OCTOBER 27 | NOVEMBER 4 2011 - Fondazione Cinema per ...

OCTOBER 27 | NOVEMBER 4 2011 CATALOGO UFFICIALE 2011italiano

OFFICIAL CATALOGUE 2011english

WITH THE SUPPORT OF THE PRESIDENT OF THE ITALIAN REPUBLIC

ISBN: 978-88-904430-9-1

Duets - Masterclass ...........................................................................................pag. 164Castellitto - Cruz - Hirsch - Mazzantini ................................................................pag. 166Marchioni - Solarino ..........................................................................................pag. 168Rubini - Scamarcio............................................................................................pag. 170Io non sono io. Romeo, Giulietta e gli altri............................................................pag.172Masterclass - Michael Mann ...............................................................................pag. 173

Alice nella città ...............................................................................................pag. 176Competition ......................................................................................................pag. 178Out of Competition ...........................................................................................pag. 206

Focus | UK........................................................................................................pag. 208Showcase .........................................................................................................pag. 210Retrospective Punks and Patriots ........................................................................pag. 224“Raise the dead” - Douglas Gordon’s Exhibition ..................................................pag. 238

150th Anniversary of the Unification of Italy | A Journey through Italian identity .....pag. 240Mario Camerini: from sound to silentsRotaie ..............................................................................................................pag. 242A provocative Liliana CavaniI cannibali .......................................................................................................pag. 243Viva l’Italia! The Risorgimento on set ...................................................................pag.244Italian Decameron. A ten-part realist / surrealist Journeythrough Italian identity in cinema .......................................................................pag. 245

Exhibitions .......................................................................................................pag. 248Monica and cinema. A legendary film career ........................................................pag. 250P.P.P. A tribute to Pier Paolo Pasolini ..................................................................pag. 252Audrey in Rome. Exterior dayTribute exhibit in support of Unicef .....................................................................pag. 254Newfound splendor for a style iconBreakfast at Tiffany’s ........................................................................................pag. 255

Other Events in Auditorium ..............................................................................pag. 256

A Festival around the city...................................................................................pag. 260Showcase of young Italian filmmakers .................................................................pag. 262Off Doc at the Casa del Cinema ..........................................................................pag. 267University Short Film Festival .............................................................................pag. 272MAXXI | Cinema and Art.....................................................................................pag. 273MAXXI | On the Indian highway...........................................................................pag. 274

Environmental and Social Action ........................................................................pag. 276

Festival Echoes .................................................................................................pag. 283

Staff International Rome Film Festival 2011 .......................................................pag. 310

IndexCompanies Directory..........................................................................................pag. 315Film Index by Country........................................................................................pag. 322Directors’ Index.................................................................................................pag. 324Film Index by Section ........................................................................................pag. 325Film Index ........................................................................................................pag. 326

IntroductionsGianni Alemanno.................................................................................................pag. 20Renata Polverini..................................................................................................pag. 21Nicola Zingaretti .................................................................................................pag. 22Giancarlo Cremonesi............................................................................................pag. 23Aurelio Regina, Carlo Fuortes ...............................................................................pag. 24Gian Luigi Rondi .................................................................................................pag. 25Francesca Via .....................................................................................................pag. 27Piera Detassis .....................................................................................................pag. 29Roberto Cicutto ...................................................................................................pag. 31

Regulations 2011 ...............................................................................................pag. 34

Awards ...............................................................................................................pag. 36

JuriesInternational Jury Official Selection Competition ....................................................pag. 38International Jury Extra Documentaries in Competition ...........................................pag. 41Jury Emerging New Talents Award.........................................................................pag. 43

Richard Gere Marc’Aurelio Acting Award................................................................pag. 44

Official Selection.................................................................................................pag. 46Competition ........................................................................................................pag. 48Out of Competition ..............................................................................................pag. 78

Official Selection Alice nella città .........................................................................pag. 93

Spettacolo | Special Events ................................................................................pag. 100Wenders on the future of 3D cinema ................................................................... pag.102Pina..................................................................................................................pag.103An unseen work by Lelio Luttazzi .........................................................................pag.104L’illazione .........................................................................................................pag.104The confessions of Franco Califano ......................................................................pag.105Noi di settembre ...............................................................................................pag.105Laura Betti: commitment and talent….......................................................... ......pag.106La passione di Laura .........................................................................................pag.106The pioneer of the modern circus.........................................................................pag.107La meravigliosa avventura di Antonio Franconi....................................................pag.107Di Bartolomei: the story of a champion.................................................................pag.10811 metri ...........................................................................................................pag.108Stefano Cucchi: a life denied...............................................................................pag.109148 Stefano. Mostri dell’inerzia.........................................................................pag.109Rousing remake of a hit children’s film ................................................................pag.110La nouvelle guerre des boutons ..........................................................................pag.110An adventure in the ’70s.....................................................................................pag.111I primi della lista...............................................................................................pag.111Halloween event. Horror lesson............................................................................pag.112Insidious ...........................................................................................................pag.112Furio Scarpelli’s last fantastical creation ..............................................................pag.113Tormenti - Film Disegnato..................................................................................pag.113

Extra ................................................................................................................pag. 114Documentaries in Competition............................................................................pag. 116Out of Competition | Documentaries ..................................................................pag. 140Out of Competition | Feature Films ....................................................................pag. 152Maxxi CortoArteCircuito......................................................................................pag. 162

2 3SUMMARY SUMMARY

SUMMARY 2011

Founding MembersComune di RomaRegione LazioProvincia di RomaCamera di Commercio di RomaFondazione Musica per Roma

Board of FoundersGianni AlemannoMayor of Rome

Renata PolveriniPresident of Regione Lazio

Nicola ZingarettiPresident of Provincia di Roma

Giancarlo CremonesiPresident of Camera di Commercio di Roma

Aurelio ReginaPresident of Fondazione Musica per Roma

Board of DirectorsGian Luigi Rondi, PresidentCarlo Fuortes, Fondazione Musica per RomaMassimo Ghini, Provincia di RomaMichele Lo Foco, Comune di RomaAndrea Mondello, Camera di Commercio di Roma

AuditorsRoberto Mengoni, PresidentMassimo Gentile, Staff AuditorGiovanni Sapia, Staff AuditorMaurizio Branco, Supply AuditorMarco Buttarelli, Supply Auditor

Managing DirectorFrancesca Via

Gian Luigi RondiPresident

Francesca ViaManaging Director

Piera DetassisArtistic Director

Roberto CicuttoThe Business Street Director

Experts Commission

Gianluca GiannelliAlice nella città Section Curator

Gaia MorrioneFocus Section Curator

Mario SestiExtra Section Curator

Fabia Bettini Official Selection Committee and Alice nella città Section

Alessandra De Luca Official Selection Committee Marcello Paolillo Official Selection Committee and Extra Section

International Experts

Claudio Masenza USA

Antonio Monda Co-curator of American Cinema Encounters

Elena Pollacchi Asia

Eugénie Scheubeck France and Germany

5

INTERNATIONAL ROME FILM FESTIVAL

The 2011 edition of the International Rome Film Festivalhas received a commemorative plaquefrom the President of the Italian Republic.

21

GOVERNOR OF THE LAZIO REGIONRENATA POLVERINI

hoever is lucky enough to walk down the red carpet at the Auditorium Parco dellaMusica during the 6th edition of the International Rome Film Festival will instantlyrealize that Rome is Italy’s film capital, and Lazio its film region.The film industry has always doted on Lazio’s evocative landscapes, yet its medieval

hilltowns and cities, with their Renaissance and Baroque overlays and more recent rationalistarchitecture, have also served as backdrops for many Italian and international film classics. And ifLazio is renowned as a virtual outdoor film set, Rome’s Cinecittà studios are a historic hub of globalcinema. Rome has earned its fame as the birthplace of the “dolce vita” thanks not only to thetalent of our writers, directors, and actors, but also the matchless professionalism of those behindthe scenes, the craftsmen and technical crew.Taken all together, these elements make cinema a strategic economic sector for the Lazio Region,where thousands of small and middle-sized businesses in the film industry are located. For thisreason, the Lazio Region has committed itself to creating a law to support that industry, withservices and incentives to attract film and audiovisual projects to the region and encourageemerging talent as well. Our dedication to the sector has led us to earmark 15 million euros annuallyin funding for an industry which, as dynamic and creative as it may be, is nevertheless sufferingthe effects of the economic crisis.We are convinced, therefore, that the Rome Film Festival’s film market, “The Business Street”,which has replaced MIFED in Milan and put the annual networking event between producers,distributors, and film industry professionals back on the Italian film industry calendar, needs tokeep growing and requires all our support. Enhancing its vocation as a not-to-be missed date onthe European and global film market circuit is one of the aims we share most wholeheartedly withthe direction of the Festival.

Whe grandeur that is cinema, which has always chronicled the history of the Italian capital,once again takes center stage, at the sixth edition of the International Rome Film Festival.There are thousands of corners in the city – many of them protagonists of celebratedscenes – upon which the movie camera has rested its gaze: streets, squares, gasometers,

courtyards, bridges, parks, fountains, statues. As well as stories filtered through the creativity ofdirectors who have bestowed to the world’s collective imagination and memory the atmosphere ofplaces symbolizing the history of a nation. Rome is after all a city of extraordinary beauty and allure, which world-renowned films andfilmmakers are revisiting with great interest. Italy, whose 150th anniversary we are currentlycelebrating, has been captured by directors, screenwriters and musicians through its capital – theway we are, the way we were and, in a nutshell, where we are heading. The Festival’s prestige is furthermore confirmed by an exceptional jury, presided over by EnnioMorricone, whose compositions are part of the history of international music. The maestro’spresence at this edition epitomizes the desire to “pass the baton” to our best filmmakers andmusicians who will find in his work the inspiration to generate new masterpieces of music andcinematic art. Of particular note is this year’s Focus, on England and London, which will offer a look at thecontemporary and post-industrial years, through to the modern Olympics of 2012, in the hopesthat the 2020 Games may take place in our city.

20 SELEZIONE UFFICIALE | FUORI CONCORSO | ANTEPRIMA

T

MAYOR OF ROME GIANNI ALEMANNO


PRESIDENTPROVINCE OF ROME

NICOLA ZINGARETTIPRESIDENTROME CHAMBER OF COMMERCE, INDUSTRY, HANDICRAFTS AND AGRICULTURE

GIANCARLO CREMONESI

here is an inseparable bond between cinema and Rome. Our city is an inexhaustiblesource of inspiration for films; it has bequeathed to the seventh art great filmmakers,unforgettable actors, and incomparable open-air sets that attract visitors from all overthe world.

Rome is where the first Italian film production company, Cines, was founded, in 1906; over threethousand films have been made at its Cinecittà studios; and most of the Italian film industryoperates in the Rome area.There is no doubt, then, that the Eternal City is the natural venue of choice for a film festival.Firm in this belief, the Rome Chamber of Commerce, the capital’s premier economic institution,has guaranteed its support of the International Rome Film Festival since the event’s debut, investingconsiderable economic resources and its own inimitable know-how.The importance of the Festival is underscored by its remarkably high share of private sponsors –one of the highest, Europe-wide – who join local government institutions on this occasion.The Festival’s film market in particular – divided into “The Business Street”, “New CinemaNetwork”, and “Industry Books” – has proved to be a driving force in the Italian film industry, asthe growing number of buyers, sellers, and distributors it attracts from around the world makesclear.With its support of the International Rome Film Festival, the Chamber of Commerce pursues a two-fold objective: that of valorizing the film industry as a strategic asset for growth, with positivespin-offs for the local economy; and that of promoting the capital itself, by maximizing the city’svitality and cultural offerings. Our commitment to the Festival is one of the many ways – i.e. theAuditorium Parco della Musica, the Roma Fiction Fest, and Museum Night – we support culturealong with other local institutions in order to enhance the appeal of our area to tourists, artsprofessionals, and foreign investors.

Tow at its sixth edition, the International Rome Film Festival has acquired its own identityand a clear position that ensure its role as a positive point of reference in the internationallandscape. Today it is no longer a matter of simply observing with satisfaction and pride a challenge

that became reality. We are now fully aware of the cultural and economic patrimony we canmaximize in the interests of Rome, its territory and the entire Italian film and culture industry.The distinctive characteristic of this Festival, that which makes it truly unique, besides the qualityof the presented works and the many events it will again host this year, is its collective, populardimension, for the masses. The Festival speaks to those who work in cinema, not just the stars but the many professionals andartists who contribute to the making of a good film. As well as market experts, who in Rome finda space that is open to innovation and attentive to investment opportunities. The Festival has always set its sights on vast audiences: not only film lovers but thousands uponthousands of curious, participating spectators. In a relationship that, from the very onset, has madethe city and the province’s various municipalities the veritable protagonists of the screenings, redcarpet and many parallel events. This year, the Province of Rome, in its support of the organization and success of the Festival, onceagain pays particular attention to certain aspects that are dearest to us. Above all the youngestaudiences, by promoting the participation of school-age students from throughout our territory inthe Festival and the programs of the Alice nella città section; as well as new market opportunitieslike the Industry Book project that brings together publishers and producers; and, naturally, theinvolvement of the provincial municipalities, with the initiatives hosted at the Palazzo Rospigliosiin Zagarolo.

N

25

GIAN LUIGI RONDI


PRESIDENT AND COUNSELLORFONDAZIONE MUSICA PER ROMA

PRESIDENTFONDAZIONE CINEMA PER ROMA

AURELIO REGINA - CARLO FUORTES

or the sixth year in a row, when the autumn days are still mild and lend the city a softerglow, the Auditorium lights up for the International Rome Film Festival. Thousands ofItalians and foreign visitors flock to see the glittering red carpet with its floral decorationsas well as the festival’s posters, screens, stands and light installations. And as the sun sets,

the cameras start to flash, and visitors come face to face with the stars themselves. For the Parcodella Musica, and for Rome, the whirl of events and the excited throngs are positively giddying.Cinema with a capital ‘C’ meets the public and wraps it in the festival’s visual and tangible embrace.We are confident that this minor miracle will repeat itself this year as well, a year that also happensto be the 150th anniversary of the Unification of Italy, to which the festival is devoting a majorphotography exhibition.Over the course of the nine seasons that have come and gone since the Auditorium was built toRenzo Piano’s designs, its audiences have been involved, again and again, in an array of eventsoffered by the Fondazione Musica per Roma and the Accademia di Santa Cecilia: a series of culturalinitiatives and spectacular festivals have filled the theaters, the foyer, and the striking outdoorCavea. The International Rome Film Festival – produced by the Fondazione Cinema per Roma andpromoted by Musica per Roma – is one of the most glamorous and most international events onthe roster, and definitely one of the most exciting moments when the capital welcomes the rest ofthe world.It is our hope, therefore, that the festival’s success will be measured not only in terms of theundeniable quality of its lineup, but also in terms of a splendid turnout and a magnificent show ofsupport on the part of the festivalgoers for the many splendid events that will unfold during thisnine-day tribute to the big screen.

For its sixth edition, the International Rome Film Festival, which is once again honored tohave the Support of the President of the Republic along with a prestigious celebrative plaque,continues to abide by its priority vocation, nicely summed up by the formula: “Bringing allcinema to all people.” We owe much to our Artistic Director Piera Detassis, who has achieved

great heights with her intelligence and wisdom. In addition to her Official Selection, she has givenvaluable added space to her commission of experts and their sections: Mario Sesti, programmer ofthe Extra sidebar, which is dedicated to documentaries, research, and new film languages and formats;Gianluca Giannelli, programmer of the Alice nella Città section for young audiences; and GaiaMorrione, curator of this year’s Focus on British cinema and culture. Inaugurated last year, the SpecialEvents/Spettacolo section is also back, as is The Business Street film market. Promoting industrynetworking, and again helmed by Roberto Cicutto, it will take place with input from leadingorganizations of Italian and international cinema.We have certainly not forgotten to commemorate particularly momentous occasions of our history,such as 150 years of Italian Unification, a date that our beloved President of the Republic has deeplyinscribed into our hearts. We pay homage to the anniversary with a photography exhibit at theAuditorium curated by Antonio Maraldi (of the Centro Cinema Città in Cesena), entitled Viva l’Italia!Il Risorgimento sul set, from films about the Risorgimento. Conceived for the 150th anniversary ofItalian Unification, it features set and behind-the-scene photos from Italy’s main film archives.Furthermore, we will pay homage to our best films of yesterday, which are always topical, withscreenings of Mario Camerini’s Rotaie and The Cannibals by Liliana Cavani. In keeping with thistheme, there will also be a film series at the Casa del Cinema organized by Marcello Veneziani,centered on Italian identity.We will also celebrate Monica Vitti’s 80th birthday at the Auditorium, with a photography exhibitorganized in collaboration with the Centro Sperimentale di Cinematografia and Cinecittà Luce.I would be remiss in not mentioning the special nature of this year’s international jury of the OfficialSelection, presided over by someone dear to me known throughout the world: maestro EnnioMorricone. He is joined by another great étoile of Italian culture, Roberto Bolle. The foreign jurymembers will also lend their charisma to ensure the Festival fully achieve its goals. Besides their

F


awards and the prizes of the other competition sections, once again our official prize, the Marc’AurelioAudience Award, will be voted upon by our fellow Romans who, in growing numbers, closely followthe Festival that takes the name of their, of our, city.I would like to thank our tireless Managing Director, Francesca Via, whose constant presence,generosity and intelligence are the true driving force of our Festival. Ms. Via masterfully guidesthis entire delicate mechanism, which she knows inside and out. And once again I thank ArtisticDirector Piera Detassis, along with the programmers of our three sections – Mario Sesti (Extra),Gianluca Giannelli (Alice nella Città) and Gaia Morrione (Focus) – and The Business Streetdirector, Roberto Cicutto.I would also like to extend my gratitude to all of our talented collaborators working across theentire Festival.

FRANCESCA VIAMANAGING DIRECTOR FONDAZIONE CINEMA PER ROMA

he sixth edition of the International Rome Film Festival comes at a difficult time for thecountry’s economy, and thus for art and culture as well. Nevertheless, the FondazioneCinema per Roma has tried to absorb the complexity of such a turbulent general scenario,preserving the Festival’s standards of quality and, knowing that in moments of crisis it is

also vital to seek out opportunities, simultaneously setting itself important goals for furtherdevelopment. First and foremost, in its construction, Rome’s festival remained faithful to that whichdistinguishes it from many other events of equal importance and prestige: seeking out self-financingas much as possible by planning numerous, even custom-tailored, occasions oriented towardsdiverse markets. Hence, the ad hoc projects for investing sponsors who despite the critical economicmoment ensured their loyalty to the Festival, the most preeminent being BNL – BNP GRUPPOPARIBAS, the Festival’s main partner since 2006. Along with “co-productions” with public-privateentities, such as the Centro Sperimentale di Cinematografia, Cinecittà-Luce, the MAXXI Foundation,Zètema, the Casa del Cinema and Istituzione delle Biblioteche di Roma, which are joined by moretargeted collaborations, including with the National Academy of Santa Cecilia, RomaeuropaFestival, Azienda Speciale Palaexpo and the Auditorium Conciliazione. Once again this yearinstitutional projects were co-created, such as those with the Department of Youth of the Presidencyof the Council of Ministers that, besides the Emerging New Talents Award and offering training foryoung professionals, has produced a Showcase of Young Italian Filmmakers. Naturally, invaluablecontributions have remained from founding partners (the Municipality of Rome, Lazio Region,Province of Rome, Rome Chamber of Commerce and Fondazione Musica per Roma), which beyondpledging their financial support (the public part of the budget proceeds are 35%) participate inthe planning of a festival system comprising events and initiatives in the city, in schools, and forindustry professionals; synergies with economic activities; and services throughout the territory. The Festival is as always based on a pluralistic model that relies not only on contributors but alsoon civic organizations, in order to offer quality and variety: historical sections, special events, aFocus dedicated to the United Kingdom, a project on Italian identity on the 150th anniversary ofthe Unification of Italy, The Business Street film market and support for co-productions by young

T


filmmakers. Along with the exhibits, concerts and shows of Festival Echoes, which rather thanabsorbing resources utilize a network of collaborations. Ours is a Festival that is committed and socially responsible (once again we pay particular attentionto environmental and social issues through a variety of activities), and also attentive to innovations(Wi-Fi at every location, improved digital equipment, a web section created in partnership withMymovies). A Festival that, despite hardships, wants to grow and which from among its manyunique features places a stake precisely in The Business Street. In 2012 the film market is locatedat the MAXXI Museum, thereby establishing a fundamental connection with the Festival, while ViaVeneto will remain the welcome center for participants.The Festival management is as convinced as ever that it must work towards the future, even indifficult times, by closing its ranks to consolidate the Festival’s position among the great collectiveand cultural events worldwide. We must not forget that these results are achieved through the commitment, steadfastness andprofessionalism of the people who believe in and are dedicated to the project. In these years wehave had the honor and fortune of being led by Gian Luigi Rondi, our president, who with PieraDetassis and Roberto Cicutto established guidelines for a great event for the city and the country,with an ever-attentive eye towards the international.The Direction is flanked by a group that has tightened over the years and, in spite of manyuncertainties, continued to believe deeply in the Festival. I believe that the strength of the Festivalcan in large part be attributed to the extraordinary strength of this team of professionals, internsand volunteers who work with earnestness, passion and team spirit. They work in the shadows butI would personally like to thank them publicly, beginning with Lucio Argano and his inimitableprofessionalism, along with the heads of all the areas: Alessandra, Andrea, Annamaria, Carol,Cristiana, Cristina, Dario, Diamara, Domitilla, Francesca, Ilaria, Lucia, Mara, Stefania, Stefano,Paola, Renata, Sylvain, Tiziana, Serena and all our invaluable collaborators and consultants.Special thanks go to Chiara, Gianni, Massimo and Veronica, who always offer their support, evenin the most difficult moments, and who to their great credit can grasp, with just one look, my frameof mind.

