particularly painful time in history, he experiences the need of change, which detaches him from his past and projects him to farther off. In complete freedom of the genius, he reserves the right to intervene on the history of the individual and of the society that he reads in the concreteness of his secular vision of existence and in his belief in feelings. Far from the commercial clichés, he claims the art and the aesthetic that the cinematic representation requires, by giving an epic quality to the tales. Original cinema, incandescent magma that dynamically revises the internal strength of the ideas from which it springs, supported by a fervent work on the editing of the images, which endlessly refer back to other images, change the reality itself, so that the theatrical signs and the film signs are poetically blended together in order to seize the essential nature of existence. It’s urgrund (the basis), it’s innate civil sense, policy of ethics and political ethics, which give with empathy to the European Cinema a social consciousness for the high value of the textual contents and the beauty of form and images, as bearers of values and contribution to the cultural and civil training of the citizen. The Festival honors him with an Exhibition of paintings, drawings and story boards and the presentation of the book Marco Bellocchio. Morale e Bellezza edited by SergioToffetti.
Protagonist of the European Film is the young Danis Tanović. A war photographer, politically committed he develops an own Neorealism, in which the same aesthetic requirement that, although it paints marvelous frescos, is overcome by the anger for the lack of a strong and social formation, in the presence of political and power structures that have betrayed their duty. A satirical, biting , ironic and inhuman, painful and melancholic, an universal cinema that captures the being and the nothingness of the man of today, the beauty and the brute force of an Hamletic humanity. A scream that becomes poetry over the hell that the same man builds not being able to forgive himself.
Film Literacy , Accessibility and Audience Development in Europe, a round table that brings together some of the most important European and Italian critics, directors and representatives of institutions; Lux Prize , Short Matters focus on the function of the deep reading of the art of filming and complete the knowledge of the art of filmmaking in Europe.
Protagonist of the Italian Cinema: Claudia Cardinale. Je suis CLAUDE (I’m Claudia). In this definition of herself it’s the ethical choice of the fille qui se réfuse de faire du cinéma (girl who refuses to do cinema) to resist the star system and to live the real life and who, in spite of herself, becomes in a short time, working with the great names of the Italian cinematography, une interprète spontanée (a spontaneous performer) who understands le regard du metteur en scène, ce qu’il veut, et comment se transformer devant la caméra, pour devenir l’autre (the eyes of the director, what he wants and how to change in front of the camera to become the other). An icon of the world cinema, a muse for inspiration who a l’aire d’une chatte que l’on peut caresser, mais c’est un guépard qui te dévore (looks like a cat that you can pet, but she is a cheetah that devours you). Her femininity, the proud and distant innocence of the childhood in the velvet eyes capture the theater and film scene, transmit the deep passion of life, which, experienced in the not shared pain, is formed by the insatiable experimenting of live. J’étais vraiment la fille à la valise, toujours avec ma valise à la main (I was really the girl with the suitcase, every day with my suitcase). Loneliness and correspondence, approach and withdrawal, the memory of what was already experienced are the path of reformulation and need for harmony of the soul to be ESSENCE. Infinite are the frames that live in the memory of her audience, always, however, and in the long shots and even when with a downward gaze, she is the female archetype of self-consciousness; she dominates the image field, in the exact light of the irreversible and pure instant.
The Mario Verdone Award, the showcase of the Centro Sperimentale, the Emidio Greco Award, the Puglia Show – Short Films Competition of Young Directors from Puglia, pose reflections on the new frontiers of the younger and emerging Italian creativity.
Euro-Mediterranean Cinema: Palestine. Fictions, documentaries, shorts, of great emotional impact, tell a hope that doesn’t leave, the ability of the Palestinian people, especially of the women, to reconstruct not only the camps, but the same Palestine, even if in the despair of destruction, of economic decline and isolation. The focus refers to the problem of responsibility in peacebuilding; it solicits the commitment of all countries to preserve it.
Cinema and Reality imposes an examined life, the fight against the ethical error of policy. It is not only complaint, but the commitment of citizens to live again, to show off it on customized own values, to choose the elsewhere for the self-assertion, to consider the prison as a place open to the reality of the outside and the after, to turn to the family and to the doctor when the defect nullifies the days.
Tribute to Mario Bava. Large selection of some of his films on the anniversary of the centenary of his birth. I was used to wallow myself in the films and to play with the potassium cyanide – said Bava about himself. With a father who excelled at using special effects, from an early age he covered all the possible tasks for film making. Being fascinated by unrealistic ranges of color, he described himself as an artisan of cinema, whose grammar is a demystified and three-dimensional representation of reality. A great connoisseur of the late romantic literature dealing with issues such as schizophrenia, paranoia and all other man’s anguishes, he creates the Italian Gothic. He signs visionary works, in which the fantastic tension is created by the decentralization of the filmic vision, by undermining of cause-effect relationships, by astonishing techniques of narrative deviation, by false trails of development of the story and by the fantastic suggestion induced by the environment.
Pasolinian Pathways. The Gospel According to Matera, an exhibition of photos that the journalist and photographer Notarangelo took, thanks to ingenious devices, on the set of The Gospel according to S. Matthew, and on the moments when the poet met the people of the “Sassi” city. Screening on the fiftieth anniversary of the film that imposed on P.P. Pasolini, for his atheism and desire to tell the story of Christ, the abandonment of the classical narration, the undertaking of the cinema of poetry, where the protagonists are not things or facts, but the stylistic magma, with a lot of zoom, false memories, and a technique similar to some films of Godard.
Presentation of the book Barricate di carta edited by Gianni Volpi and showcase of memorable magazines Ombre Rosse e Cinema e Film weave the memory of the critic, a guarantor of the Festival, a friend , whose “crystalline talent” allowed him to cross with such lightning speed the two doors of the cinema.
Io sono il teatro. Arnoldo Foà raccontato da Foà (Arnoldo Foà narrated by Foà) a film by the director, hailing from Puglia, Cosimo Damiano Damato, it is a memory of the poet, actor, director, painter, sculptor, journalist, voice of the Italian theater, who died recently. Readings by Pamela Villoresi and Rocco Capri Chiumarulo.
The prestigious city that hosts it and the distinguished public that honors it make this Festival an event nourished by the ambition of the highest level.
To all those who love the OTHER.