PIERA DETASSISARTISTIC DIRECTORINTERNATIONAL ROME FILM FESTIVAL

he sixth edition of the International Rome Film Festival: the challenge continues. And it isa challenge that concerns, above all, our particular added value – our audience of filmlovers living in a city that cultivates the seventh art – but also has the industry at heart, asour film market The Business Street, directed by Roberto Cicutto, so ably attests. The

pairing of these two elements is what makes us so different and so special, not to mention ourexploration of the most eclectic and visionary of territories: the documentaries, ‘duets’ and cinemalessons to be found in Extra, the youthful zest of Alice nella città, the fusion of cultures in Focus,devoted to British film this year, and the unforgettable stage moments in Spettacolo | Eventi speciali.“All cinema for all,” goes the slogan of Festival president Gian Luigi Rondi, a fine summary of ourguidelines for the International Rome Film Festival. Yet this sixth edition also reconfirms the event’svocation – the attention it has paid, since its debut, to the actor’s craft – and this year, although theprestigious Acting Award goes to Richard Gere, it is the actresses who predominate. A multitude offemale stars from around the world will be walking Rome’s red carpet in 2011, from Asian divasMichelle Yeoh and Zhang Ziyi to Olivia Newton John, Maggie Gyllenhaal, Isabelle Huppert, CharlotteRampling, Felicity Jones, Marcia Gay Harden, Kristin Scott Thomas, and Noomi Rapace, alongsidea host of Italian stars. For those fond of symmetry, the festival opens with The Lady, a film inspiredby the career of the Nobel Peace Prize winner Aung San Suu Kyi; it then showcases new acting anddirecting turns by many more ‘ladies’, and closes with the restored version of Breakfast at Tiffany’s,a tribute to the marvelous exhibition devoted to Audrey Hepburn. And on the occasion of the 150thanniversary of Italian Unification, the Rome Film Festival sets off on a fascinating winding journeythrough Italy, starting from the North, battered by the economic crisis (L’industriale by GiulianoMontaldo and Il mio domani by Marina Spada), and moving down the peninsula with the Marchesas seen by Pupo Avati, the Naples of Ivan Cotroneo, and the Puglia of Pippo Mezzapesa. Masterfilmmakers and young directors at their debut; tight, modern tales to describe a country trying tokeep its balance, with all its vitality; and Roberto Faenza’s American interval, Someday This PainWill Be Useful to You, based on the cult novel by Peter Cameron. Along our way, we will meetemblems of Italian identity, distilled in three important film restoration projects: (Rails, I cannibali),

T

31

QUALIFICASU DUE RIGHE

MBKNB

he most frequently used word of 2011 was “market”, often in combination with its trend:market reaction, market stagnation, market check, market growth. This is inevitable in adifficult year, in which world economy and politics have come together to seek solutionsfor creating growth or at least maintaining the economic and social gains of recent

decades. In other words, the market is king. So when we speak of the culture industry, inevitably the central topic becomes the clash betweenmarket rules and public support. This year in Italy, the internal market favored domestic films,which garnered over 40% of the local box office in the first semester of 2011 (the highest domesticmarket share in the world).However, internal success alone does not guarantee development – neither in Italy nor elsewhere.Exporting domestic films is essential, while investing in promotion and creating new opportunitiesfor exchange is a strategic priority. It is the duty of politics to create the conditions that makethis possible.The Business Street (TBS) and New Cinema Network (NCN), direct offshoots of the InternationalRome Film Festival, are aware of this as they return for their sixth year. The number of ourparticipants has grown and the quality of our offer has increased. We no longer need to convinceanyone of anything. On the contrary, those who have come here over the past five years haveconvinced us of our importance. I don’t refer only to producers, distributors and buyers. But alsoto filmmakers; national film promotion agencies; the heads of European programmes (MEDIA), theEuropean Council (Eurimages) and public financing institutions from numerous countries; andcolleagues from the world’s leading festivals and film markets. Sponsors and founding partners of the International Rome Film Festival, The Business Street andNew Cinema Network know that the confidence they have shown has always been returned in kind.And if their support continues to be as certain and stable as it has been in the first six years, wecan only continue to grow and offer unique growth opportunities to world cinema. Which is why we are designing new, more efficient structures that measure up to the latesttechnological developments. New screening rooms and meeting spaces will be added to the well-

Tas well as other interesting developments: documentaries devoted to Franco Califano, Agostino DiBartolomei, and Franca Valeri; the rediscovery of Lelio Luttazzi as a filmmaker; and what we like tocall Furio Scarpelli’s last film (actually directed by his nephew Filiberto): Tormenti, a graphic novelof rare intensity. The ongoing recession swamping all the markets in Europe and the U.S. is inevitablyan underlying theme of the films on the festival’s lineup, but it is the strong showing by comedies,a genre often given short shrift at festivals, that is truly a sign of the times, and a new attitude. Fromthe joyous boundary-smashing in Hysteria and Mon pire cauchemar, to the vaudeville spin ontotalitarianism in Hotel Lux, and the remarkable Totò 3D as a final flourish, many of our offeringswill put a smile on your face, or even make you laugh uncontrollably, but they are always food forthought and exercises in style. In fact, two of the greatest filmmakers of our day, Steven Spielbergand Martin Scorsese, have chosen the festival for the premieres of Tintin and Hugo Cabret, filmswhich blend animation and the graphic novel, aimed at young audiences. As we said at thebeginning, to us, designing a festival means, above all, mapping out a journey through contemporarylife, reinvented with all means of expression available, without exception, including genres such asthat represented by the debut of an auteur horror film in the Official Selection (Babycall). As far asresults are concerned, you will be the judge, but I remind you that ours was a collective effort by atenacious and passionate team of professionals that holds to the founding idea of a festival thatalso celebrates the city that hosts it. We put our heads together and got to work at a truly complextime, and we really believe that the Rome Film Festival deserves all the attention, trust, andcontinuity that its many supporters can provide, including its government sponsors. Having mademy appeal, I can only thank all those who assisted me in designing the program and organizing theevent: the curators on the Expert Committee, Gianluca Giannelli (Alice),Gaia Morrione (Focus), andMario Sesti (Extra); the members of the Official Selection Committee, Fabia Bettini, Alessandra DeLuca, and Marcello Paolillo; the consultants Claudio Masenza, Antonio Monda, Elena Pollacchi, andJenny Scheunbeck; and my friend Roberto Cicutto. And naturally, my two most crucial ‘partners incrime’, General Director Francesca Via and ‘our very own’ President Gian Luigi Rondi. Special thanksto Alessandra and Marta, and Matteo in particular.


ROBERTO CICUTTODIRECTORTHE BUSINESS STREET


tested comfort that Rome offers all those attending The Business Street and New Cinema Network. We will not break with the “soft” formula behind our success, but we would like to generate greatercirculation between the market, Festival, international and media events, and forums. Thus, thisyear we will put forth a series of proposals directly to our guests, asking for their feedback inascertaining the best and most widely shared changes we can make.I wish to thank Sylvain Auzou, Diamara Parodi, Francesca Palleschi and their collaborators for theindefatigable work in procuring clients and improving the organization at TBS. As well as LuciaMilazzotto and her staff for the incredible success of the New Cinema Network. I am grateful to all those – from President Gian Luigi Rondi to Managing Director Francesca Via,Festival Artistic Director Piera Detassis, Mario Sesti and Gaia Morrione (programmers of the Extraand Focus sidebars respectively), and Gianluca Giannelli and Fabia Bettini (creators of Alicenella Città) – who have always considered The Business Street an integral part of the InternationalRome Film Festival and not a younger cousin who prosaically only “takes care of business.” REGULATIONS

AWARDSJURIES

Art. 6 An important feature of the Festival program is its film market The Business Street, which aims atencouraging exchanges within the global film industry. Under the helm of its own Director, TBS willbe held at a variety of locations, in close collaboration with the leading organizations in the Italianfilm industry. In parallel, further exchanges between producers and directors in order to co-producenew films may be arranged within the framework of the New Cinema Network.

Art. 7An International Jury will assign the following awards to the films competing in the Official Selection:the Marc’Aurelio Award for Best Film, two Marc’Aurelios for Best Actor and Best Actress, and theMarc’Aurelio Grand Jury Award, with its own specific selection criteria. An additional Special Awardmay be assigned, according to selection criteria decided on a case-to-case basis.

Art. 8One film in competition in the Official Selection will be honored with the Audience Award for BestFilm, chosen by all festivalgoers attending screenings by means of an electronic voting systemdesigned to ensure the objectivity of the audience vote, under the supervision of a notary. The awardcarries a cash grant of €40,000 to be split equally between the director of the winning film and itsmajority producer.

Art. 9Documentaries in the Extra Section will be eligible for the Marc’Aurelio Extra Award for BestDocumentary, assigned by an international jury. In order to be considered for the competition, worksmust not have been released in Europe except in their country of origin. The prize carries a cashgrant of €10,000, to be split equally between the film’s director and its majority producer.

Art. 10The two prizes for Best Film in the Festival’s youth-oriented section, the Marc’Aurelio – Alice nellacittà Awards, will be voted for by two juries, one composed of children aged 8 to 12 and the other byyoungsters aged 13 to 17. To be eligible, films must not have been released in Europe except in theircountry of origin. Each prize carries a cash prize of €10,000, to be split equally between the film’sdirector and its majority producer. Special Mentions may be added.

Art. 11Further Marc’Aurelio awards may honor the careers of illustrious figures in Italian and world cinema(such as the Acting Award), or be created on other occasions on a year-to-year basis.

35REGULATIONS

Art. 1The International Rome Film Festival aims at presenting the best contemporary films from around theglobe, by listening to their voices and giving them the chance to be heard, with a special emphasis onworks that epitomize the film industries or trends that attract our attention. At the same time, theFestival creates occasions for major events and encounters with influential personalities in film and thearts in general, and pays homage to memorable moments in screen history with major retrospectives.Lastly, the Festival takes on the film business with an agenda packed with one-on-one meetings,seminars, and other networking opportunities.

Art. 2With full autonomy, along with the support of the President of the Festival, it is the Artistic Director’stask to realize these goals and tie all the Festival’s strands together to create a harmonious whole,assisted by an Experts Commission appointed by the Artistic Director herself, who charges its memberswith running the Festival’s individual sections.

Art. 3The Festival is divided into the following sections:a) The Official Selection, comprising films in competition and out of competition;b) The Extra Section, devoted to long and medium-length documentaries and independent and innovative

feature films exploring the new frontiers of filmmaking, with experimental narrative, styles, andformats. The crowd-pleasing Q&A sessions with film personalities and the retrospectives are additionalprogram-enriching features;

c) Alice nella città, the section dedicated to youth-oriented cinema, divided into films for ages 8 to 12and those for ages 13 to 17;

d) Focus, the section that presents films from specific countries along with the cultures behind them, inclose collaboration with the President of the Festival and the Managing Director, especially with regardto retrospectives and other arts-related events;

e) Special Events, the section with a program of events arranged under the supervision of the ArtisticDirector, and, where other arts are involved, taking the form of exhibitions, concerts, installations, andlive performances, also with the President of the Festival and the Managing Director;

Art. 4The films competing in the Official Selection must not have been released in Italy or any other countryexcept their country of origin and are eligible for the Festival if they have been screened at only oneother film festival outside Europe.

Art. 5Special occasions for Festival audiences and film professionals to meet leading figures in Italian andworld cinema may be arranged on the Artistic Director’s initiative and with the possible involvementof the Experts Commission. Other debates and encounters may be added to highlight particularaspects of filmmaking: its techniques, stars, schools, and its evolution in general.

34 REGULATIONS

REGULATIONS2011

COLLATERAL PRIZES

• L.A.R.A. (LIBERA ASSOCIAZIONE RAPPRESENTANZA DI ARTISTI) PRIZE FOR BEST ITALIAN PERFORMER

• FARFALLA D’ORO – AGISCUOLA PRIZE

• ENEL CUORE PRIZE

• HAG – PLEASURE MOMENTS PRIZE

• LANCIA ELEGANCE AND TEMPERAMENT PRIZE

• 3 SOCIAL MOVIE AWARD

• WWF SPECIAL PRIZE "URBANCITY-GREENSTYLE"

• INDEPENDENT DISTRIBUTION PRIZE FOR THE BEST FILM IN THE EXTRA SECTION – TO BE ANNOUNCED

• FOCUS EUROPE PRIZE FOR BEST EUROPEAN PROJECT

• EURIMAGES CO-PRODUCTION DEVELOPMENT AWARD

AWARDSOFFICIAL AWARDS

• MARC’AURELIO AWARD FOR EMERGING NEW TALENTS

• MARC’AURELIO ALICE NELLA CITTÀ UNDER 13 AWARD

• MARC’AURELIO ALICE NELLA CITTÀ OVER 13 AWARD

• MARC’AURELIO AWARD FOR BEST DOCUMENTARY IN THE EXTRA SECTION

• BNL AUDIENCE AWARD FOR BEST FILM

• MARC’AURELIO JURY AWARD FOR BEST ACTRESS

• MARC’AURELIO JURY AWARD FOR BEST ACTOR

• MARC’AURELIO GRAND JURY AWARD

• MARC’AURELIO JURY AWARD FOR BEST FILM

• MARC’AURELIO AWARD BESTOWED ON RICHARD GERE

THE AUDIENCE VOTE

Spectators of the International Rome Film Festival are all encouraged to cast their vote forthe BNL Audience Award for Best Film. Ticketholders will receive a ballot with which torate their appreciation of a film at each public screening of a Competition title in theOfficial Selection.

MARC’AURELIO AWARD ISTITUTO POLIGRAFICO E ZECCA DELLO STATO

Running October 27-November 4, 2011, the International Rome Film Festivalis once again enriched by its collaboration with the Istituto Poligrafico e Zeccadello Stato (IPZS, Polygraphic Institute and State Mint), an official sponsor ofthe event. Made by the IPZS, the awards of the 2011 Festival are (1:16 scale)reproductions of the celebrated sculpture of the equestrian monument of MarcusAurelius, the 1997 bronze reproduction of which dominates Campidoglio Squareand was created by the Scuola dell’Arte della Medaglia and the Zecca delloStato. The Festival award sculpture is borne of this important alliance and ismodeled down to its smallest details by the young students of the Scuoladell’Arte della Medaglia in keeping with the monument. Ancient arts and crafts,which have always been the heart of the work of the Istituto Poligrafico e Zeccadello Stato, today, in the spotlight, award the youngest of the arts: cinema.

ENNIO MORRICONEPRESIDENT

Susanne Bier is among the most prominent directors in Denmark while alsohaving attained significant international success. Her first major breakthroughwas in 1999 with the romantic comedy The Only One which grossed the largestfinancial amount of any feature in Danish history. Her Dogme 95 drama OpenHearts became her first international breakthrough and won several awards,such as the International Critics’ Award at Toronto 2002.Susanne has achieved international recognition primarily through Brotherswhich received the Audience Award at Sundance and Best Acting awards atSan Sebastian; After the Wedding, nominated for an Academy Award; ThingsWe Lost in the Fire and her most recent success In a Better World, 2011Academy Award winner and Golden Globe for Best Foreign Language Film.Susanne Bier is currently working on her new feature All You Need is Love,which is set to premiere August 2012.

English actress, director and writer, Carmen is the granddaughter of the greatCharlie Chaplin and great granddaughter of the playwright Eugene O'Neill. Hercareer started with director Wim Wenders in Until the end of the world. Carmenworked with directors such as André Téchiné in My Favorite Season whichopened the Cannes Film Festival in 1999. She starred in Philippe Rousselot’sThe Serpent’s Kiss and in the romantic comedy Snapshots by Rudolph vander Berg, as well as in The Day on Fire directed by Jay Anania. She appearedin the remake of Sabrina directed by Sydney Pollack and All About the Ben-jamins directed by Kevin Bray. She just completed Tryst in Paname, a shortfilm that she wrote and directed in Paris. She is currently preparing Bombaynights, a feature film that she wrote and will direct next year in India.

SUSANNE BIER

CARMEN CHAPLIN

ROBERTO BOLLEEtoile of Teatro alla Scala di Milano and the only Italian nominated PrincipalDancer of the American Ballet Theatre in New York, Roberto Bolle hasperformed in every major theatre and with the most prestigious companiesworldwide. Last year saw him working with two world-renowned directors: PeterGreenaway has chosen him to symbolize Italian art in his installation “Italy ofthe Cities”, created for the Italian Pavilion of the 2010 Shanghai Expo; whileBob Wilson dedicated to Bolle one of his voom portraits, “Perchance toDream”, an impressive multi-media installation inaugurated in New York inNovember 2010. UNICEF Goodwill Ambassador, Roberto Bolle was namedYoung Global Leader at the World Economic Forum in Davos and since 2007he has established a collaboration with FAI - Fondo Ambiente Italiano.

39INTERNATIONAL JURY I OFFICIAL SELECTION I COMPETITION38 INTERNATIONAL JURY I OFFICIAL SELECTION I COMPETITION

INTERNATIONAL JURYOFFICIAL SELECTION | COMPETITION

omposer and conductor Ennio Morricone hasrisen to worldwide fame for his soundtracksfor Sergio Leone’s westerns For a Fistful ofDollars, For a Few Dollars More, The Good,

The Bad and the Ugly, Once Upon a Time in the Westand Duck, you Sucker. Since 1960 he has scored over400 films by Italian and foreign directors, includingPier Paolo Pasolini, Bernardo Bertolucci, GiulianoMontaldo, Lina Wertmüller, Giuseppe Tornatore, BrianDe Palma, Roman Polanski, Warren Beatty, Adrian Lyneand Oliver Stone and many others. Among his mostnoted films: The Battle of Algiers, Sacco and Vanzetti,Cinema Paradiso, The Legend of 1900, Malèna, TheUntouchables, Once Upon a Time in America, Mission,and U Turn. Morricone has conducted a great number

of orchestras around the world, including a series ofseasons with the Orchestra of the Academy of SantaCecilia, as well as the Philharmonic Orchestra andChorus of the Teatro alla Scala, the Rome Opera HouseOrchestra, the Budapest Opera House Orchestra, andthe Spanish National Orchestra. Member of the SantaCecilia Academy, over his extensive career he hasreceived numerous honors, including 9 Silver Ribbons,5 BAFTAs, 5 Oscar® nominations, 8 David di Donatello, 3Golden Globes, 1 Grammy, 1 European Film Award, andthe Golden Lion and the Oscar® Lifetime AchievementAwards. For his recording work, he has received 27Gold Albums, 7 Platinum Albums and 3 Golden Plates.In 2009, the soundtrack of The Good, the Bad and theUgly has entered the Grammy Hall of Fame.

C

David Puttnam spent thirty years as an independent producer of award-winningfilms including The Mission, The Killing Fields, Local Hero, Chariots of Fire,Midnight Express, Bugsy Malone and Memphis Belle. His films have won 10Oscars, 25 Baftas and the Palme d’Or at Cannes. From 1994 to 2004 he wasVice President and Chair of Trustees at the British Academy of Film & TelevisionArts (BAFTA) and was awarded a BAFTA Fellowship in 2006. He retired fromfilm production in 1998 to focus on his work in public policy. From 2002 to2009 he was president of UNICEF UK. He is the present Chancellor of theOpen University, President of the Film Distributors’ Association and DeputyChairman of Channel Four. For ten years he chaired the National Museum ofPhotography, Film and Television. David was awarded a CBE in 1982, aknighthood in 1995 and was appointed to the House of Lords in 1997.

Her role in Urban Cowboy by James Bridges brings her to the world’s attention.Three Oscar® nominations for An Officer and a Gentleman by Taylor Hackford,Terms of Endearment by James L. Brooks, Shadowlands by Richard Attenborough,a Golden Globe nomination for A Dangerous Woman by Steven Gyllenhall and anEmmy nomination for Dawn Anna. She works with Bernardo Bertolucci in TheSheltering Sky and stars in many other successful films. Away from cinema for afew years she is the subject of the documentary Searching for Debra Winger byRosanna Arquette. She later works in Rachel’s Getting Married by JonathanDemme and in 2009 she produces Gasland, in competition in EXTRA 2010,nominated for an Oscar® for Best Documentary. She is a Board member for theTahirih Justice Center which lends legal services to immigrant women fleeinggender bias. In 2009 her first book of essays, Undiscovered, was published. Shejust completed work on Lola Vs. to be released next year by Fox Searchlight.

DAVID PUTTNAM

DEBRA WINGER

PIERRE THORETTON Pierre Thoretton (France, 1967) is a photographer, visual artist, director,screenwriter and delegate producer of Les Films de Pierre. He made his first,self-produced medium-length film, Entre chien et loup, in 2007. He actedin Pierre Coulibeuf’s Le Démon du passage (1997) and Antoine Santana’sLa Ravisseuse (2005). In 2008 he co-produced Grégoire Colin’s short filmLa Baie du renard. He wrote and directed the documentary L’amour fou,which screened in the 2010 International Rome Film Festival.

41INTERNATIONAL JURY I EXTRA I DOCUMENTARIES IN COMPETITION40 INTERNATIONAL JURY I OFFICIAL SELECTION I COMPETITION

INTERNATIONAL JURYEXTRA | DOCUMENTARIES IN COMPETITION

rancesca Comencini was born in andcurrently lives in Rome, after living in Parisfor many years. She has written and directednumerous films and documentaries,

including Pianoforte; The Words of My Father, whichscreened at the 2001 Cannes Film Festival in the

section “Un Certain Regard”; Elsa Morante; CarloGiuliani, Boy, which screened out of competition atCannes in 2002; I Like to Work, which premiered atthe Rome Film Festival in 2006; and The WhiteSpace.

FFRANCESCA COMENCINIPRESIDENT

INTERNATIONAL JURYOFFICIAL SELECTION | COMPETITION

43EMERGING NEW TALENTS AWARD JURY

CATERINA D’AMICO PRESIDENT

LEONARDO DIBERTI Leonardo Diberti (1971) graduated in Political Science from Rome’s La Sapienza University. Son of renownedItalian actor Luigi Diberti, since 1989 he and his mother Marina have run the Diberti & C. agency, representingsome of the most illustrious Italian and foreign actors, directors and screenwriters. Diberti is a permanentmember of the David di Donatello Awards jury.

Daughter of historian-music critic Fedele d’Amico and screenwriter Suso Cecchid’Amico, Caterina d’Amico (Rome, 1948) studied Philosophy at the Universityof Rome and Social Science at England’s University of East Anglia. She hasworked in Italy and abroad as a theatre organizer, radio presenter, television writerand programmer of film series and retrospectives, and has published essays ontheatre, fashion and social customs. She has conceived and curated 40documentary-exhibits on themes inherent to arts and entertainment. She is thesupervisor of the Luchino Visconti Archives at the Fondazione Istituto Gramsci.For numerous years she directed the National Film School of the Centro Sperimentale di Cinematografia.From 2007-10 she was the CEO of RAI Cinema. In February 2011 she was appointed director of Rome’sCasa del Cinema.

ANITA KRAVOSItalian actress Anita Kravos studied at the Russian Academy of Theatre Arts (GITIS) in Moscow. In 2010 shewas nominated for the David di Donatello for Best Supporting Actress and won the L.A.R.A. (LiberaAssociazione dei Rappresentanti di Artisti) Prize for Best Performer for Alessandro Angelini’s Keep Your HeadUp. The lead in Marina Spada’s multiple award-winning As the Shadow (2007) is also a member of theDavid di Donatello Italian Film Academy and the European Film Academy (EFA).

JURYEMERGING NEW TALENTS AWARD

GIANFRANCESCO LAZOTTIBorn in Rome, Gianfrancesco Lazotti graduated from DAMS in Bologna and worked as assistant director to EttoreScola, Dino Risi, Steno and Carlo Vanzina; as creative director and director of commercials; and as a writer andpresenter of RAI radio programmes. In 1987 he began working as a screenwriter and director in film and onnumerous televisions shows. For the cinema, he wrote and directed “Lo sbaglio” (an episode of the film Corsica),presented at the Venice Film Festival, and Tutti gli anni una volta l’anno, also presented at Venice and awardedat numerous European festivals, including Valencia, Annecy and Locarno. His most recent feature, From theWaist On, won the 2010 Taormina Film Fest, the Montreal World Film Festival and Magnagrecia Film Festival.

GIUSEPPE ALESSIO NUZZOGiuseppe Alessio Nuzzo (1989) is Artistic and Organizational Director of the Social World Film Festival, aninternational festival of social cinema, the first edition of which was co-financed by the Ministry of Youth andreceived the Medals of the President of the Republic and of the Senate. An organizer of cultural events, he hasdirected numerous shorts, documentaries and socially themed commercials, including on the recent earthquakein Abruzzo, Auschwitz and Birkenau, and road safety, for which he has received distinguished European awards.

James Marsh’s first feature film, The King, was selected for entry at the 2005 Cannes Film Festival. His previousdocumentary, Wisconsin Death Trip, premiered at the Venice Film Festival and won many awards, including aBAFTA and an RTS award. It was theatrically released in the UK and the US. His Oscar®-winning documentary,Man on Wire was presented at the 3rd International Rome Film Festival in the section Extra, then it wasdistributed by Feltrinelli and sold more than 50000 copies. His most recent film, presented at Rome’s Festivalin 2009 - Red Riding 1980 - forms part of a trilogy of thriller films, known as the Red Riding Trilogy.

She is currently the VP at Film Movement, a film distributor based in NYC that specializes in foreign arthouse andindie feature films, documentaries and shorts (Corpo celeste, Days & Clouds, Alamar…). Meghan is responsiblefor launching new VOD distribution channels such as Film Festival on Demand. She has secured company sponsorsand has established partnerships with US cable operators as well as partnerships with Hulu, iTunes, YouTube,Amazon and Netflix for online streaming. Having held positions with EFP, Peacefulfish and Northstar Media,Meghan has extensive int’l experience and knowledge of the North American and European film and tv markets.

JAMES MARSH

MEGHAN WURTZ

This thirty-five-year-old filmmaker made the radio documentary Il tempo dei magliari (2002) and the shortfilms Carta and Scampia (2003). His documentaries include Il cantiere (2004), winner of the Libero BizzarriFestival; and La baracca (2005), which won the Audience Award at Videopolis. He first attracted internationalattention with Il passaggio della linea, which screened at the 2007 Venice Film Festival in its Horizons section.Marcello’s The Mouth of the Wolf (2009) won two prizes at the Turin Film Festival, and he has receivednumerous other awards, including the Teddy Bear for Best Documentary at the 2010 Berlin Film Festival.

PIETRO MARCELLO

ANNE LAI Producer of Sundance Institute, she oversees the creative producing fellowships and labs. She selectsparticipants to the Screenwriters and Directors Labs, also providing strategic support to projects comingout (Sin Nombre, Treeless Mountain and Cold Souls). Prior to joining Sundance, Anne served as VicePresident of Production at Scott Free, the company by Ridley and Tony Scott. Early on, she provided physicalproduction support on projects including G.I Jane, Where The Money Is, and Clay Pigeons. She went on toplay an integral role in projects including Gladiator, Black Hawk Down, Domino and The Gathering Storm.

42 INTERNATIONAL JURY I EXTRA I DOCUMENTARIES IN COMPETITION

INTERNATIONAL JURYEXTRA | DOCUMENTARIES IN COMPETITION

first met Richard Gere in Rome in 1979, at thehouse of a mutual friend, the great art directorFerdinando Scarfiotti who had recentlydesigned the still-unreleased American Gigolo.

We accompanied him to the Ariston cinema, whichwas screening Days of Heaven, his first film as aleading actor, and I remember his excitement andjoy over the Italian posters. Later, as he made hisway through a restaurant with his rhythmical and

somewhat arrogant walk, all eyes were magneticallyon him. The star quality of that very handsome andunknown young man was obvious to everyone. A fewmonths later, American Gigolo came out andbecame a hit. The scenes of Gere exercising upsidedown or going through his vast closet immediatelybecame part of the collective imagination. As didthe ending of An Officer and a Gentleman: the blue-collar man finally in uniform sweeping up factory

44 ACTING AWARD

RICHARD GEREMARC’AURELIO ACTING AWARD

I

worker Debra Winger in his arms made millions ofwomen around the world dream, reinforcing theHollywood deceit of the happy ending, for whichthose same women are perhaps still waiting. Gere became an A-list star and his indisputablecharm was both his fortune and a trap. Themusician-turned-theatre actor quickly understoodhe would have to fight for more demanding rolesand bravely played a gay prisoner in a Naziconcentration camp on Broadway, in MartinSherman’s “Bent”. This may also have been thefirst step in what would become his never-endingcommitment to oppressed minorities: Tibetan exilesand HIV victims. His apparent swagger began to belie the sensitivityof a man determined to fight social injustice, wholooked to Eastern philosophies to help maintainhis equilibrium in an environment ruled byappearances. His seemingly effortless acting was finallyrecognized as true talent perhaps only after InternalAffairs, in which he played his first bad guy. In1990, the 40-year-old Gere achieved planetaryfame with the wildly popular Pretty Woman, and in1991 appeared in Akira Kurosawa’s Rhapsody inAugust, which was made thanks to Gere’sparticipation and in which his Eastern eyes helpedhim play a credible Japanese-American. Many other important, interesting films followed,including Sommersby, the miniseries And the BandPlayed On (on the beginnings of the AIDS epidemic),Primal Fear, Red Corner, Unfaithful, the musicalChicago (for which he received a Golden Globe) andShall We Dance?. For the latter two, Gere, who playedpiano in Pretty Woman and trumpet in thecaptivating Cotton Club, meticulously perfected hisgreat dance skills. His work method, he has said, is essentially based onlong chats with his directors, on topics that often strayfrom the films themselves, until they reach an

understanding more valuable than any director’sdirections. The results are more than apparent in evenvery diverse films, such as the two Lasse Hallströmtitles presented at the past editions of theInternational Rome Film Festival: The Hoax andHachiko: A Dog’s Story.Richard Gere is often also a producer, and for thoselike myself who have been able to follow him upclose for many years with admiration and affection,he is a man who knows how to preserve his moralintegrity and generous humbleness without everletting success bend his lucid, compassionate viewof the world, balancing with style his roles ashusband and father, his numerous charitableduties and a passion for his work that has neverdulled. The Marc’Aurelio Award goes to an actor who hastraversed the decades with talent and charm, andto a man who never tires in placing his immensepopularity at the service of those who cannot maketheir voices heard.

CLAUDIO MASENZA

DAYS OF HEAVENDuring the Festival, Richard Gere will introducethe screening of Days of Heaven, the second,beautiful film by Terrence Malick, the firstdirector to offer the actor a leading role. For histurn as a cynical opportunist in post-WWII ruralAmerica, Gere won a David di Donatello for BestForeign Actor. This event was made possible bya partnership with Universal Pictures, whichkindly granted screening rights to the ParamountPictures production.

45ACTING AWARD

OFFICIAL SELECTIONCOMPETITION OUT OF COMPETITION

BABYCALLPål Sletaune

UN CUENTO CHINOSebastián Borensztein

IL CUORE GRANDEDELLE RAGAZZEPupi Avati

THE EYE OF THE STORMFred Schepisi

LA FEMME DU CINQUIÈMEPawel Pawlikowski

HOTEL LUXLeander Haussmann

HYSTERIATanya Wexler

LA KRYPTONITE NELLA BORSA Ivan Cotroneo

MAGIC VALLEY Jaffe Zinn

IL MIO DOMANIMarina Spada

IL PAESE DELLE SPOSE INFELICIPippo Mezzapesa

POONGSANJuhn Jaihong

UNE VIE MEILLEURECédric Kahn

VOYEZ COMME ILS DANSENTClaude Miller

ZUI AIGu Changwei

A FEW BEST MENStephan Elliott

L'INDUSTRIALEGiuliano Montaldo

THE LADYLuc Besson

LIKE CRAZYDrake Doremus

MON PIRE CAUCHEMAR Anne Fontaine

SOMEDAY THIS PAIN WILL BE USEFUL TO YOURoberto Faenza

TOO BIG TO FAILCurtis Hanson

TOTÒ 3DIL PIÙ COMICO SPETTACOLODEL MONDOMario Mattoli

COMPETITION OUT OF COMPETITION

OUT OF COMPETITIONSPECIAL EVENT

Norway, Sweden, Germany | 2011Color | 35 mm | 100’Original language: Swedish, Norwegian

CASTNoomi RapaceKristoffer JonerVetle Qvenild Werring

SCREENPLAYPål Sletaune

CINEMATOGRAPHYJohn Andreas Andersen

EDITINGJon Endre Mørk

PRODUCTION DESIGNRoger Rosenberg

COSTUME DESIGNMichaela Hillbrand

MUSICFernando Velázquez

PRODUCERTurid Øversveen

CO-PRODUCERSKarl Baumgartner Anna Croneman

PRODUCTION4 ½ Production Company (Norway)

CO-PRODUCTIONPandora Film (Germany) Bob Film Sweden (Sweden)

ITALIAN DISTRIBUTIONNomad Film Distribution (Italy)

SALESThe Match Factory (Germany)

Pål Sletaune (Norway, 1960) made his award-winning feature debut with Junk Mail (1997),which won top prize in Cannes’ International CriticsWeek. His following film, Amatørene (2001),screened in the Toronto Film Festival while hispsychological thriller Next Door (2005) waspresented in Venice Fest sidebar Venice Days. Heshot Babycall last July in Oslo, in little over amonth, against the tragically real backdrop of theshooting spree that left nearly 100 teenagers dead.Sletaune is also a commercials director, for whichhe has received a Golden and Silver Lion at theCannes International Advertising Festival.

49

Anna (new diva of Scandinavian cinema NoomiRapace, who played hacker Lisbeth Salander in thefilm versions of Swedish writer Stieg Larsson’sMillennium trilogy) and her eight-year-old sonAnders (Vetle Qvenild Werring) flee Anders’ violentfather to a secret location in an enormousapartment complex. Fearing her ex-husband willfind them, Anna buys a babycall to ensure Anders’safety and listen for any strange sounds emanatingfrom his room. But troubling noises start coming

through the monitor from other parts of thebuilding, and Anna overhears what might be themurder of a child. Meanwhile, Anders meets astrange child that appears and disappears. Doeshe know anything about the sounds comingthrough the babycall? Why is there blood in one ofAnders’ drawings? Are mother and son still indanger? This effective and disturbing horror film isset in a deceptively peaceful Oslo, where monstersexist perhaps only in nightmares. Or perhaps not.

BABYCALL PÅL SLETAUNE

OFFICIAL SELECTION COMPETITION

DIRECTED BY

48 OFFICIAL SELECTION | COMPETITION

Chinese Take-Away

Spain | 2011Color | 35 mm | 98’Original language: Spanish

CASTRicardo DarínHuang Sheng HuangMuriel Santa Ana

SCREENPLAYSebastián Borensztein

CINEMATOGRAPHYRodrigo Pulpeiro

EDITINGFernando Pardo

PRODUCTION DESIGNLaura Musso Valeria Ambrossio

MUSICLucio Godoy

PRODUCERSGerardo Herrero Juan Pablo Buscarini Pablo Rossi Isabel García Peralta

PRODUCTIONTornasol Films (Spain)

CO-PRODUCTIONCastafiore Films (Spain)

ITALIAN DISTRIBUTIONArchibald Enterprise Film (Italy)

SALESLatido Films (Spain)

Sebastián Borensztein (Argentina, 1963) beganworking in the 1980s as an advertising creative andcommercials director, and wrote material for his father,celebrated Argentinean comic Tato Bores. Beforetrying his hand at cinema, he was a prolific producer,director and screenwriter on wildly popularArgentinean TV series such as El garante (1997),which won him four Martin Fierro awards (Argentina’stop television honors), and Tiempo final (2000). Hisfeature debut, The Die is Cast (2005), won prizes atthe festivals of Latin American Cinema in Toulouse andTrieste. He followed it up with Sin memoria (2010).Chinese Take-Away (2011) is his third feature film.

51

For over 20 years, introverted hardware store ownerRoberto (Ricardo Darín of the Oscar® winning TheSecret in Their Eyes) has lived virtually shut offfrom the outside world after surviving a dramaticevent that marked him profoundly. He has achance encounter with Jun (Huang Sheng Huang),a Chinese man who speaks no Spanish, who hasjust arrived in Argentina looking for his only living

relative, an uncle. Unable to just leave him,Roberto takes him in. Their unusual cohabitationhelps Roberto bring an end to his terribleloneliness, but not without revealing to theimpassive yet tender Jun that destiny’sintersections are many and they can even divulgethe film’s surreal opening sequence: a brindledcow falling from the sky.

UN CUENTO CHINO SEBASTIÁN BORENSZTEIN


DIRECTED BY



DIRECTED BY


The Big Heart of Girls

Italy | 2011Color | 35 mm | 85’Original language: Italian

CASTCesare CremoniniMicaela RamazzottiGianni CavinaAndrea RoncatoErica BlancManuela MorabitoMarcello CaroliSara PastoreSydne Rome

SCREENPLAYPupi Avati

CINEMATOGRAPHYPasquale Rachini

EDITINGAmedeo Salfa

PRODUCTION DESIGNGiuliano Pannuti

COSTUME DESIGNCatia Dottori

MUSICLucio Dalla

PRODUCERAntonio Avati

PRODUCTIONDuea Film (Italy)

CO-PRODUCTIONMedusa Film (Italy)

ITALIAN DISTRIBUTIONMedusa Film (Italy)

SALESFilmexport Group (Italy)

Pupi Avati (Italy, 1938) is one of the most importantand prolific directors, screenwriters and producers(with his brother Antonio) working in Italy today. Overhis 40-year career he has directed 39 films and wontwo David di Donatello and six Nastri d’argentoawards, and two Globi d’oro. His films include: Lacasa dalle finestre che ridono (1976), Una gitascolastica (1983), Regalo di Natale (1986), La viadegli angeli (1999), Il cuore altrove (2003), Laseconda notte di nozze (2005), Giovanna’s Father(2008) and Una sconfinata giovinezza (2010). In1995 he was named a Commander of the Order ofMerit of the Italian Republic.

53

In the first half of the ’30s, in a rural town incentral Italy, the Vigettis are a farming family, (thefather is played by Andrea Roncato) with threechildren: the young Edo (Marcello Caroli), Sultana(Sara Pastore) and Carlino (singer and formerLunapop frontman Cesare Cremonini, in his firstmajor film role), a young man much sought afterby the girls. Wealthy landowners the Ostis live in amanor and have three daughters of marrying age,especially the older ones, Maria and Amabile.Making the best of a bad situation, Sisto (Gianni

Cavina, making his 19th film with Avati) andRosalia Osti (Manuela Morabito) allow Carlino tocourt their older daughters in the hopes ofmarrying off at least one of them. Carlino’s visitswith the girls in the Osti drawing room are turnedupside down by the sudden return of the youngestsister, the beautiful Francesca (MicaelaRamazzotti), from the city to which she was sentto study. It’s love at first sight for the two youngpeople, sending all other plans up in smoke.

IL CUORE GRANDEDELLE RAGAZZE

PUPI AVATI


DIRECTED BY

Australia | 2011Color | 2K D-Cinema | 118’Original language: English

CASTGeoffrey RushCharlotte RamplingJudy DavisJohn Gaden

SCREENPLAYJudy Morris (based on Patrick White’s “The Eye of the Storm”)

CINEMATOGRAPHYIan Baker

EDITINGKate Williams

PRODUCTION DESIGNMelinda Doring

COSTUME DESIGNTerry Ryan

MUSICPaul GrabowskyBrandford Marsalis

PRODUCERSAntony Waddington Gregory Read Fred Schepisi

CO-PRODUCERSally Ayre-Smith

PRODUCTIONRMB Productions (Australia) PaperBark Films (Australia)

CO-PRODUCTIONAustralian Broadcasting Corporation(Australia)

SALESThe Little Film Company (United States)Fred Schepisi (Australia, 1939) directed his first

feature film in 1976, The Devil’s Playground. Thesuccess of his second film, The Chant of JimmieBlacksmith (1978) took Fred to the U.S where hedirected Barbarosa (1981), Iceman (1983), Plenty(1985), and Roxanne (1987) before returning toAustralia to co-write and direct Evil Angels (a.k.a. ACry in the Dark, 1988). Fred also produced anddirected the screen adaptation of John Guare’s playSix Degrees of Separation (1993). His other filmcredits as producer and director include The RussiaHouse (1990), Mr. Baseball (1992), IQ (1994), LastOrders (2001) and It Runs in the Family (2002).

55

In a Sydney suburb, two nurses, a housekeeper anda solicitor attend to Elizabeth Hunter (CharlotteRampling) at her deathbed. Her children, Sir Basil(Geoffrey Rush), an actor struggling to make it inLondon, and Dorothy (Judy Davis), the wife of aFrench prince who has not guaranteed her economicwelfare, are called to her deathbed. Even in themost extreme moment of her life, Mrs. Hunter isstill a force to be reckoned with, giving thosearound her the courage to face their imminentmourning. Estranged from a mother who was never

capable of loving them, her children attempt toreconcile with her. In doing so they are reducedfrom states of worldly sophistication to flounderingadolescence. The children unite in a common goal- to leave Australia with their vast inheritance.Using the reluctant services of their family lawyerArnold Wyburd (John Gaden), a man long in lovewith Mrs. Hunter, they scheme to place theirmother in a society nursing home to expedite herdemise. Based on the novel by Nobel Prize winnerPatrick White.

THE EYE OF THE STORM FRED SCHEPISI DIRECTED BY



The Woman in the Fifth

France, Poland, United Kingdom | 2011Color | 2K D-Cinema | 83’Original language: French, English

CASTEthan HawkeKristin Scott ThomasJoanna KuligSamir Guesmi

SCREENPLAYPawel Pawlikowski (based on Douglas Kennedy’s book “Margit”)

CINEMATOGRAPHYRyszard Lenczewski

EDITINGDavid Charap

PRODUCTION DESIGNBenoit Barouh

COSTUME DESIGNJulian Day Shaida Day

MUSICMax de Wardener

PRODUCERSCaroline Benjo Carole Scotta

CO-PRODUCERSPiotr Reisch Soledad Gatti-Pascual

PRODUCTIONHaut et Court (France)

CO-PRODUCTIONFilm4 (United Kingdom) SPI International Poland (Poland) The Bureau (United Kingdom)

SALESMemento Films International (France)

Pawel Pawlikowski (Poland, 1957) left CommunistPoland at the age of 14 when his family moved toEngland. He started his career directingdocumentaries that were crowned by many prestigiousawards. His transition to fiction came with themedium-length film Twockers in 1998. His debutfeature, Last Resort, earned international criticalacclaim and was awarded a BAFTA for MostPromising Newcomer. His next film, My Summer ofLove, won a BAFTA for Outstanding British Film of theYear, amongst a string of prestigious prizes. Between2004 and 2007, Pawlikowski was a Creative ArtsFellow at Oxford Brookes University.

57

American writer Tom Ricks (Ethan Hawke) comesto Paris desperate to put his life together again andwin back the love of his estranged wife anddaughter. When things don’t go according to plan,he ends up in a shady hotel in the suburbs, havingto work as a night guard to make ends meet. Hemeets the beautiful and mysterious Margit (KristinScott Thomas) and they embark on a strange affair:they see each other twice a week, in her apartment,

without ever speaking about their pasts. Theirpassionate and intense relationship triggers a stringof inexplicable events, as if an obscure power wastaking control of Tom’s life and anyone who hashurt him in the past is struck down. The police growsuspicious and Tom is plunged into a nightmarefrom which he sees no escape. Based on DouglasKennedy’s novel “Margit”.

LA FEMMEDU CINQUIÈME

PAWEL PAWLIKOWSKI


DIRECTED BY


Germany | 2011Color | 2K D-Cinema | 110’Original language: German, Russian, English

CASTMichael “Bully” HerbigJürgen VogelThekla ReutenValery GrishkoAlexander SenderovichJuraj Kukura

SCREENPLAYLeander Haussmann (based on Uwe Timmand Volker Einrauch’s motifs)

CINEMATOGRAPHYHagen Bogdanski

EDITINGHansjörg Weissbrich

PRODUCTION DESIGNUli Hanisch

COSTUME DESIGNUte Paffendorf

MUSICRalf Wengenmayr

PRODUCERSGünter Rohrbach Corinna Eich

CO-PRODUCERSMichael “Bully” Herbig Burkhard von Schenk Maria-Theresia von Seidlein Barbara Seiller Tom Spiess Matthias Triebel Oliver Vogel Rainer Windhager

PRODUCTIONBavaria Pictures (Germany)

CO-PRODUCTIONBeeplex Film Productions (Germany) BSI International Invest (Germany) Colonia Media Filmproduktion (Germany) herbX film (Germany) LI Produktion (Germany) Little Shark Entertainment (Germany) Pirol Film Production (Germany) Rainer Windhager Film Production (Austria)

SALESBavaria Film International (Germany)

Leander Haussmann (Germany, 1959), son of actorEzard, attended the Ernst Busch Theatre School inEast Berlin. He was the theatre director of the notedSchauspielhaus Bochum, also writing and acting inseveral plays from 1995 to 2000. An unconventionaland uninhibited actor, Haussmann made his featuredirectorial debut with the adaptation of the theatricalhit Sun Alley (1999), winner of the Cinema filmmagazine’s Audience Award for Best Director. Alsopopular and successful were Herr Lehmann (2003)and NVA (2005), for which he won the DIVA Awardfor Best Director. In 2010 Haussmann received theErnst Lubitsch Award for the film Dinosaurier (2009).

59

Nazi Berlin, 1938. Comedian, womanizer andcabaret actor Hans Zeisig (Michael “Bully” Herbig)always cracks up his audiences with his Stalin-Hitler show, performed with his close friend andacting partner Siegfried Meyer (Jürgen Vogel), aJew. Hans plays the Russian dictator, Siegfried theFuhrer. With the political atmosphere changing,Meyer soon joins the Resistance. A few years later,the politically uninterested Hans has to flee, afterhaving given shelter to Siegfried’s beautifulCommunist comrade Frida (Thekla Reuten) onenight. Convinced he’s headed to Hollywood helands instead in Moscow, at the infamous Hotel

Lux. There, in the legendary “lost paradise” of theComintern, surrounded by spies and informers,true Communists, fanatics and impostors, becauseof a secret service error, Hans lands the role of hislife - as Stalin’s personal astrologer. Encouragedby the dictator’s support and swept up in theevents, he quickly realizes, however, that he’sjumped from the frying pan into the fire: hiddenmicrophones are recording his every word andStalin starts playing a dangerous game with Hans.A life and death adventure begins. The realprotagonists of history roam the hallways of theHotel Lux in this blend of vaudeville and satire.

HOTEL LUX LEANDER HAUSSMANN


DIRECTED BY


United Kingdom, Luxembourg | 2010Color | 35 mm | 95’Original language: English

CASTHugh DancyMaggie GyllenhaalRupert EverettJonathan PryceFelicity Jones

SCREENPLAYStephen Dyer Jonah Lisa Dyer

CINEMATOGRAPHYSean Bobbitt

EDITINGJon Gregory

PRODUCTION DESIGNSophie Becher

COSTUME DESIGNNic Ede

MUSICGast Waltzing Christian Henson

PRODUCERSSarah Curtis Judy Cairo Tracey Becker

PRODUCTIONHysteria Films Limited (United Kingdom)

CO-PRODUCTIONBy Alternative Pictures (France) Delux Productions (Luxembourg)

ITALIAN DISTRIBUTIONBim Distribuzione (Italy)

SALESElle Driver (France)

Tanya Wexler (United States, 1970) received herMFA in Film Directing from the Columbia UniversitySchool of the Arts, where she made two short films:The Dance and Cool Shoes, presented at numerousinternational festivals. She made her feature debutwith Finding North (1998), the story of a gay manand his girlfriend on a road trip to the birthplace ofhis recently deceased lover. She next made the noircomedy Ball in the House (2001), with Jennifer Tillyand David Strathairn, on the dysfunctional family ofa teenager just out of juvenile detention. She iscurrently working on her next project, The Heir.

61

1880. In prim, Victorian London, brilliant youngdoctor Mortimer Granville (Hugh Dancy) finds workwith Dr. Dalrymple (Jonathan Pryce), a specialistin treating hysteria, the agonizing symptoms ofwhich, in women, include crying, melancholy,irritability and anger. Dalrymple is convinced theirproblems are in large part caused by the rulingsexual repression of the times, and cures the“hysterical” women with scandalously effectivetherapy: a “manual massage” under the skirt. Thedoctor, however, must contend with the disapproval

of his proud daughter Charlotte (MaggieGyllenhaal), a supporter of the rights of society’sweakest women. Mortimer decides to refine thetherapy, coming up with an irresistible idea afterhis inventor friend Edmund (Rupert Everett) showshim his new electric duster. The effect will becomethe lifeblood of his medical practice, evokingstrong sensations in his patients. A romanticcomedy, and true story, about the invention of thevibrator.

HYSTERIA TANYA WEXLER


DIRECTED BY


Every family has its secrets, but some are funnierthan others. Naples, 1973. Nine-year-old PeppinoSansone (Luigi Catani) has a big, chaotic familyand an older cousin, Gennaro, who thinks he’sSuperman. Peppino spends his days among themad, colorful world of his young aunt Titina(Cristiana Capotondi) and uncle Salvatore (LiberoDe Rienzo), neighborhood dances, basementparties, women’s collectives, a home in which hismother (Valeria Golino) has withdrawn into a

mysterious silence, and a father (Luca Zingaretti)who tries to distract him with pet fleas. But whenGennaro dies, Peppino’s imagination rewritesreality and brings him back to life, as if his cousinreally was the superhero he always claimed to be.With the help of his imaginary friend, a NeapolitanSuperman with shaky powers, Peppino will be ableto face his family problems and better understandthe adult world.

LA KRYPTONITENELLA BORSA

IVAN COTRONEO

Kryptonite in Her Bag


CASTValeria Golino Cristiana Capotondi Luca Zingaretti Libero De RienzoFabrizio Gifuni Luigi Catani

SCREENPLAYIvan Cotroneo Monica Rametta Ludovica Rampoldi

CINEMATOGRAPHYLuca Bigazzi

EDITINGGiogio’ Franchini

PRODUCTION DESIGNLino Fiorito

COSTUME DESIGNRossano Marchi

MUSICPasquale Catalano

PRODUCERSNicola Giuliano Francesca Cima

PRODUCTIONIndigo Film (Italy) in collaboration with Rai Cinema (Italy)

ITALIAN DISTRIBUTIONLucky Red (Italy)

Ivan Cotroneo (Italy, 1968) graduated in Screenwritingfrom the National Film School. His scriptwritingcredits include Ferzan Ozpetek’s Loose Cannons,for which he received a Golden Globe; LucaGuadagnino’s I Am Love; and The Front Line byRenato De Maria. As a television writer he createdthe hit series Tutti pazzi per amore. He has publishedfour novels: Il re del mondo (2003), Cronaca di undisamore (2005), La kryptonite nella borsa (2007)and Un bacio (2011). He is the Italian translator ofwriters Hanif Kureishi and Michael Cunningham.

63


DIRECTED BY


United States | 2011Color | 2K D-Cinema | 80’Original language: English

CASTScott Glenn Kyle Gallner Alison Elliott Matthew Gray Gubler Brad William Henke Will Estes

SCREENPLAYJaffe Zinn

CINEMATOGRAPHYSean Kirby

EDITINGJaffe Zinn

PRODUCTION DESIGNElizabeth J. Jones

COSTUME DESIGNLeah Butler

MUSICSteve Damstra Mads Heldtberg

PRODUCERHeather Rae

CO-PRODUCERLaura Mehlhaff

PRODUCTIONBesito Films (United States)

CO-PRODUCTIONAppaloosa Pictures (United States)

SALESRezo (France)

Jaffe Zinn (United States) graduated with honors inFilm Studies at New York University’s Tisch Schoolof the Arts, where he wrote the screenplay of his firstfeature, Magic Valley. Two of his short films, A Lifefor M-80 and Bliss, were nominated for NYU’sprestigious Wasserman Award; Bliss received theaward and garnered Zinn another award for BestDirecting. Magic Valley, shot in the director’shometown of Buhl, Idaho, is a reflection on how aday like any other, even the most seemingly trivialday, can hold in store events that can change anentire life. “I like to think of my film as a ‘prequel’ to[Roland] Emmerich’s masterpiece 2012,” says Zinn.

65

It is a warm October morning like any other in thesleepy town of Buhl, Idaho, but for many of itsinhabitants it will be a truly special day. A fishfarmer finds his fish poisoned by an egotisticalneighbor. The sheriff neglects his duties and useshis patrol car for personal errands. Two childrenplay a strange game in the sunny fields. The day

will be different above all for TJ Waggs, a highschool student who after a wild party must carrythe weight of a terrible secret. Shot with cold,surgical determination, and warmed by stylistictwists, the film casts an entomological eye on thesecret vices of rural America, where even evilresembles a wrong and risky children’s game.

MAGIC VALLEY JAFFE ZINN


DIRECTED BY


67


DIRECTED BY


My Tomorrow


CASTClaudia GeriniRaffaele PisuClaudia Coli Paolo PierobonLino GuancialeEnrico Bosco

SCREENPLAYDaniele Maggioni Maria Grazia Perria Marina Spada

CINEMATOGRAPHYSabina Bologna Giorgio Carella

EDITINGCarlotta Cristiani

PRODUCTION DESIGNGiorgio Baskakis

COSTUME DESIGNSabrina Beretta

MUSICPaolo Fresu Bebo Ferra

PRODUCERFrancesco Pamphili

PRODUCTIONFilm Kairos (Italy)

CO-PRODUCTIONRai Cinema (Italy)

ITALIAN DISTRIBUTIONIris Film (Italy)

SALESSND Groupe M6 (France)

Marina Spada (Italy, 1958) is a screenwriterproducer, teacher and creator of video portraits onFernanda Pivano, Gabriele Basilico and ArnaldoPomodoro. She made her debut in 2002 with ForzaCani, set in the outskirts of Milan, and made on abudget raised via Internet. Her second feature, As theShadow (2006), about loneliness in an empty Milanin August, was presented in Venice Days and Toronto.In 2009 she returned to documentary filmmakingwith Poetry, You Look at Me on poet Antonia Pozzi,who committed suicide at the age of 26 in 1938.Two exceptional set photographers worked on Il miodomani: Gabriele Basilico and Toni Thorimbert.

Human resources manager Monica (Claudia Gerini)is dissatisfied with her life, which is balancedprecariously on her work and relationships, in anAntonioni-esque Milan. She is involved withcompany president Vittorio (Paolo Pierobon), whomshe feels growing more distant. She has a difficultrelationship with her half-sister Simona (ClaudiaColi) and father (Raffaele Pisu). Perhaps out of ahidden desire to make amends, Monica feelscompelled to help her nephew Roberto (EnricoBosco), a shy 17-year-old. At a seminar on self-

portrait photography she meets Lorenzo (LinoGuanciale), with whom she has a brief affair butwho cannot, however, distract Monica from heranxieties. At this point she must come to termswith her past. The death of her father after a longillness will give her a chance at a new start. Andwill help her find the courage to face Vittorio’sabandonment and betrayal and the disappointmentshe feels over a job in which she once believed buthas discovered is teeming with ambiguity anddeceit.

IL MIO DOMANI MARINA SPADA


DIRECTED BY

Annalisa


CASTNicolas Orzella Luca SchipaniCosimo VillaniVincenzo LeggieriGennaro AlbanoAylin PrandiAntonio Gerardi

SCREENPLAYAntonio Leotti Antonella Gaeta Pippo Mezzapesa

CINEMATOGRAPHYMichele D’Attanasio

EDITINGGiogio’ Franchini

PRODUCTION DESIGNSabrina Balestra

COSTUME DESIGNFrancesca Vecchi

MUSICPasquale Catalano

PRODUCERDomenico Procacci

PRODUCTIONFandango (Italy)


ITALIAN DISTRIBUTIONFandango Distribuzione (Italy)

SALESFandango Portobello Sales (United Kingdom)

Pippo Mezzapesa (Italy, 1980), director andscreenwriter, made his first short film, Lido Azzurro,in 2001. In 2004 his second short, Zinanà, won theDavid di Donatello for Best Short Film, while Comea Cassano (2006) received a Special Mention forBest Short at the 2006 Silver Ribbon Awards. Hedirected the documentaries Produrre ConsumareMorire (2005) and Pinuccio Lovero. Sogno di unamorte di mezza estate, selected for the 2008 VeniceFilm Festival International Critics’ Week. Il Paesedelle spose infelici is his first feature film.

69

15-year-old Veleno (Nicolas Orzella) pedalsfuriously on his bicycle to keep up with his newfriends who are different from him: street kids whorace each other on their scooters and face off onthe soccer field where their team, the Cosmica,plays. Cimasa (Cosimo Villani), Capodiferro(Vincenzo Leggieri), and Natuccio (GennaroAlbano) all answer to their leader, Zazà (LucaSchipani), a genuine soccer talent. The prospectsfor the small town in the South of Italy - thefactory, the pollution, the drugs, and the offensive

demagoguery of the local politico and rising starVito Cicerone (Antonio Gerardi) - are not bright.But the boys’ lives take an unexpected turn whena strange stray ‘madonna’, the lovely Annalisa(Aylin Prandi) literally flies into their midst fromthe top of a church, dressed as a bride. Smitten,Zazà and Veleno awkwardly approach her andexperience pure ecstasy. Taut, edgy directing forthis portrait of the faces and dry landscapes nearTaranto.

IL PAESE DELLE SPOSE INFELICI

PIPPO MEZZAPESA


DIRECTED BY


South Korea | 2011Color | 2K D-Cinema | 121’Original language: Korean

CASTYoon Kye-SangKim Gyu-Ri

SCREENPLAYKim Ki-duk

CINEMATOGRAPHYLee Jeong-in

EDITINGShin Cheol

PRODUCTION DESIGNLee Jong-gun

COSTUME DESIGNShin Ji-young

MUSICPark In-young

PRODUCERJeon Youn-chan

PRODUCTIONKim Ki-duk Film (South Korea)

SALESFinecut (South Korea)

Juhn Jaihong (South Korea, 1977) was Kim Ki-duk’sassistant director in Shi Gan (Time, 2006) and Soom(Breath, 2007). Jaihong garnered attention fromcritics after his short film, Mul-Go-Gi, was invited tocompete in the 2007 Venice International FilmFestival. When Ki-duk turned into a producer, hisfirst movie out of his production house was Jai-hong’s debut, A-leum-dab-da (Beautiful, 2008),which was invited to the Panorama section of the2008 Berlin International Film Festival. After that,he has completed Poongsan (2011).

71

Although no one can travel easily between North andSouth Korea, the young man Poongsan (Yoon Kye-Sang) crosses the border back and forth to deliverthe pain and longings of separated families thatleave messages on the wall separating the twocountries, the so-called demilitarized zone. Poongsan,a superhero of sorts, fearlessly takes the risk. Oneday, on a secret mission for government agents, hesneaks into North Korea to bring over In-oak (Kim

Gyu-Ri), the lover of a North Korean defector. On theway back they fall for one another. Her lover sensesthe feelings between Poongsan and In-oak and outof jealousy hands Poongsan over to governmentagents. Under torture, Poongsan is offered a chanceto go abroad with In-oak on the condition he rescuea fellow South Korean agent who infiltrated intoNorth Korea. Written and produced by the masterSouth Korean director Kim Ki-duk.

POONGSAN JUHN JAIHONG


DIRECTED BY


A Better Life

France | 2011Color | 35 mm | 118’Original language: French

CASTGuillaume CanetLeïla BekhtiSlimane Khettabi

SCREENPLAYCédric Kahn Catherine Paillé

CINEMATOGRAPHYPascal Marti

EDITINGSimon Jacquet

PRODUCTION DESIGNFrançois Abelanet

COSTUME DESIGNNathalie Raoul

MUSICAkido

PRODUCERKristina Larsen

CO-PRODUCERSGilles Sandoz Denise Robert

PRODUCTIONLes Films du Lendemain (France)

CO-PRODUCTIONMaia Cinema (France)Cinemaginaire (Canada)

SALESWild Bunch (France)

Cédric Kahn (France, 1966) made his directorialdébut in 1991 with Bar des rails. Three years later,Trop de Bonheur was awarded the Jean Vigo Prize.Following the TV movie Culpabilité Zéro (1996), heenjoyed huge success with his third feature, L’Ennui(1998). Adapted from a novel by Albert Moravia, thefilm was awarded the Prix Louis-Delluc, as wasRoberto Succo (2001), the true-life story of an Italianserial killer. In 2003, his Georges Simenon adaptationRed Lights (Feux Rouges) was shown In Competitionat the Berlinale. In 2004 he directed L’Avion. His lovestory Les Regrets (2008) was screened in Competitionat the International Rome Film Festival.

73

35-year-old cook Yann (French actor-directorGuillaume Canet, previously at the Rome Festivalwith Last Night and Little White Lies, the latterwhich he directed), and 28-year-old waitress Nadia(Leïla Bekhti), mother of a young child, decide torisk everything on the purchase of a restaurant.With plenty of talent, energy, love and dreams, butno money of their own, they find themselves forcedinto a jungle of financing and bank loans thatquickly overwhelms them. To bail them out, Nadia

has to take a job in Canada, while Yann is forcedto stay behind to save the restaurant. Together, heand the child confront a relentless avalanche ofcreditors, an uncaring system and the daily grindfrom which there is no respite. Yann finallyunderstands that his only chance of salvation liesin joining his lover - as well as reuniting motherand child - by following Nadia to Canada and abetter life.

UNE VIE MEILLEURE CÉDRIC KAHN


DIRECTED BY


See How They Dance

France, Canada, Switzerland | 2010Color | 2K D-Cinema | 99’Original language: French

CASTMarina HandsJames ThiérréeMaya SansaYves JacquesAnne-Marie CadieuxAubert Pallascio

SCREENPLAYClaude Miller Natalie Carter (based on “La petite-fille de Menno”by Roy Parvin)

CINEMATOGRAPHYGérard de Battista

EDITINGVéronique Lange

PRODUCTION DESIGNJean-François Campeau

COSTUME DESIGNJacqueline Bouchard

MUSICVincent Segal

PRODUCERPatrick Godeau

CO-PRODUCERSSuzanne Girard Matthieu Henchoz

PRODUCTIONAlicéleo (France)

CO-PRODUCTIONFilmarto (Canada) France 2 Cinéma (France)Les Productions Jean-Marc Henchoz

SALESTF1 Droits Audiovisuels (France)

Claude Miller (France, 1943) was assistant director toRobert Bresson and Jean-Luc Godard in the 60s andearly 70s, as well as production manager on several ofFrançois Truffaut’s films. He made his directorialdebut in 1976 with La meilleure façon de marcher(The Best Way to Walk), followed by Dites lui que jel’aime (This Sweet Sickness, 1977), and Garde à vue(The Grilling, 1981). Other films are Mortellerandonnée (Deadly Circuit, 1983), La petite voleuse(The Little Thief, 1988), based on a screenplay byTruffaut; La class de neige (Class Trip, 1998), winnerof the Jury Prize at Cannes, La petite Lili (Little Lili,2003), and Un secret (A Secret, 2007).

75

Lise (Marina Hands) is a French filmmaker on across-country trip through snowy Canada from theeast coast to the Pacific. Her journey takes her toAlexandra (Maya Sansa), a doctor in a remoteoutpost, and the last girlfriend of Lisa’s ex-husband, a world-famous artist, clown, andperformer (James Thiérrée) who has vanished.

Each of the women tries to understand how thelove of their life could love the other. Each grappleswith the question of how to coexist with an artist’sneuroses. It is a splendid duet between twowomen, spliced with the astonishing talent of thetightrope walker James Thiérrée, the son of VictoriaChaplin, founder of “Le cirque imaginaire”.

VOYEZ COMMEILS DANSENT

CLAUDE MILLER


DIRECTED BY


Love for Life

China | 2011Color | 35 mm | 100’Original language: Mandarin

CASTAaron KwokZhang Ziyi

SCREENPLAYYan Laoshi Yang WeiweiGu Changwei

CINEMATOGRAPHYYang Tao Christopher Doyle

EDITINGLi Dianshi

PRODUCTION DESIGNWang Weiyuan Han Dahai

MUSICZuoxiao Zuzhou

PRODUCERSGu ChangweiChen Xiaodong

CO-PRODUCERSZhang Jinzhan Gu Changning He Ping Liu Hong Zhang Chaohua Xu Jianhai Yu Xiaofeng Yuan Xin

PRODUCTIONHing Lung Worldwide Group Limited (China)

SALESEdko Films Limited (Hong Kong)Gu Changwei (China, 1957) graduated from the

Beijing Film Academy. He’s a member of therenowned Fifth Generation. He began his career as acinematographer on films like Chen Kaige’s HáiziWáng (King of the Children) and Zhang Yimou’s Honggao Liang (Red Sorghum). In 1993, he photographedChen’s masterpiece Ba Wang bie ji (Farewell MyConcubine). Changwei has worked on Americanprojects such as Robert Altman’s The GingerbreadMan. He began his foray into film directing withPeacock in 2005. The film won the Jury Grand PrixSilver Bear at the 2005 Berlin International FilmFestival. And the Spring Comes was released in 2007.

77

In a small Chinese village, an illicit blood trade hasspread AIDS to the community. The Zhaos are afamily caught in the middle: the elder son, Qi Quanlured neighbors to give blood with promises of fastmoney, while Grandpa, desperate to make amendsfor the damage caused by his family, turns thelocal school into a home where he can care for thesick. Among the patients is his second son De Yi(Aaron Kwok), who confronts impending death withanger and recklessness. At the school, he meetsthe beautiful Qin Qin (Zhang Ziyi), the wife of his

cousin and a recent victim of the virus. They aredrawn to each other by shared disappointment andfear of their fate. With nothing to look forward to,they become lovers but as they begin their secretaffair, they are unprepared for the real love thatgrows between them. Their dream of beingtogether legitimately and freely is jeopardizedwhen the villagers discover their adultery. Withtheir time slipping away, they must decide if theywill surrender everything to pursue one chance athappiness before it’s too late.

ZUI AI GU CHANGWEI


DIRECTED BY


Australia | 2011Color | 2K D-Cinema | 97’Original language: English

CASTXavier SamuelKris MarshallKevin BishopLaura Brent Olivia Newton-John

SCREENPLAYDean Craig

CINEMATOGRAPHYStephen Windon

EDITINGSue Blainey

PRODUCTION DESIGNGeorge Liddle

COSTUME DESIGNLizzy Gardiner

MUSICGuy Gross

PRODUCERSShare Stallings Laurence Malkin Antonia Barnard Gary Hamilton

PRODUCTIONA Few Best Men (Australia)


SALESArchlight Films International (United States)Quickfire Films (United States)

Stephan Elliott (Australia, 1964) made his directorialdebut with the comedy Frauds, which screened inCompetition at the 1993 Cannes Film Festival. Hissophomore feature, the Oscar®-winning Priscilla,Queen of the Desert (1994), is one of the biggestAustralian hits of all. His black comedy Welcome toWoop Woop was loudly booed at Cannes 1997 butwent on to become a cult film. In 1999 he made thethriller The Eye, presented at Venice. After four yearsof physical therapy following a skiing accident, hereturned to work, with Priscilla The Musical (whichopened on Broadway this year) and the filmadaptation of Noel Coward’s Easy Virtue.

79

When young Englishman David (Xavier Samuel)announces he’s marrying an Aussie (Laura Brent),his wild friends give completely new meaning tothe concept of “for better or for worse”… The ultra-chaotic wedding day in the Australianoutback will test the relationship of the newlyweds-to-be as well as David’s friendship with this threebest men, and risk turning what should be the best

day of his life into the worst. This entertaining“culture clash” between his friends and her familyproves blood is thicker than water! This irresistible,rowdy auteur comedy from the director of Priscilla,Queen of the Desert and the wonderful Easy Virtue,which was enthusiastically received at the RomeFestival, also features the comeback of thelegendary Olivia Newton-John.

A FEW BEST MEN STEPHAN ELLIOTT

OFFICIAL SELECTION OUT OF COMPETITION

DIRECTED BY

78 OFFICIAL SELECTION | OUT OF COMPETITION

The Entrepreneur

Italy | 2011Color | 2K D-Cinema | 94’Original language: Italian

CASTPierfrancesco FavinoCarolina CrescentiniEduard GabiaFrancesco Scianna

SCREENPLAYGiuliano Montaldo Andrea Purgatori

CINEMATOGRAPHYArnaldo Catinari

EDITINGConsuelo Catucci

PRODUCTION DESIGNFrancesco Frigeri

COSTUME DESIGNElisabetta Montaldo

MUSICAndrea Morricone

PRODUCERAngelo Barbagallo

PRODUCTIONBibi Film (Italy) in collaboration with Rai Cinema (Italy)

ITALIAN DISTRIBUTION01 Distribution (Italy)

SALESRai Trade (Italy)

Giuliano Montaldo (Italy, 1930) is one of Italy’spremier filmmakers. After collaborating with GilloPontecorvo, he directed his first feature, PigeonShoot, in 1968, which premiered in Venice; TheReckless (1965), winner of the Special Jury Prize inBerlin; and Machine Gun McCain (1969), whichscreened at Cannes. He received wide acclaim withSacco & Vanzetti (1971) and Giordano Bruno (1974).In 1987 Gli occhiali d’oro was awarded the Osellad’oro in Venice. He has directed several operas,including Il trovatore (1990) and La Bohème (1994).In 2008 he directed The Demons of St. Petersburgand in 2009 the documentary L’oro di Cuba.

81

In a foggy, nocturnal Turin, 40-something Nicola(Pierfrancesco Favino) owns a factory that is on thebrink of closing, a victim of the economic crisisthat is hitting the entire country hard. But Nicolais proud and refuses to give up. He has decided togo to any lengths to solve his problems. His wifeLaura (Carolina Crescentini, who previously starredin Montaldo’s The Demons of St. Petersburg) ismore and more remote, but Nicola does nothing torestore their intimacy. With the factory workers

pressing him to learn their fate, Nicola realizesthat something is menacing the only certainty leftto him: his marriage. Instead of confronting Laura,though, he follows her to confirm his suspicions,which brings the situation to a head. Nicola isfloundering and it brings out his worst. Then all theproblems seem to get resolved: the factory, hismarriage, his social status. But there are dirtysecrets to this success, and the portrayal takes onDostoyevskian overtones.

L’INDUSTRIALE GIULIANO MONTALDO DIRECTED BY



France | 2011Color | 2K D-Cinema | 127’Original language: Burmese, English

CASTMichelle YeohDavid Thewlis

SCREENPLAYRebecca Frayn

CINEMATOGRAPHYThierry Arbogast

EDITINGJulien Rey

PRODUCTION DESIGNHugues Tissandier

COSTUME DESIGNOlivier Bériot

MUSICÉric Serra

PRODUCERSVirginie Besson-Silla Andy Harries

PRODUCTIONEuropaCorp (France)

CO-PRODUCTIONLeft Bank Pictures (United Kingdom) France 2 Cinema (France)

SALESEuropaCorp (France)

Luc Besson (France, 1959) began his career incinema in 1977, working as assistant director inFrance and the US. In 1983, he directed Le derniercombat (The Last Battle). Two years later he directedSubway. Then he directed Le grand bleu (The BigBlue, 1988), Nikita (La Femme Nikita, 1990) andLèon (1994). Other of his films include The FifthElement (1997), Joan of Arc (The Messenger: Storyof Joan of Arc, 1999), Angel-A (2005). In 2006 hedirected the animated film Arthur et les Minimoys(Arthur and the Invisibles), first episode of a trilogycompleted with Arthur et la guerre des deux mondes(Arthur 3: The War of the Two Worlds, 2010).

83

The Lady is the extraordinary story of Burmeseactivist and Novel Peace Prize winner Aung SanSuu Kyi (Malaysian diva Michelle Yeoh ofMemories of a Geisha), who was releasedNovember 13, 2010 after over 20 years underhouse arrest, and her husband, EnglishmanMichael Aris (David Thewlis). Despite the distance,long separations and a dangerously hostilegovernment, the love between the leader of theBurmese democratic movement and her husband

lasted until the very end. This story of dedicationand humanity within political tumult that stillexists today is also the story of a terrible choice,between loyalty to one’s battles and the love for acompanion. Shot in Burma, Bangkok and Oxford,The Lady was scripted over three years byscreenwriter Rebecca Frayn, who met with keyfigures from Aung San Suu Kyi’s entourage in orderto reconstruct for the first time the true story ofBurma’s national heroine.

THE LADY LUC BESSON DIRECTED BY

OFFICIAL SELECTION OUT OF COMPETITION | OPENING FILM



CASTAnton YelchinFelicity JonesJennifer Lawrence Charlie Bewley Alex Kingston Oliver Muirhead Finola Hughes Chris Messina

SCREENPLAYDrake Doremus Ben York Jones

CINEMATOGRAPHYJohn Guleserian

EDITINGJonathan Alberts

PRODUCTION DESIGNKatie Byron

COSTUME DESIGNMairi Chisholm

MUSICDustin O’Halloran

PRODUCERSJonathan Schwartz Andrea Sperling

CO-PRODUCERSMarius Markevicius Brian Buckland

PRODUCTIONParamount Vantage (United States) Indian Paintbrush (United States)

ITALIAN DISTRIBUTIONUniversal Pictures International Italy (Italy)

INTERNATIONAL DISTRIBUTIONParamount Pictures (United States)

Drake Doremus (United States, 1983), a graduateof the American Film Institute, is the youngest fellowto be accepted into the program at the highly laudedinstitution. Doremus’ first feature film Spoonerpremiered at Slamdance in 2009. Orange Countynative Doremus began directing and performingwhen he was 12. By the time he graduated from highschool, he had already written, produced, anddirected five plays. His second film, Douchebag, wasselected for dramatic competition at Sundance in2010. His third feature, Like Crazy, won the topGrand Jury Prize for Drama at Sundance in 2011.

85

A physical and emotional tale, the love story LikeCrazy admirably shows how passionate, enchantingand devastating first love can be. British studentAnna (Felicity Jones, also in the Festival filmHysteria) moves to Los Angeles for college andfalls in love with fellow American student Jacob

(Anton Yelchin). She remains in the US aftergraduation, overstaying her visa, until she is forcedto move back to London. Unable to see each otherfor a long period of time, their love will be put tothe difficult test of temptation and distance.

LIKE CRAZY DRAKE DOREMUS DIRECTED BY



My Worst Nightmare

France, Belgium | 2011Color | 2K D-Cinema | 99’Original language: French

CASTIsabelle HuppertBenoît Poelvoorde André DussollierVirginie Efira

SCREENPLAYAnne Fontaine Nicolas Mercier

CINEMATOGRAPHYJean-Marc Fabre

EDITINGLuc Barnier Nelly Ollivault

PRODUCTION DESIGNOlivier Radot

COSTUME DESIGNCatherine Leterrier Karen Muller-Serreau

MUSICBruno Coulais

PRODUCERSFrancis Boespflug Philippe Carcassonne Bruno Pesery Jérôme Seydoux

CO-PRODUCERSDiana Elbaum Sébastien Delloye Patrick Quinet

PRODUCTIONCiné@ (France)

CO-PRODUCTIONMaison de Cinéma (France) F.B. Productions Pathé International (France) M6 Films (France) Entre Chien et Loup (Belgium) Artémis Productions (Belgium) RTBF (Belgium)

ITALIAN DISTRIBUTIONBim Distribuzione (Italy)

SALESPathé International (France)

Anne Fontaine (Luxembourg, 1959) started hercareer as a dancer and actress. She marked herdirectorial debut with Les histoires d’amour finissentmal... en général (1993), which won France’s PrixJean Vigo Award. Her films include Augustin (1995),Nettoyage à Sec (Dry-Cleaning, 1997), which won theBest Screenplay Award at the Venice Film Festival;Augustin, roi du Kung-Fu (Augustin, King of Kung-Fu, 1999), Comment j’ai tué mon père (How I killedmy Father, 2001), Nathalie… (2003), Entre sesMains (2005), Nouvelle Chance (Oh la la, 2006), LaFille de Monaco (The Girl from Monaco, 2008) andCoco avant Chanel (Coco Before Chanel, 2009).

87

Agathe (Isabelle Huppert) lives with her son andher husband (André Dussollier) in a well-to-doapartment opposite the chic Luxembourg gardens.Patrick (Benoît Poelvoorde) lives alone with his sonin the back of a van. She is the director of aprestigious contemporary art foundation. He livesoff odd jobs and social security benefits. Shegraduated after seven years at university. Healmost spent seven years behind bars. She is onfamiliar terms with the Ministry of Culture and

Arts. He is on familiar terms with each and everyalcoholic beverage that happens to cross his path.She enjoys intellectual debates. He enjoys casualsex with large-bosomed bedfellows. They are polesapart and can’t stand the sight of one another.Besides, they should never have met, but theirchildren are inseparable. In the end, they’lleventually come to understand why. Sex and classwarfare make up this comedy that rests on theshoulders of two great actors.

MON PIRECAUCHEMAR

ANNE FONTAINE DIRECTED BY



Un giorno questo dolore ti sarà utile

Italy | 2011Color | 35 mm | 99’Original language: English

CASTToby RegboMarcia Gay HardenPeter GallagherLucy LiuStephen LangDeborah Ann Woll Ellen Burstyn

SCREENPLAYRoberto Faenza Dahlia Heyman

CINEMATOGRAPHYMaurizio Calvesi

EDITINGMassimo Fiocchi

PRODUCTION DESIGNTommaso Ortino

COSTUME DESIGNDonna Zakowska

MUSICAndrea Guerra

PRODUCERSElda Ferri Milena Canonero Ron Stein

PRODUCTIONJean Vigo Italia (Italy) Four of a Kind Productions (United States)in collaboration with Rai Cinema (Italy)


SALESNorth America: Preferred Content (United States) Rest of the world: Highland Film Group (United States)

Roberto Faenza (Italy, 1943) made his directorialdebut in 1968 with Escalation, followed by H2S,censored and never re-released. He moved to theU.S.A. and taught in Washington. In 1978 hedirected Forza Italia!, a satire about the ChristianDemocrats. In 1983 he made Copkiller. He won theDavid di Donatello for Best Director in 1993 withLook to the Sky. In 1995 he directed According toPereira, the last Italian film to star MarcelloMastroianni, and in 2002 he made The Soul Keeper,one of his biggest hits. This was followed by I Vicerè(2007) and The Case of Unfaithful Klara (2008). Hisdocumentary Silvio Forever was released in 2011.

89

Based on the novel of the same name by PeterCameron, Someday This Pain Will Be Useful to Youis a delicate, feeling portrait of contemporary NewYork as seen through the eyes of teenage James (TobyRegbo, previously seen in Mr. Nobody). James’identity crisis concerns his sexuality and hisdysfunctional family. His mother Marjorie (Oscar®-winning Marcia Gay Harden), exhibits trash cans ather art gallery and collects husbands, the third ofwhom, a compulsive gambler (Stephen Langi)dumped her on their honeymoon. His father Paul(Peter Gallagher) dates women who could be his

daughters, while his sister Gillian (Deborah Ann Woll)goes out with men twice her age. Only Nanette(Oscar®-winning Ellen Burstyn), James’ non-conformistgrandmother, understands why her teenage son feelslost. James is sent to start therapy with a life coach(Lucy Liu), a rather unconventional psychotherapist,who gives James some real guidance. The boy endsup asking himself a question that begs an answer: ifI’m a misfit, what do you call everyone else? Co-produced by Oscar®-winning costume designer MilenaCanonero.

SOMEDAY THIS PAINWILL BE USEFUL TO YOU

ROBERTO FAENZA DIRECTED BY



Too Big to Fail - Il crollo dei giganti

United States | 2011Color | HDCAM | 110’Original language: English

CASTWilliam Hurt Edward Asner Billy Crudup Paul Giamatti Topher Grace Cynthia Nixon Bill Pullman Tony Shalhoub James Woods

SCREENPLAYPeter Gould (based on Andrew Ross Sorkin’s book)

CINEMATOGRAPHYKramer Morgenthau

EDITINGBarbara Tulliver Plummy Tucker

PRODUCTION DESIGNBob Shaw

COSTUME DESIGNMelissa Toth

MUSICMarcelo Zarvos

PRODUCEREzra Swerdlow

PRODUCTIONHBO (United States)

CO-PRODUCTIONSpring Creek Production (United States) Deuce Three Production (United States)

ITALIAN DISTRIBUTIONHBO (United States)

SALESHBO (United States)

Curtis Hanson (United States, 1945) began hiscareer as a journalist and screenwriter of Never CryWolf, White Dog and The Silent Partner, beforedirecting The Bedroom Window, Bad Influence, TheHand That Rocks the Cradle and The River Wild. L.A.Confidential (1997) was nominated for nine Oscars®,including Best Director for Hanson (who instead wonBest Screenplay). Hanson also directed andproduced Lucky You, In Her Shoes, 8 Mile andWonder Boys. From 2001-10, he served in theDirectors Branch of the Board of Governors of theAcademy of Motion Picture Arts and Sciences.

91

A disturbing chronicle of the 2008 financial crisisand the bankruptcy of financial giant LehmanBrothers. Secretary of the Treasury and formerpresident and CEO of Goldman Sachs, Henry“Hank” Paulson (William Hurt) is surrounded bythe magnates who rule the world economy: thepresidents of the Federal Reserve and New YorkFederal Reserve Bank, the president and CEO ofJP Morgan Chase, and the CEO of LehmanBrothers. Hanson examines the complex lives ofthese powerful brokers as they struggle with the

onset of the biggest financial crash since 1929. Indepicting the behind-the-scenes of what is beingcalled the “Great Depression of the thirdmillennium,” the elaborate maneuvers in thebastions of high finance and the halls of politics,and the secret meetings and deals, the film delvesinto all aspects of the enormous economiccollapse. In particular the human element – thechoices, passions, illusions and power lust of thosewho are convinced they are “too big to fail.”

TOO BIG TO FAIL CURTIS HANSON DIRECTED BY



TOTÒ 3DIL PIÙ COMICO SPETTACOLO DEL MONDODIRECTED BY MARIO MATTOLI

In 1953 Totò 3D - Il più comico spettacolo del mondowas the first Italian film made using 3D technology. Thefilm is an unabashed parody of The Greatest Show onEarth (1952) by Cecil De Mille. One of the best-lovedcomedies starring Totò, the ‘Prince of Laughter,’ Totò3D - Il più comico spettacolo del mondo has been givena second lease on life thanks to a lengthy, complexrestoration effort championed by producer Aurelio DeLaurentiis and carried out by Cinecittà Digital Factory,under the supervision of Pasquale Cuzzupoli. It tooknearly a year for the technical experts to bring back thefilm’s original splendor. What made the operationparticularly challenging was the need for interventionon two negatives, not one. The film was made in 1953using a system for shooting 3D that had been patentedby Ponti and De Laurentiis, who called it Podelvision(from putting the first letters of their surnamestogether). It involved using two cameras, one for the lefteye and one for the right. The first phase of therestoration was a manual one: the two negatives, nowin very poor condition, had to be thoroughly cleaned.They were then scanned digitally, an extremely delicate

operation due to the fragility of the Ferraniacolor filmused at the time the picture was made; it was highlyinflammable as well. Only at this point were the imagesrestored, which, in some cases, required that severalmissing frames be reconstructed by means of digitalmicrosurgery. Lastly, the color was put back into the filmalong with the original soundtrack. And 58 years afterits first screening, Totò 3D - Il più comico spettacolodel mondo is back in the theatres, thanks to cutting-edge 3D technology.

92 OFFICIAL SELECTION | OUT OF COMPETITION | SPECIAL EVENT

Italy | 1953Color | DCP | 70’Original language: Italian

CASTTotò, Franca Faldini, Mario Castellani, Enzo Garinei, Enrico Viarisio; among the circus’ audience: Peppino De Filippo, Silvana Mangano, Anthony Quinn, Carlo Croccolo, Carlo Campanini

SCREENPLAYSandro Continenza, Italo De Tuddo, Ruggero Maccari, Mario Monicelli

CINEMATOGRAPHYFerdinando Risi, Riccardo Pallottini e Karl Struss

EDITINGLeo Catozzo

PRODUCTION DESIGNPiero Filippone

COSTUME DESIGNDario Cecchi, Gaia Romanini

MUSICArmando Trovajoli

PRODUCERAntonio Altoviti per Rosa Film (Italia)

ITALIAN DISTRIBUTIONFilmauro

OFFICIAL SELECTION OUT OF COMPETITION | SPECIAL EVENT

THE TWILIGHT SAGA - BREAKING DAWN PART 1Bill Condon

THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORNSteven Spielberg

HUGO CABRETMartin Scorsese

OFFICIAL SELECTIONALICE NELLA CITTÀ

The Twilight SagaBreaking Dawn Part 1

United States | 2011Color | 2K D-Cinema Original language: English

CASTRobert PattinsonKristen StewartTaylor Lautner Nikki ReedJackson Rathbone

SCREENPLAYMelissa Rosenberg (based on Stephenie Meyer’s book)

CINEMATOGRAPHYGuillermo Navarro

EDITINGVirginia Katz

PRODUCTION DESIGNRichard Sherman

COSTUME DESIGNMichael Wilkinson

MUSICCarter Burwell

PRODUCERSWyck Godfrey Stephenie Meyer Karen Rosenfelt

PRODUCTIONSummit Entertainment (United States)

ITALIAN DISTRIBUTIONEagle Pictures (Italy)

SALESSummit Entertainment (United States)


Bill Condon (United States, 1955) won critical andpublic acclaim, as well as an Oscar® nod for BestAdapted Screenplay, for Gods and Monsters (1999),on the last days of James Whale, the director of thefirst two sound versions of Frankenstein. Condon wasnominated again in the same category for Chicago(2002), directed by Rob Marshall. In 2007 hedirected Dreamgirls, which won the Best SupportingActress Oscar® for Jennifer Hudson. He will presenta preview of The Twilight Saga: Breaking Dawn - Part1 (2011) at the International Rome Film Festival.The Twilight Saga: Breaking Dawn - Part 2 iscurrently in post-production.

95

• PREVIEW SCREENING OF SEVERAL SCENES FROM THE FILM.

• PRESENTED BY NIKKI REED (ROSALIE HALECULLEN) AND JACKSON RATHBONE (JASPER HALE)

After their wedding, Bella (Kristen Stewart) andEdward (Robert Pattinson) finally give into thepassions on their honeymoon, during which Bellabecomes pregnant. Since the baby is half human,half vampire, the pregnancy is accelerated andputs Bella’s life in danger. Edward thus satisfies

her greatest wish and turns her into a vampire tosave her life. When they get news of the newborn,the Volturi set out to find her and the Cullens,convinced that Resmee is a threat to them all. Thescene is set and the battle inevitable. Breaking Dawn is the fourth book of the bestsellingsaga on vampires brought to the screen in twodifferent films, both directed by Bill Condon.

THE TWILIGHT SAGABREAKING DAWN PART 1

BILL CONDON

94 OFFICIAL SELECTION ALICE NELLA CITTÀ

DIRECTED BY

Le avventure di TintinIl segreto dell’Unicorno

United States | 2011Color | 3D | 107’Original language: English

CASTJamie BellAndy Serkis Daniel Craig Nick Frost Simon Pegg Toby Jones Mackenzie Crook Daniel Mays Gad Elmaleh Joe Starr

SCREENPLAYSteven Moffat - Edgar Wright - Joe Cornish(based on “The Adventures of Tintin:The Secret of the Unicorn” by Hergé)

EDITINGMichael Kahn

PRODUCTION DESIGNAndrew Jones Jeff Wisniewski

MUSICJohn Williams

PRODUCERSSteven Spielberg Peter Jackson Kathleen Kennedy

CO-PRODUCERSCarolynne Cunningham Jason McGatlin

PRODUCTIONAmblin Entertainment (United States) Wingnut Films (New Zealand) Kennedy/Marshall (United States)

ITALIAN DISTRIBUTIONWarner Bros. Pictures Italia (Italy)


Steven Spielberg (United States, 1946) is one of themost successful directors in the history of film. Agreat innovator of traditional film genres, over his 40-year career he has alternated works of spectacularentertainment with dramatic films of tremendousimpact. His numerous hits include Jaws (1975),Raiders of the Lost Ark (1981), E.T. (1982), JurassicPark (1993), Schindler’s List (1993), Saving PrivateRyan (1998) and Munich (2005). In 1982 hefounded the Amblin Entertainment productioncompany and in 1994 the DreamWorks SKG studio.

97

Based on the comic books by Hergé, the 3D filmdirected by Steven Spielberg and produced byPeter Jackson tells the story of curious youngreporter Tintin (Jamie Bell) and the discovery of asmall model ship that hides a big secret. Swept upin a centuries-old secret, Tintin finds himself in theclutches of the diabolical Ivan IvanovitchSakharine (Daniel Craig), who is convinced Tintinstole a priceless treasure tied to the dastardlypirate Red Rackham. Aided by his dog Milou, the

quick-witted and grumpy Captain Haddock (AndySerkis) and the bumbling detectives Thompsonand Thomson (Simon Pegg and Nick Frost), Tintintries to outwit his enemies in a breathtaking chaseacross the globe, in search of the Unicorn, asunken ship that may hide the key to an immensefortune an ancient curse. From the depths of theoceans to the deserts of North Africa, Tintin andhis friends are dragged into a whirlwind crescendoof danger and emotion.

THE ADVENTURES OF TINTINTHE SECRET OF THE UNICORN

STEVEN SPIELBERG


DIRECTED BY

La straordinaria invenzione di Hugo Cabret

United States | 2011Color | 3D | 15’Original language: English

CASTBen Kingsley, Sacha Baron Cohen,Asa Butterfield, Chloë Grace Moretz,Ray Winstone, Emily Mortimer, Jude Law

SCREENPLAYJohn Logan (based on the book “The Invention of HugoCabret” by Brian Selznick)

CINEMATOGRAPHYRobert Richardson

EDITINGThelma Schoonmaker

PRODUCTION DESIGNDante Ferretti

COSTUME DESIGNSandy Powell

MUSICHoward Shore

PRODUCERSGraham King, Tim Headington Martin Scorsese, Johnny Depp

PRODUCTIONGK Films (United States)Infinitum Nihil (United States)


VOYAGE DANS LA LUNEDIRECTED BY GEORGES MÉLIÈS

France | 1902 | 14’

This immortal masterpiece, with its legendaryopening scene of the spaceship crashing intothe eye of the moon with a human face, nowreturns 109 years later in the hand-coloredversion (restored by Lobster Films, theGroupama Gan Foundation for Cinema andTechnicolor Foundation for Cinema Heritage).


Martin Scorsese (United States, 1942) is one of theleading directors of contemporary cinema. Winner ofthe most prestigious international awards (includingan Oscar®, two Palme d’Ors and two Golden Globes),in 1990, he and other distinguished filmmakers setup The Film Foundation, an organization dedicatedto film restoration and the preservation of cinemaheritage worldwide. His films include Taxi Driver(1976), Raging Bull (1980), with the extraordinaryRobert De Niro, After Hours (985), Gangs of New York(2002), The Aviator (2004), The Departed (2006),Shutter Island (2010) and Boardwalk Empire (2010),which was presented at the 2010 Rome Festival.

99

• PREVIEW SCREENING OF SELECTED SCENESFROM THE FILM

• DISCUSSION WITH ASA BUTTERFIELD, THE FILM’SYOUNG STAR, AND WRITER BRIAN SELZNICK

• SCREENING OF THE RESTORED VERSIONOF GEORGES MÉLIÈS VOYAGE DANS LA LUNE (1902)

Scorsese’s first 3D film, which will be released inDecember, is based on Brian Selznick’s illustratednovel “The Invention of Hugo Cabret”. Paris 1930.The film narrates the magical, mysterious story ofan orphan (Asa Butterfield) who lives in a trainstation and dreams of fixing the automaton hisfather left him before his death. He is caughtstealing one day in a store belonging to none otherthan illusionist and director Georges Méliès (BenKingsley), a legendary figure from the birth ofcinema. In the shop, Hugo also meets the youngIsabelle (Chloë Grace Moretz), who is harboring asurprise…

HUGO CABRET MARTIN SCORSESE


DIRECTED BY

WENDERS ON THE FUTURE OF 3D CINEMAPINA

AN UNSEEN WORK BY LELIO LUTTAZZIL’ILLAZIONE

THE CONFESSIONS OF FRANCO CALIFANONOI DI SETTEMBRE

LAURA BETTI, COMMITMENT AND TALENTLA PASSIONE DI LAURA

THE PIONEER OF THE MODERN CIRCUSLA MERAVIGLIOSA AVVENTURA DI ANTONIO FRANCONI

DI BARTOLOMEI THE STORY OF A CHAMPION11 METRI

STEFANO CUCCHI A LIFE DENIED148 STEFANO. MOSTRI DELL’INERZIA

ROUSING REMAKE OF A HIT CHILDREN’S FILMLA NOUVELLE GUERRE DES BOUTONS

AN ADVENTURE IN THE ’70sI PRIMI DELLA LISTA

HALLOWEEN EVENT HORROR LESSON

FURIO SCARPELLI’S LAST FANTASTICAL CREATIONTORMENTI - FILM DISEGNATO

SPETTACOLO SPECIAL EVENTS

SPETTACOLO SPECIAL EVENTS

ne of the most preeminent exponents of“New German Cinema,” Wim Wenderswas blown away and moved when he sawchoreographer Pina Bausch’s Café Müller

for the first time in 1985. Thus was born anenduring friendship between the two artists, alongwith the desire to make a film together. But it wasn’tuntil years later, in 2008, with the advent of 3D,that the project became feasible. “Only byincorporating the dimension of space could Iattempt to bring Pina’s dance-theatre to the bigscreen,” explains Wenders. Yet once they chose thedance pieces together and pre-production wasalmost finished, the unthinkable happened: PinaBausch unexpectedly died on June 30, 2009. Aftera period of mourning and reflection, encouraged byinternational demands, her family’s consent and arequest from Bausch’s dance company, Wendersdecided to forge ahead: Pina’s gaze upon dancers’gestures and movements and every single detail ofher choreographers was still alive, inscribed in the

bodies of her dancers. It was the right moment,perhaps the last moment, to bring it all to the bigscreen. Thanks to the latest digital technology,Wenders had the aesthetic tools to bring to cinemathe plasticity and emotions of Bausch’sextraordinary and innovative dance-theatre. Thedirector of Wings of Desire, Buena Vista Social Cluband Million Dollar Hotel will speak to InternationalRome Film Festival audiences about hisextraordinary personal and artistic experiencesbehind the making of the first 3D arthouse film.

WENDERSON THE FUTURE OF 3D CINEMA

O

Germany • 2011 • Color - B/W • 3D • 103’ • English, French, German

Made with the Tannztheater Wuppertal Pina Bausch, Pina is Wim Wenders’ cinematic tribute to the uniqueand visionary art of the great German choreographer, dancer and creator of dance-theatre, who passed awayin June of 2009. The director takes us on a sensual, three-dimensional and visually powerful journey,following the artists of the legendary company onstage and off, in Wuppertal, the city that for 35 years wasPina Bausch’s home and creative heart. The pieces presented – Café Müller, Le Sacre du printemps,Vollmond and Kontakthof – were chosen with Bausch, along with images and audio material from her privatelife, while in spring 2010 members of her company were shot in 3D as they “danced” their personal memoriesof the artist, of her meticulous, critical and passionate nature.

WIM WENDERSDIRECTED BY

Screenplay Wim Wenders Cinematography Hélène Louvart, Jörg Widmer Editor Toni FroschhammerProduction Design Peter Pabst Costume Design Marion Cito, Rolf Borzik Music Thom Hanreich ProducersWim Wenders, Gian-Piero Ringel Co-producers Claudie Ossard, Chris Bolzli Production Neue Road Movies(Germany) Co-production Eurowide Film Production (France), ZDF (Germany), ZDFtheaterkanal (Germany)Sales HanWay Films (UK) Italian distribution Bim Distribuzione (Italy)

PINA

FILM + MASTERCLASSWim Wenders will meet with audiences to presentthe acclaimed Pina. This exceptional, first-ever 3Darthouse film was conceived by Wenders and thegreat choreographer Pina Bausch, and made afterher death with the dancers of her company.

103SPETTACOLO | SPECIAL EVENTSSPETTACOLO | SPECIAL EVENTS102

tribute to the versatility of Lelio Luttazzi, jazzmusician, composer of numerous filmscores, writer of musical comedies, aleading figure in the history of television

(“Studio Uno”, “Teatro 10”) and radio (“Hit Parade”),as well as actor in a dozen films (L’avventura, Oggidomani dopodomani, and L’ombrellone, amongothers). The International Rome Film Festival, theFondazione Lelio Luttazzi, and the artist’s long-timecompanion, Rossana Luttazzi, have arranged a realtreat for festival audiences: an unreleased film,L’Illazione, directed by and starring Lelio Luttazzi.Luttazzi created this film in the years following a periodof legal troubles in the ’70s, for which he was laterexonerated. In an interview in the Corriere della Serain 2006, he declared: “I got the idea of directing atelevision movie and acting in it. It wound up being tooautobiographical. The lead complained about aprosecutor…and even the title, ‘L’Illazione’(conjecture), was most unfortunate. I ran into SergioCorbucci who kidded me about it: ‘What? So much for

a popular title!’ The head of programming at RAI calledme, Leone Piccioni, and told me not to release it, sinceit was too self-referential. Plus, I had the most ridiculousbeard…”. L’Illazione is the story of a judge and his wifewho go to look at a piece of land for sale. The owner,Decio, and his girlfriend Paola invite the couple fordinner, along with another couple who has experienceda terrible tragedy and is receiving mysterious messages.The six characters end up spending the whole night inthe living room while a subtle web of conflictingrelationships is woven. Decio (Lelio Luttazzi) is a writer,ironic and non-conformist like his young girlfriend, whilethe judge appears as a rather ambiguous defender of lawand order, and either in keeping with his position, or outof sheer cynicism, stages a sort of mock trial, amidstmounting suspicion, and runs it smoothly, yetsadistically, with the victims turned into imaginaryperpetrators. The dawn light will diffuse (or not?) all thesuspicions and the conjectures. The copy of the film wasrestored by L’immagine ritrovata in Bologna, under thesupervision of Cesare Bastelli.

A

L’ILLAZIONE DIRECTED BY LELIO LUTTAZZI

Italy • 1972 • Color • 2K DCinema • 63’ • Italian

Cast Cinzia Bruno, Annabella Incontrera, Lelio Luttazzi, Gaby Marini, Anna Saia, Mario Valdemarin,Alessandro Sperlì, Anny Degli Uberti Screenplay Lelio Luttazzi, Laura Piccioni Cinematography RenatoTafuri Editing Carla Simoncelli Costume Design Nadia Fabriani Music Gianni Ferrio Production Nexus Film

LUTTAZZI AND CINEMA: A ROUND-UPThe International Rome Film Festival pays homageto Lelio Luttazzi with a screening of his never-before-released film which he starred in and directed:L’Illazione, based on a story he wrote called “La villadi campagna.” The screening will be followed by adebate packed with reminiscences on therelationship between Luttazzi and cinema; the eventcoincides with the release of a CD box set whichcollects his soundtracks for the first time.

104 105SPETTACOLO | SPECIAL EVENTSSPETTACOLO | SPECIAL EVENTS104

he Special Events section of the InternationalRome Film Festival will be hosting a tributeto Franco Califano, one of the most originaland controversial figures on the Italian music

scene. A singer and songwriter who penned some ofthe loveliest Italian songs ever written, turned into hitsby soloists such as Mina, Mia Martini, and OrnellaVanoni, the Roman artist is the subject of thedocumentary Noi di Settembre directed by StefanoVeneruso. The feature’s title was inspired by Califano’sown date of birth, September 14th, and anticipates asong he hasn’t written yet. As the singer tells it, “Noidi settembre is a marvelous title, as you’re bornbecause of something that happened in January or atChristmas, when everyone’s getting drunk at theChristmas parties; you’re not a planned child. In fact,people born in September are all a little odd, differentfrom the others: artists, to a degree.”In Noi di Settembre, with an astonishing soundtrackthat retraces Califano’s long career, the singer tells hisstory from both the personal and artistic perspectiveand delivers what amounts to a “confession”,intimate, direct, and unfiltered; he isn’t afraid ofrevealing his own dreams, weaknesses, or failures; ortalking about politics, sex, and unconventionalpassions, like Califano’s for Pasolini. It is a tortuousjourney by a man who experienced stardom as well assickness and imprisonment; passion as well asdissipation: the absorbing odyssey of an extraordinary“people’s poet”.

THE CONFESSIONS OF FRANCO CALIFANO

NOI DI SETTEMBRE DIRECTED BY STEFANO VENERUSO

We, the People of September • Italy • 2011 • Color • HDCAM • 85’ • Italian

Cast Franco Califano Screenplay Stefano Veneruso Cinematography Paco Maddalena Editing Giorgia DiPietro Music Franco Califano Producer Chiara Tilesi Production 30 Miles Film

THE PEOPLE’S POETAt the International Rome Film Festival, with theartist in attendance, there will be a specialscreening of the documentary and “confessions” ofFranco Califano, revealing his dreams, weaknesses,failures, and achievements.

T

AN UNSEEN WORK BY LELIO LUTTAZZI

assion, character, talent, A uniquepersonality of Italian entertainment andculture, Laura Betti had a face thatseemed sculpted by an exceptional artist.

A singer, theatre and cabaret actress, she was asmasterful in Pier Paolo Pasolini’s legendary filmsas she was in Bernardo Bertolucci’s historicalfresco 1900, and worked with the best directors ofher generation (Marco Bellocchio, the Tavianibrothers, Gianni Amelio and Ettore Scola, to namejust the Italians) as well as more recent filmmakers(including Francesca Archibugi, Michele Placidoand Mimmo Calopresti). Without ever giving upbeing Laura Betti, a voice and face that couldcommand every frame with her alarmed, sidelongglances, her threatening sweet-talk, and her finebut authoritative voice. It is hard to imagine Italiancinema (and not only) of the ’70s, without her.Building slowly through interviews with her closestfriends – Bertolucci, Giacomo Marramao,Archibugi, Michelle Kokosowski, Jack Lang andmany more – and a repertory that meritsrediscovery, the film evokes her multi-facetedexpressiveneness, unadulterated frailty, vivaciousand provocative overtones, artistic militancy,tumultuous emotional life and above all somethingunspoken that is for the first time made public,now that the two protagonists, Laura and Pier

Paolo, are no longer with us: the most beautifuland impossible love story of all of Italian cinema.

LA PASSIONE DI LAURADIRECTED BY PAOLO PETRUCCI

Animation Ursula Ferrara Editing Paolo Petrucci Producer Angelo Barbagallo Production BiBi Film Italiandistribution Cinecittà Luce Sales Cinecittà Luce

AN IMPOSSIBLE LOVE STORYA documentary tribute to the extraordinary talentand inexorable vitality of Laura Betti, and themost beautiful and impossible love story of allof Italian cinema.

Italy • 2011 • Color - B/W • HDCAM • 54’ • Italian

Pith the film La meravigliosa avventuradi Antonio Franconi, the InternationalRome Film Festival reconstructs thelife of the head of a great circus

dynasty, a skilled Italian horseman who in the late18th century moved to Lyon, France and created hisown circus. Franconi later founded the first Parisiancircus, the renowned Cirque Olympique. Written anddirected by Luca Verdone, with the collaboration ofMassimo Biliorsi, and starring Massimo Ranieri, thefilm tells the story of Franconi’s life through thedream of a boy who discovers some old toys in anattic trunk, a circus track and some lead horsemen,before going to sleep. There is also a book inside thetrunk, on the life of the legendary pioneer of themodern circus. The film follows the ventures of thelegendary man who wanted to create a show builtaround forms of entertainment hitherto unknown. Todo so, Franconi set himself no limits and fortunesmiled upon him, with the realization of the CirqueOlympique, which he began and which wascompleted and “gifted” by his sons Laurent andHenry to the Parisian public. The boy, who fell asleepdreaming of the adventures of Franconi’s life,awakes to find a circus tent beneath his bedroomwindow, in which the show is about to begin.

THE PIONEEROF THE MODERN CIRCUS

LA MERAVIGLIOSA AVVENTURADI ANTONIO FRANCONIDIRECTED BY LUCA VERDONE

Italy • 2011 • Color • 35mm • 91’ • Italian

Cast Massimo Ranieri, Orso Maria Guerrini, Elisabetta Rocchetti, Sonia Aquino, Ernesto Mahieux Screenplay MassimoBiliorsi, Luca Verdone Cinematography Felice De Maria Editing Bruno Sarandrea Production Design Marianna SciveresCostume Design Isabelle Caillaud Music Alessio Vlad Producer Giuseppe Di Palma Production Cinemart

BETWEEN REALITY AND LEGENDLuca Verdone recounts the real and legendaryventures of Antonio Franconi (Massimo Ranieri),the head of a great circus dynasty who in 18th

century Paris created the first modern circus.

W


LAURA BETTICOMMITMENT AND TALENT

n October 22, 2009 Stefano Cucchi diedat the age of 31, in circumstances thatstill today remain mysterious, in theprotected wing of Rome’s Sandro Pertini

Hospital, six days after his arrest. In the last sixdays of his short life he was denied all his rights.The documentary is an exposé of the Cucchi casein the form of a legalistic demand for truth andjustice. It is clear to all that the truth is buried andthat denying justice to one man means denyingjustice to an entire people and is thus aninstitutional act. In fact, this is not only a thoroughwork of ideal indemnification and a meticulousinvestigation on the highly dramatic andcontroversial death of a young – and certainly notthe only, as the film clearly shows – Italian citizenat the hands of the police. It is first and foremost acomplicated biography that speaks to everyone,about a young man against whom life, destiny, andespecially a dysfunctional and inhumaneRechtsstaat, played a cruel trick. Myriad testimony,exclusive material (Stefano’s voice and family homemovies), cinematic photography and effective,modern graphics would be enough to make this amust-see documentary. But it is the intuition anddetermination of Ilaria, Stefano’s sister and thefilm’s co-protagonist, that gives the documentarythe weight of an unforgettable story.

STEFANO CUCCHIA LIFE DENIED

148 STEFANO. MOSTRI DELL’INERZIADIRECTED BY MAURIZIO CARTOLANO

Italy • 2011 • Color • HDCAM • 65’ • Italian

Screenplay Maurizio Cartolano Cinematography Francesco Pennica Graphics and animation MartinaVenettoni, Stefano Coccia for Margo Design Illustrations Marco De Luca Editing Erika Manoni MusicRiccardo Giagni Producers Simona Banchi, Valerio Terenzio Production Ambra Group

SIBLINGSThe documentary exposé on the life and above allunacceptable death of Stefano Cucchi ispresented at the Festival thanks to the tenaciouscommitment of his sister, Ilaria, who with Stefanois the co-protagonist of an unforgettable story.

n May 30, 1994, exactly ten years after theChampions Cup final that Roma lost toLiverpool in penalty kicks, Agostino DiBartolomei, the legendary captain of the

football team’s second scudetto, took his own life witha gunshot to the heart. His death left everyonesurprised and dismayed, and compelled many whoknew him to re-examine their relationships with DiBartolomei, in a vain search for a motive behind thetragedy that indelibly marked the conscience of many.Through numerous interviews with relatives, friends,trainers, teammates, fans, and football andentertainment personalities, enriched by never-before-seen photographs and archive footage, the filmexamines the various facets of a complex man whomthe sports world understands only in part. The resultis a biographical and emotional commemoration ofplaces dear to him, and above all an intimate portraitof Di Bartolomei, and all the passions, weaknesses,vices and virtues of a husband, father, son,consummate professional and great man. 11 metri isthe story of a champion as well as a contemplation onwhat it means to be excluded from a world one helpedto create, take on the aspirations of an entire teamand find oneself lacking when time passes us by andchanges the meaning of all that we love.

DI BARTOLOMEITHE STORY OF A CHAMPION

O

11 METRIDIRECTED BY FRANCESCO DEL GROSSO

The Penalty • Italy • 2011 • Color • HDCAM • 87’ • Italian

Screenplay Francesco Del Grosso Cinematography Daniele Anzellotti Editing Francesca Sofia AllegraCostume Design Cristiana Agostinelli, Marco Alzari Music Raffaele Inno Producers Salvatore Allocca, DanieleEsposito Production Vega’s Project

IN MEMORY OF AGOSTINO DI BARTOLOMEIThe Festival hosts a documentary on the short life ofRoma football club champion Agostino Di Bartolomei,who took his own life. The screening will be presentedby sports personalities of yesterday and today.

108

O


It’s June 1st, 1970, and Pisa is the epicenter of thestudent movement Lotta Continua. There are rumors ofan imminent coup d’état, and the most visible exponentsfear being arrested before dawn. One of them is PinoMasi, a singer-songwriter who wrote the hit “La ballatadel Pinelli,” also founder of the group CanzonierePisano. He invites two high school students, Renzo Lulliand Fabio Gismondi, to flee Italy with him, and the threeset off. A series of misunderstandings ensues, startingwith an unnerving encounter with soldiers on their wayto Rome for the national holiday the next day, and

ending with the trio’s arrest in Austria… The Pisandirector Roan Johnson, whose father is English, is alsoa television writer and the author of the book “Prove difelicità a Roma Est”; he directed an episode of the film4-4-2 Il gioco più bello del mondo; for his feature filmdirectorial debut, he has chosen a true story that tookplace in Pisa forty years ago. The film has elements of adocumentary, and in fact it was based on a treatmentby Renzo Lulli, one of the real-life protagonists of thisbitterly intriguing adventure. At the end of the film, theprotagonists will play one song live.

I PRIMI DELLA LISTADIRECTED BY ROAN JOHNSON

Italy • 2010 • Color • HDCAM • 85’ • Italian

Cast Claudio Santamaria, Francesco Turbanti, Paolo Cioni, Sergio Pierattini, Daniela Morozzi, CapovillaScreenplay Davide Lantieri, Roan Johnson Cinematography Tommaso Borgstrom Editing Marco GuelfiProduction Design Mauro Vanzati Costume Design Andrea Cavalletto Producers Carlo Degli Esposti, NoraBarbieri, Conchita Airoldi, Patrizia Massa Production Palomar and Urania Pictures with Rai Cinema

The International Rome Film Festival will bescreening the remake of the famous children’s filmWar of the Buttons, directed by Yves Robert in 1961.Inspired by the novel by Louis Pergaud, and with anew setting during WWII, the film is the story of twochildren’s gangs “at war” and underscores theimportance of friendship in their lives. While thedevastation of WWII sweeps across the globe, anotherwar is being fought in a remote corner of the Frenchcountryside. The children in the adjacent villages ofLongeverne and Velran have always hated each other,

but there comes a turning point in the hostilities. Thestakes are now the buttons on their clothes; whenripped off their hostages’ garments, the children areforced to go home in defeat, thoroughly humiliated.Lebrac is the big-hearted charismatic leader of theLongeverne gang. When a city girl, Violette, arrives onthe scene, she bewitches them all, especially Lebrac,but she attracts suspicion: being Jewish, she hassought refuge at the home of her presumed aunt, thelovely Simone (Laetitia Casta), with whom the villageteacher (Guillaume Canet) is secretly in love.

ROUSING REMAKEOF A HIT CHILDREN’S FILM

LA NOUVELLE GUERRE DES BOUTONSDIRECTED BY CHRISTOPHE BARRATIER

War of the Buttons • France • 2011 • Color • 35 mm • 100’ • French

Cast Jean Texier, Ilona Bachelier, Guillaume Canet, Laetitia Casta, Anthony Decadi, Kad Merad, GérardJugnot, François Morel Screenplay Christophe Barratier, Stéphane Keller (based on the novel by LouisPergaud) Cinematography Jean Poisson Editing Anne-Sophie Bion, Yves Deschamps Music Philippe RombiProducers Thomas Langmann, Emmanuel Montamat Production La Petite Reine Co-production Studio 37Sales Wild Bunch (France)


AN ADVENTUREIN THE ’70s

n Halloween night, at the stroke ofmidnight on October 31, a true “horrorlesson” will be held, accompanied to greateffect by the screening of Insidious, the

latest film by the Malaysian-born, Australian-baseddirector James Wan, who more than any other inrecent years has helped revive and renew the horrorgenre by pushing its style and content to theextreme. He is the creator of the Saw saga, of whichhe directed the first installment, Saw (2004), andproduced the six sequels. His series, the mostsuccessful in the history of horror, also spawned thecontroversial sub-genre “torture porn.” In Insidious,Wan reunited with his faithful friend and collaboratorLeigh Whannell, who acts in the film and alsoworked on the script, and worked with the producersof another contemporary horror cult series,Paranormal Activity (2007). In the film, a young couple moves to a house in thecountry with their children. When their eldest fallsinto a coma after an accident, the family is plungedinto a nightmare. Although the boy has no majorinjuries, the doctors cannot explain his comatosestate. At the same time, strange phenomena beginoccurring in the house, culminating with a terrifyingpresence that only the mother can see. Terrified, thecouple moves, only to have the same phenomenafollow them to the new house… Insidious starsAmerican actor Patrick Wilson (The Phantom of theOpera, Passengers) and Australia’s Rose Byrne(Sunshine, 28 Weeks Later), and features Oscar®

winner Barbara Hershey (Hannah and Her Sisters,The Last Temptation of Christ, Portrait of a Lady).

HALLOWEEN EVENTHORROR LESSON

O

HORROR LESSON + FILMOn Halloween night, a unique and unconventional“horror lesson” on Halloween night, for audiences,cinephiles or simple film buffs, followed by thescreening of James Wan’s Insidious (United States,2010, Color, DCP, 103’, English), starring PatrickWilson, Rose Byrne, Ty Simpkins, Barbara Hersheyand Leigh Whannell. Sales: IM Global, ItalianDistribution: Filmauro.


orking from the graphics-drawings oflegendary screenwriter FurioScarpelli, who passed away last year,his nephew Filiberto Scarpelli made

his original film debut. Furio himself coined theterm “film disegnato” (a “drawn film,” such asones based on graphic novels), to indicate a featurefilm unlike the rest, in which images accompanywords. Furio Scarpelli, who also scripted Tormenti,studied every character in the minutest detail,conducting particularly in-depth iconographicresearch on the costumes. The dramatic-comedicstory is set in Rome during the Fascist period.Having nothing better to do, tragic, irresistibleattorney Rinaldo Maria Bonci Pavonazzi seducesyoung ironer Eleonora Ciancarelli, or Lolli. Butwhen soon after she falls for boxer and universitystudent Mario Marchetti, Rinaldo realizes he’smadly in love, loses his head, wastes away andbecomes obsessive and aggressive. The three endup in Spain during the Civil War, fighting onopposing sides. This highly modern film based ona graphic novel features the delightfully surprisingvoices of Alba Rohrwacher, Luca Zingaretti, ValerioMastandrea, Omero Antonutti and Elio Pandolfi.

FURIO SCARPELLI’SLAST FANTASTICAL CREATION

TORMENTI - FILM DISEGNATODIRECTED BY FILIBERTO SCARPELLI

Italy • 2011 • Color • DCP • 80’ • Italian

Voice Cast Alba Rohrwacher, Luca Zingaretti, Valerio Mastandrea, Omero Antonutti, Elio PandolfiScreenplay Furio, Giacomo and Filiberto Scarpelli Editing Domenico Talarico Art Design Nanà Cecchi MusicBruno Moretti Producers Silvia D'Amico Bendicò, Osvaldo Menegaz Production Bendico (Italy) incollaboration with Rai Cinema (Italy) Italian distribution Lucky Red (Italy)

WORDS AND IMAGESWith the screening of his last film, Tormenti,produced by Silvia D’Amico, a year after his passingthe Festival once again gives center stage tolegendary screenwriter Furio Scarpelli and hisinexhaustible creativity, here from his work on agraphic novel.

W

EXTRACOMPETITIONOUT OF COMPETITION

CATCHING HELLAlex Gibney

COMIC-CON EPISODE IVA FAN’S HOPEMorgan Spurlock

THE DARK SIDE OF THE SUNCarlo Shalom Hintermann

DEAD MEN TALKINGRobin Newell

DRAGONSLAYERTristan Patterson

FRANCA LA PRIMASabina Guzzanti

FROM THE SKY DOWN Davis Guggenheim

GIRL MODEL David Redmon, Ashley Sabin

GRAZIA E FUROREHeidi Rizzo

HOW TO DIE IN OREGON Peter D. Richardson

PATRIA O MUERTEVitaly Manskiy

PEOPLE IN WHITETellervo Kalleinen, Oliver Kochta-Kalleinen

AFRICAN WOMENIN VIAGGIO PER IL NOBEL DELLA PACEStefano Scialotti

BOBBY FISCHER AGAINST THE WORLDLiz Garbus

CASE CHIUSEFilippo Soldi

DIVERSAMENTE GIOVANEMarco Spagnoli

HOLLYWOOD BRUCIATARITRATTO DI NICHOLAS RAYFrancesco Zippel

PROJECT NIMJames Marsh

CIRCUMSTANCEMaryam Keshavarz

FÅ MEG PÅ, FOR FAEN!Jannicke Systad Jacobsen

LOCOSHarold Trompetero

NUIT BLANCHEFrédéric Jardin

OSTENDELaura Citarella

MAXXI CORTOARTECIRCUITO


In MemoriamDozens and dozens of the world’s most renowned filmmakers have passed through“Viaggio nel Cinema Americano,” a series of encounters begun by Antonio Mondaand Mario Sesti before the Festival was created. Three of them, who are no longerwith us, were among the best directors of all time: Sidney Lumet, Sydney Pollackand Arthur Penn. To them, the Extra section and Teho Teardo, one of the mostimportant and innovative contemporary film composers, dedicate three short films,each just over one minute in length.

CATCHING HELL

What is it like to become a scapegoat? To be an objectof derision for the man on the street, on TV andonline? The Chicago Cubs were one step away fromwinning the National League Championship in 2003when the hand of a fan, Steve Bartman, reached outfrom the stands and grazed the ball, deflecting itscourse. And for the Cubs, it was all downhill from then

on. Director Alex Gibney analyzes every angle of thedisaster and sets out to find Bartman, the most hatedman in Chicago, who has gone into hiding because,just as in Biblical times and even earlier, the wholeworld has pinned the blame for an unmitigatedcatastrophe on him and him alone.

ALEX GIBNEY

116 EXTRA | DOCUMENTARIES IN COMPETITION


SCREENPLAYAlex Gibney

CINEMATOGRAPHYKeith Walker

EDITINGAlison Ellwood

MUSICDavid Kahne

PRODUCERSGary Cohen Matt McDonald Alison Ellwood

CO-PRODUCERSMatt Liston Chris Karnak

PRODUCTIONTriple Threat TV (United States) Jigsaw Productions (United States)

EXTRA DOCUMENTARIES IN COMPETITION

Alex Gibney (United States) directed the 2008 Oscar-winning film Taxi to the Dark Side (2007), which wasscreened at the International Rome Film Festival, andthe 2006 Oscar®-nominated film Enron: The SmartestGuys in the Room (2005). Other credits as directorinclude Casino Jack and the United States of Moneyand Gonzo: The Life and Work of Dr. Hunter S.Thompson (2010). His credits as producer includeHerbie Hancock: Possibilities (2006) and the 8-filmdocumentary series Martin Scorsese Presents TheBlues. In 2010-2011, he released four films asdirector, among which My Trip to Al-Qaeda and asegment in the omnibus film Freakonomics.

117

DIRECTED BY

COMIC -CON EPISODE IVA FAN’S HOPE

In what one place could you run into Captain Kirk,Superman and Spiderman? A Vulcan and a Wookiee?Welcome to Comic-Con, San Diego. What began asa small convention of fans has become the biggestgathering of the comic-fantasy world. A global popculture event that no one wants to miss, not evenMatt Groening, Stan Lee, or Frank Miller, all ofwhom explain to us the secret that brings together“maniacs” from the entire planet. Including Eric,an aspiring illustrator looking for work; Holly, a

costume and character designer; Chuck, a comicsseller swimming in debt; amateur illustrator Skip;and James, who’s hoping his girlfriend will accepta dramatic proposal. An explosive creator of satireand documentaries, Morgan Spurlock (Oscar®-nominated for Super Size Me) navigates us throughthis crazy, colorful universe, where one can meetentire families living in a parallel world. Just don’ttry to tell them about the real world.

MORGAN SPURLOCK



SCREENPLAYMorgan Spurlock Jeremy Chilnick

CINEMATOGRAPHYDaniel Marracino

EDITINGTim K Smith Tova Goodman

MUSICJingle Punks

PRODUCERSJeremy Chilnick Matthew Galkin Morgan Spurlock Thomas Tull

PRODUCTIONThomas Tull Productions (United States) Warrior Poets (United States)

SALESCreative Artists Agency (United States)

Morgan Spurlock (United States, 1970) is writer andOscar® and Emmy-nominated director and producer.His first film, Super Size Me (2004), premiered atthe Sundance Film Festival in 2004 and garneredan Academy Award® nomination for best featuredocumentary. Since then, he has directed, producedand distributed multiple film and TV projects,including the television series 30 Days and the filmsWhere in the World is Osama Bin Laden, The Futureof Food, What Would Jesus Buy?, Freakonomics(2010) and POM Wonderful Presents The GreatestMovie Ever Sold (2011).

119


DIRECTED BY

THE DARK SIDE OF THE SUN

For a few children, sunlight is a fatal enemy. A rareillness, Xeroderma Pigmentosum, known as XP (thesame seen in the film The Others), forces them tolive far from the sunlight, completely isolated fromthe daytime lives of their peers to avoid burns oreven cancer. Thanks to an initiative by the staff atCamp Sundown, a summer camp in New YorkState conceived and established thanks to thedetermination of their parents, nighttime becomes

the privileged moment when the children can playfreely and learn to live with their condition. Theorder of the universe is reversed here and infusedwith magic. Hintermann captures the journey ofinitiation by these young children in flight from thelight, out to discover another way to live. Miyazaki-style animation clips make this film not only asolid investigation but also a meditation on theinexplicable serenity of lives hidden from our gaze.

CARLO SHALOM HINTERMANN


The Dark Side of the Sun Il lato oscuro del sole

Italy | 2011Color | 2K D-Cinema | 92’Original language: English

DIRECTOR OF ANIMATIONLorenzo Ceccotti

SCRIPT OF ANIMATIONCarlo Shalom Hintermann Lorenzo Ceccotti Children of the Camp Sundown

CINEMATOGRAPHYGiancarlo Leggeri

EDITINGPiero Lassandro

MUSICMario Salvucci Additional

ADDITIONAL MUSICFederico Pascucci/Errichetta Underground “My Eyes Close”written by Michael Cashmore / sung by Antony

PRODUCERSDaniele Villa Iginio Straffi

CO-PRODUCERSLorenzo Ceccotti Michele Petochi

PRODUCTIONCitrullo International (Italy) Rainbow (Italy)

CO-PRODUCTIONRai Cinema (Italy) NHK (Japan) DR TV (Denmark) YLE (Finland)

ITALIAN DISTRIBUTIONCitrullo International (Italy)

SALESFilm Transit (Canada)

Carlo Shalom Hintermann (Italy, 1974) starts hiscareer by directing several shorts film before thedocumentaries: Otar Iosseliani (1999), Rosy-Fingered Dawn: A Film on Terrence Malick (2002)and Chatzer: Inside Jewish Venice (2004). Hedirected the animated short H2O (2007) with ‘StudioBrutus’. His latest credits includes him producingand partially directing the Italy Unit of TerrenceMalick’s Tree of Life (Palm d’Or Cannes Film Festival2011). He is co-founder of the production companyCitrullo International with Luciano Barcaroli, GerardoPanichi and Daniele Villa. He also works ascomposer and musician.

121

DIRECTED BY


DEAD MEN TALKING

China, today. She is a journalist who knows nolimits. They are death row inmates. She interviewsthem for a program with millions of viewers a weekbefore their execution. One small detail: this isn’ta David Foster Wallace novel. It’s all true. Theterribly successful program - half talk show, halfreality show - brings to the screen the dazed,dumbfounded faces of the condemned men, oftenuniting them with the victims’ families, inunbearably emotionally explosive confrontations.

In China, between 3,500 and 5,000 people areexecuted each year. The philosophy is a simpleone: paying with one’s life for a crime is the bestway to convince people not to commit that crime.The documentary follows the bubbly television hostin the prisons and in her high-class life. Andhelplessly bears witness to an unreal mix ofirreconcilable tragedy, resentment and “pain TV”with a lucid and shocked eye.

ROBIN NEWELL


China | 2011Color | HDCAM | 60’Original language: Chinese

SCREENPLAYRobin Newell

CINEMATOGRAPHYRobin NewellLiang Junsheng

EDITINGXu Cheng

MUSICWang Yuxiang

PRODUCERSPeter Du Cane Robin Newell

PRODUCTIONLIC China (China)

CO-PRODUCTIONHenan Legal Television (China)

SALESPBS International (United States)

Robin Newell (Australia, 1962) has directed andproduced many outstanding award-winningdocumentaries, including The Elegant Solutionthat was broadcast in over 100 countries and wonnumerous awards, The Quiet Lions that was thesecond highest rating Australian program on theHistory Channel in 2007, and Spirit of the Railway.His interest in the African continent has resultedin such films as AfriCAN (Solutions) that won aChris Award (USA), Wild Africa Goes Hi-tech,Ingenious Africa - Series 1, awarded UnitedNations Documentary Film Festival, as well as therecently released Ingenious Africa – Series 2.

123

DIRECTED BY


DRAGONSLAYER

A stylized portrait and a pop diary of a talentedskater lost on the foreclosure landscape of emptypools and deserted houses, torn between a son hebarely knows and his girlfriend, a nerd and a crackaddict like himself. Against the backdrop of theAmerican recession, in the stagnant suburbs ofFullerton, California, unable to hold a job, Josh“Skreech” Sandoval makes a last-ditch try atmaking it as a skater. His reflexes are rusty, though,

and the fresh new entries aggressive. Just overtwenty, Josh is considered a relic. Produced byChristine Vachon, with a soundtrack featuringsome of the hippest indie bands around today, likeBipolarbear and The Children, Tristan Patterson’sfilm is a punk manifesto dedicated to youth, love,and the art of surviving the decline and fall of theWestern world.

TRISTAN PATTERSON



CINEMATOGRAPHYEric Koretz

EDITINGJennifier Tiexiera Lizzy Calhoun

MUSICT. Griffin

PRODUCERJohn Baker

PRODUCTIONAnimals of Combat (United States)

CO-PRODUCTIONKiller Films (United States)

SALESSubmarine Entertainment (United States)

Tristan Patterson (United States) is a screenwriterliving in Los Angeles. He has written screenplays forDisney, Fox and Warner Brothers, and is currentlywriting American Cigarette for director Tony Scott.He is attached to direct his own screenplay ElectricSlide, starring Ewan McGregor, for Killer Films andMyriad Pictures. Dragonslayer is his first feature film.

125

DIRECTED BY


Sabina Guzzanti left RAI television in 2003 whenher show Raiot folded, determined to fight for freespeech and armed with her comic verve. After writingand performing in hit series, she wanted to cast alight on the dark events in Italian current affairs. Inher documentary Viva Zapatero! (2005), she exposedthe scarce freedom of speech in Italy. She followedup the comedic Sympathy for the Lobster (2007)with Draquila, on the earthquake in L’Aquila and thegovernment’s response. She works in various fields:cinema, television, literature, music, politics andtheatre, on satirical programs that unite her skills asa performer and new forms of dramaturgy.

127

FRANCA LA PRIMA

It all started when Franca Valeri was asked who washer natural heir and she responded: “Sabina Guzzanti.”Thus began a great friendship that inspired Guzzantito better get to know the work and grandeur of the firstsatirical Italian author-actress and to capture her life,personality, art and craft in a documentary. Writer-actress-director Guzzanti – a satirical and comical

genius like Valeri – reinterprets and plays out thelatter’s life story before an audience of fans andenthusiasts. The power of the film lies in theexceptional exchange between two artists who canconvey the great contradictions of their country throughthe sharp intelligence of comic reason.

SABINA GUZZANTI



Italy | 2011Color | HDCAM | 70’Original language: Italian

SCREENPLAYSabina Guzzanti

CINEMATOGRAPHYClarissa Cappellani

EDITINGDoney Sacco

PRODUCERSValerio Terenzio Simona Banchi

PRODUCTIONAmbra Group (Italy)

DIRECTED BY


Davis Guggenheim (United States) won criticalacclaim for his 2007 Oscar®-winning documentaryAn Inconvenient Truth, featuring Al Gore. His otherdocumentaries include A Mother’s Promise (2008);It Might Get Loud (2007), featuring Jimmy Page,The Edge and Jack White; and Waiting forSuperman, which screened in the Alice nella cittàsidebar of the 2010 Festival. He has directed thenarrative features Gossip (2000) and Gracie (2007);various television series, including Deadwood, NYPDBlue and 24; and promotional videos for BarackObama.

129

FROM THE SKY DOWN

What compelled U2 to go to post-Wall Berlin torecord their newest album 20 years ago? In thisincredible documentary, Oscar-winning directorDavis Guggenheim tells us why and, along with thebiggest rock band on the planet, documents thecreation of Achtung Baby, returning to the placesand symbols that inspired it. From the electriccharge of “Zoo Station” to the mysticism of “One,”

this is a must-see journey into the world of U2. Puton your Bono-style shades, rev up your Trabantengines and follow the band through the fears andtrepidations of achieving a dream that made WimWenders’ divided city one of the liveliest, freest,most exciting and most creative metropolises ofEurope.

DAVIS GUGGENHEIM




WITHBonoThe Edge Larry Mullen, Jr.Adam Clayton

CINEMATOGRAPHYErich Roland

EDITINGJay Cassidy Geraud Brisson

MUSICMichael Brook

PRODUCERSTed Skillman Belisa Balaban Davis Guggenheim Brian Celler

PRODUCTION2011 Documentary Partners (United States)

SALESMercury Records/Universal Music Group/CAA(United States)

DIRECTED BY


David Redmon and Ashley Sabin have produced,directed, edited, and photographed five films: MardiGras: Made in China (2005), Kamp Katrina (2007),Intimidad (2008), Invisible Girlfriend (2009) andGirl Model (2011). Mardi Gras: Made in China wasnominated for the Grand Jury Prize at the SundanceFilm Festival. Kamp Katrina and Intimidad bothpremiered at Museum of Modern Art. Redmonreceived his PhD in Sociology from the University atAlbany, State University of New York and is currentlya Radcliffe Fellow at Harvard University. Sabinreceived her BA in Art History from Pratt Institute.

131

GIRL MODEL

There exists a circuit of aspiring models, aged 13 to17, who are sent from Siberia to Japan to be initiatedinto the fashion industry, but who are actually justused and cast aside. This chain of exploitation builton naiveté begins with talent scouts looking for the“right” faces and bodies and ends with photo shootsin Tokyo, at which the girls are tossed around like ragdolls. The film and its translucent eye, which sticksto its characters so tightly as to be epidermal, follows

Nadya, a 13-year-old girl taken from her Siberianvillage to Tokyo by Ashley, a former model and currentrecruiter who herself is torn between manipulationand pity. This is a journey full of mirages, narrow-mindedness and disappointments, and so manycalamities that even the crew breaks from thedocumentary dogma of “non-intervention” to help thegirl.

DAVID REDMON, ASHLEY SABIN



United States | 2011Color | HDCAM | 78’Original language: English, Japanese,Russian

SCREENPLAYAshley Sabin David Redmon

CINEMATOGRAPHYAshley Sabin David Redmon

EDITINGAshley Sabin David Redmon

MUSICMatthew Dougherty Eric Taxier

PRODUCERSAshley Sabin David Redmon

PRODUCTIONCarnivalesque Films (United States)

SALESDogwoof (United Kingdom)

DIRECTED BY


Heidi Rizzo was born in French-speaking Switzerlandand returned to the Salento region after studyingdocumentary filmmaking at a Swiss televisionschool. After fifteen years as a camera operator forvarious Swiss-French and Italian TV channels, shedebuted as a director with the documentary Grazia eFurore.

133

GRAZIA E FURORE

The grace of dance and the fury of boxing, and viceversa. What is the link between the hammering inThai boxing and relentless dance practice? To thefilm’s pulsating beat, the camera follows a boxerand his girlfriend, a dancer, from Puglia intoThailand, from an outpost of Southern Italy to athrobbing Asian city, and it’s all held together bythe dexterity of the moving bodies and the warmth

of human bonds between child, wife and mother,and especially the two brothers, Gianluca andFabio, the focus of the film, linked by a mysteriousaffinity, as only twins are. Lecce is the launchingpad for the conquest of the world, in an amazingcultural adventure and emotional odyssey fromWest to East.

HEIDI RIZZO



Grace and Fury

Italy | 2011Color | 2K D-Cinema | 65’Original language: Italian, Thai

CINEMATOGRAPHYHeidi Rizzo

EDITINGAndrea Facchini

MUSICGiovanni Arbace

PRODUCERSEdoardo Winspeare Gustavo Caputo

PRODUCTIONSaietta Film (Italy)


The second screening of Grazia e furore willbe preceded by the short film:

EXPIREDDIRECTED BY MARCO BONINI

Italy | 2011 | 7’with Marco Bonini, Sinne Mustares

A couple meets in the dressing room of a lin-gerie shop for their Thursday quickie. Marriedfor ten years with two kids, this Thursday willbe particularly meaningful. As in an Americancomedy, Marco Bonini, known above all as anactor, blends screwball humor and an indiespirit for a “short story” that begins jokinglyand ends on a note of emptiness and frustra-tion reminiscent of Raymond Carver.

DIRECTED BY


Peter D. Richardson (United States) is a Portland-based filmmaker. How to die in Oregon is his secondfeature documentary. He began production on thefilm in 2007 and is its director, producer, co-editorand cinematographer. Richardson also directed,produced, edited and co-photographed his debutfeature (Clear Cut: The Story Of Philomath, Oregon),which premiered at the Sundance Film Festival in2006. The documentary centers on a rural Oregontimber town where a rift between conservatives andliberals threatens to put an end to a 40-year-oldscholarship plan that pays the college tuition forevery local high school graduate the town produces.

135

HOW TO DIE IN OREGON

In the state of Oregon, in America, assisted suicide hasbeen legal since 1994, thanks to popular referendum.Over 500 Oregonians, victims of incurable diseases,have taken advantage of the law. Patients whoaccording to at least two doctors have less than sixmonths to live can decide to legally end theirsuffering with a lethal dose of barbiturates. Withtenderness and an unconditional capacity to listen,director Peter Richardson enters the most intimateaspect of the lives of several patients who have

requested to decide on a fundamental aspect of saidlives: their death. What emerges is a powerful andcomplex portrait on the problem of dying withdignity. A documentary that will surely evokecontroversy, it places us before one of the mostdebated topics in contemporary bioethics withauthority and hard-fought calm, light years from theconfessional-style guerrilla warfare dominating theissue in Italy.

PETER D. RICHARDSON




CINEMATOGRAPHYPeter D. Richardson

EDITINGGreg Snider Peter D. Richardson

MUSICMax Richter

PRODUCERPeter D. Richardson

PRODUCTIONClearcut Productions (United States)

SALESTelevision: HBO Enterprises (United States) All other rights: Clearcut Productions(United States)

DIRECTED BY


Vitaly Manskiy (Russia, 1963) is one of the foundersof the Russian guild of “non-fiction” cinema andtelevision. He has been honored with over 50 awardsin Russia and abroad, including the award for bestdirector (Locarno), the Prix court metrage Visions duRéel (Nyon), the Golden Spire (San Francisco) andthe New Europe Film Festival prize. Since 1995Manskiy has been popularizing documentary filmson tv, producing “Reality cinema” that airs onRussia’s Channel One. Since 1996 he has beenworking on creating a unique archive of amateurvideos shot during the Soviet era, from the ’30s tothe ’90s.

137

PATRIA O MUERTE

What is left of that socialist utopia in Cuba whichhistory suggests is doomed to fail? A Russian filmcrew lands on the island to see firsthand exactlyhow a country that never bowed down to capitalismstill failed to fulfill the promise of Fidel Castro’srevolution. For more than 50 years the state hasbeen heeding the battle-cry of the winning revolution,“Patria o Muerte”, a daily dilemma for several Cubangenerations. The watchful, unblinking gaze of the

camera penetrates the myriad recesses of a raw,chaotic reality, revealing pockets of stubbornresistance among the Cubans on the occasion of amass celebration. With an irrepressible physicality asa constant, director Vitaly Manskiy films a worldteeming with humanity that radiates the faintest ofhopes while dreaming, against all odds, of a bettertomorrow.

VITALY MANSKIY



Motherland or Death

Russia | 2011Color | 2K D-Cinema | 99’Original language: Spanish

SCREENPLAYVitaliy Manskiy

CINEMATOGRAPHYVitaly Manskiy Leonid Konovalov

EDITINGMaxim Karamishev

MUSICMaria Ushenina Sergey Ovcharenko

PRODUCERGennadiy Kostrov

PRODUCTIONGenfilm (Russia)

CO-PRODUCTIONVertov. Real Cinema (Russia)

SALESma.ja.de (Germany)

DIRECTED BY


Tellervo Kalleinen (Finland, 1975) and Oliver Kochta-Kalleinen (Germany, 1971) began their collaborationin 2003 with the project “The First Summit ofMicronations”. Their international breakthrough camewith the “Complaints Choir” project 2005. TheMaking of Utopia (2006), the pair’s first film,investigates four utopian communities in Australia. InDreamland (2009) they recreated on film 21 dreamsthat Finnish citizens have had about their President.The series of short films I Love My Job (2010) showspeople‘s fantasies rising out of conflicts in theworkplace. The film People in White is the pair’sdocumentary debut.

139

PEOPLE IN WHITE

What happens when two years of electroshocktreatment erase most of a patient’s memories, andher psychiatrist, who has treated her since she wasa girl, becomes the keeper of what is left?Margreet suffers from a severe case of depression,and fears her doctor will die before her and takeher secrets to the grave. Tellervo Kalleinen andOliver Kochta- Kalleinen listen in silence as ten

Dutch men and women undergoing psychiatrictreatment discuss and vividly re-evoke theirdoctors, their positive as well as disastrousexperiences, and the oppressive power play thatcan exist between patient and therapist. The resultis a liberating, if disturbing, confession, on a bitteryet amusing note, that shows psychiatry in a lightnever shown before.

TELLERVO KALLEINEN, OLIVER KOCHTA-KALLEINEN



Finland, Netherlands | 2011Color | Beta Digital PAL | 64’Original language: Dutch

WITHDon Asser Conny BeyerFabio-Romano del Castelletto Ernst DekkersKees van LamoenHugo MaertenMieke Jacqueline Rietveld Ellen van Rossum Christine van Stralen

SCREENPLAYTellervo Kalleinen Oliver Kochta-Kalleinen

CINEMATOGRAPHYKaspars Brakis

EDITINGTellervo Kalleinen Oliver Kochta-Kalleinen

PRODUCTION DESIGNMartine van den Enden

MUSICUlrich F. Stanke Christoph Schwarzer

PRODUCERKim Knoppers

CO-PRODUCERSTellervo Kalleinen Oliver Kochta-Kalleinen

PRODUCTIONMadness & Arts Festival (Netherlands)

CO-PRODUCTIONStudio Kalleinen & Kochta-Kalleinen(Finland)

SALESStudio Kalleinen & Kochta-Kalleinen(Finland)

DIRECTED BY


AFRICAN WOMEN IN VIAGGIO PER IL NOBEL DELLA PACE

“The women of Senegal are tired” is the refrain youhear again and again in this documentary made aspart of a project to obtain well-deserved recognitionfor the role of women in Africa, and candidate themfor the Nobel Peace Prize (a proposal by CIPSI, agroup comprised of 48 associations, and ChiAmal’Africa). This colorful and intriguing assortment offemale African “indignados”, however, is full ofsmiles and dancing, and more joy than you’ll findat any party or festival in town or country in the

West. Whether they are drying fish all day long ortoiling in the fields under the hot sun; whether theyare taking care of their children, preparing meals,or perhaps peacefully cohabiting in an extendedfamily headed by a polygamous patriarch, as onestartling and amusing scene of this film shows, thisfilm is one report that has the vibrant, incessantbeat of a ritual chant.

STEFANO SCIALOTTI

140 EXTRA | OUT OF COMPETITION | DOCUMENTARIES

African WomenA Journey for a Nobel Peace Prize

Italy | 2011Color | HDCAM | 53’Original language: French, Wolof

SCREENPLAYStefano Scialotti

CINEMATOGRAPHYWalter Balducci

EDITINGDiego Glikman

MUSICLouis Siciliano

PRODUCERMartha Capello

PRODUCTIONMartha Production (Italy)

CO-PRODUCTIONDinamo Italia (Italy)

ITALIAN DISTRIBUTIONMartha Production (Italy)

SALESMartha Production (Italy)

Stefano Scialotti (Italy) is a curator and director oftelevision programs, commercials, films, anddocumentaries on themes related to childhood,politics, and social issues. Besides historical andbiographical documentaries about artists’ lives, hedirected Un altro mondo è possibile (2001), Sotto ilcielo di Baghdad (2002), and the collective film Laprimavera del 2002. L’Italia protesta, l’Italia si ferma(2002), together with Mario Monicelli, MarcoBellocchio, Ettore Scola, and Paolo Sorrentino,among others.

141

EXTRA OUT OF COMPETITION | DOCUMENTARIES

DIRECTED BY

BOBBY FISCHERAGAINST THE WORLD

Considered by many to be the world’s greatest chessplayer, Bobby Fischer personified the link betweengenius and madness. His story seems to comestraight out of a Marvel comic: world champion at theage of 29, ensuing depression, flight, paranoia, andobsession with his comeback against Boris Spasskythat would be something of a farce, not to mention aloveless childhood and a freak talent that broughthim no joy and no tranquility. The center of media

attention, Fischer was never equipped for a life in thespotlight. Bobby Fischer Against the World exposesthe disturbingly high price Fischer paid to achievehis legendary success and the resulting toll it took onhis psyche. Behind the camera, Liz Garbusconfidently moves the pieces on her chessboard: anunstoppable march of never-before-seen footage andfirst-hand reports, to document a giant’s nearlyunbearable regret and frustration.

LIZ GARBUS


United States | 2010Color | Beta Digital PAL | 92’Original language: English

CINEMATOGRAPHYRobert Chappell

EDITINGKaren Schmeer Michael Levine

MUSICPhilip Sheppard

PRODUCERSLiz Garbus Rory Kennedy Stanley Buchthal Matthew Justus

PRODUCTIONMoxie Firecracker Films (United States)

ITALIAN DISTRIBUTIONFeltrinelli Real Cinema (Italy)

SALESEaling Metro International (United Kingdom)

Liz Garbus (United States) is one of America’s mostcelebrated documentary filmmakers. Her most recentlycompleted project, Shouting Fire: Stories from theEdge of Free Speech (2009), premiered at Sundance2009. Other directorial credits include The Farm:Angola, USA (1998), nominated for an AcademyAward®, and winner of the Sundance Grand Jury Prize;The Execution of Wanda Jean (2002), The NaziOfficer’s Wife (2003), Girlhood (2003), and Coma(2007). Along with Rory Kennedy, she also executiveproduced the 2006 Academy Award-nominated StreetFight, and Ghosts of Abu Ghraib, which won theEmmy® Award for Best Documentary in 2007.

143


DIRECTED BY

CASE CHIUSE

In 1958 the Merlin Law put an end to brothels,which had been operative in Italy for years. Withbrio and a wealth of interviews – including withscholars of ancient history, experts of the figurativearts, directors Tinto Brass and Lina Wertmüller,actor Lando Buzzanca, Luciana Castellina and EvaCantarella – the film reconstructs the customs,literature and memoirs of these stations of ecstasyand exploitation, seduction and desperation. Andexamines how this phenomenon is enjoying asurprising revival today: in a city such as Berlin

there are centers of luxury – inside which no onehad ever filmed before – that look like high-classspas and offer professional erotic services. Theyhave the daily traffic of an international airport andthe prostitutes treat clients with the samecourteous efficiency of a flight attendant orsecretary. The film travels from the ruins of thePompei whorehouse, to the non-alcoholic drinks ofBerlin’s Artemis, the erotic papyruses of Turin’sEgyptian Museum and the Paradise in Girona.

FILIPPO SOLDI


Italy | 2011Color and B/W | HDCAM | 52’Original language: Italian

SCREENPLAYFilippo Soldi

CINEMATOGRAPHYMarina Kissopoulos

EDITINGMaria Fantastica Valmori

MUSICFabrizio Bondi

PRODUCERFlavia Parnasi

PRODUCTIONCombo Produzioni (Italy) in collaboration with Rai Cinema (Italy)

ITALIAN DISTRIBUTIONCombo Produzioni (Italy)

SALESRai Trade (Italy)

Filippo Soldi (Italy) obtained a Literature degreebefore studying Dramaturgy and Screenwriting at thePaolo Grassi School of Dramatic Arts in Milan. Herevised various texts for the theatre, while stagingsof his own work include Bambini di notte and MariaMontessori, atto di nascita, directed by MonicaConti (1999). His monologue Valium won the LagoGerundo National Literary Prize - Theatre. In 2002he was elected to the film consulting commissionof the Ministry of Culture.

145

DIRECTED BY


DIVERSAMENTE GIOVANE

Few film spectators know her name, but attorneyGiovanna Cau – who in 88 years has never given upher proverbial temperament and an enterprising,mercurial intelligence – was a vital collaborator ofartists such as Federico Fellini, Marcello Mastroianni,Italo Calvino, Alberto Moravia, Ettore Scola, CarloLizzani, Francesco Rosi, Monica Vitti, and even PaoloSorrentino and Emanuele Crialese. A surprisingnumber of films that have made our cinema great

germinated in her illustrious offices in ViaRomagnosi, also a hotbed for critical battles forcopyright, actors’ rights and the abolition ofcensorship. Marco Spagnoli skillfully draws into thelimelight an inimitable personality who in front of thecamera finally tends to herself, reliving her childhoodand youth, her career and her warm, invaluablememories of her extraordinary “fellow travelers.”

MARCO SPAGNOLI


Differently Young

Italy | 2011Color and B/W | 2K D-Cinema | 70’Original language: Italian

WITHGiovanna CauTonino GuerraEttore ScolaAntonio SeveriniFelice LaudadioCarlo LizzaniPaolo VirzìJean SorelNicola Giuliano

SCREENPLAYMarco Spagnoli

CINEMATOGRAPHYDaniele Bergero

EDITINGJacopo Reale

MUSICPivio & Aldo De Scalzi Pasquale Catalano

PRODUCERSMarco Spagnoli Paolo Monaci

CO-PRODUCERSLuca Lucini Raffaello Pianigiani Riccardo Grandi Leonardo Rossi

PRODUCTIONPolifemo (Italy)

CO-PRODUCTIONMare Mosso (Italy)Twister (Italy)

Marco Spagnoli (Italy, 1970) is a film critic andjournalist. He has published, among other works, “Lavita è un gioco fatto di centimetri – Conversazioni conOliver Stone” (2008); “Match Points: Conversazionicon Woody Allen” (2008); and “Tim Burton:Anatomia di un regista cult” (2006). He directedHollywood sul Tevere, nominated in 2010 for Daviddi Donatello and Nastro d’Argento awards andpresented in the Controcampo Italiano sidebar of theVenice Film Festival, which screened his 2011 filmHollywood Invasion as a Special Event. He is amember of the David di Donatello Academy.

147

DIRECTED BY


HOLLYWOOD BRUCIATA RITRATTO DI NICHOLAS RAY

One of the most enigmatic directors of his day,Nicholas Ray profoundly influenced film history,launching Hollywood stars such as James Dean,Natalie Wood and Sal Mineo, and crowning thecareers of the likes of Humphrey Bogart and JohnWayne. In the 50s and 60s, films like They Live byNight (1948), In a Lonely Place (1950), JohnnyGuitar (1954) and Rebel Without a Cause (1955)firmly established Ray’s fame. Ray was thefilmmaker who brought true emotions to the make-believe Hollywood world. Anger and tenderness,

solitude and desperate longing: they all runthrough the characters in his noirs, melodramasand gangster films, making him perhaps one of thedirectors that European critics and intellectualshave loved best, from Godard to Wenders. The filmis a sensitive and accurate tribute to the legend,featuring exclusive reminiscences and never-before-seen footage from the archives that shedlight on the talent and dramatic decline of adirector relegated to the margins of Hollywood.

FRANCESCO ZIPPEL


Italy | 2011Color and B/W | 2K D-Cinema | 45’Original language: Italian

SCREENPLAYFrancesco Zippel

CINEMATOGRAPHYFrancesco Sauta

EDITINGLuca Di Marino Frame by Frame

MUSICJason Goodman

PRODUCERLuca Federico Cadura

PRODUCTIONNBC Universal Global Networks Italia (Italy)

ITALIAN DISTRIBUTIONStudio Universal (Italy)

INTERNATIONAL DISTRIBUTIONStudio Universal (Italy)

Francesco Zippel (1979) is a documentary writer anddirector. He has created film profiles of Italy’s leadinglights in culture and politics, like Pier Paolo Pasolini,Indro Montanelli, Leonardo Sciascia, and SandroPertini, as well as entertainment figures such as CarloVerdone, Walter Chiari, Franchi and Ingrassia, andDino De Laurentis. In Quelli di Via Fani – La scorta diMoro, Zippel retraced the history of a crucial time inItalian politics, while in Hollywood 10 he took on thescourge of McCarthyism in the U.S. Frammenti di undiscorso amoroso, a short feature, premiered at the2002 Turin Film Festival.

149


DIRECTED BY

PROJECT NIM

What would happen if a baby chimpanzee werebrought up by a human family? The surprising anddramatic answer is to be found in this film, part fairytale, part horror story, about an experiment thatstarted in 1973 and ended up as a sort of ‘ElephantMan’ of the animal world, with no one seeming toexpect chimps to act like champs, but demanding inunison, in their cruel anthropomorphism, that chimps

become human. The film tells the extraordinary storyof Nim, the chimpanzee who is subjected to animportant experiment to demonstrate that a monkeyraised as a child can indeed learn to communicateusing sign language. Interviews with Nim’s trainersand other researchers alternate with historic footagefrom the period.

JAMES MARSH


United Kingdom | 2011Color and B/W | HDCAM | 99’Original language: English

SCREENPLAYbased on Elizabeth Hess’ “Nim Chimpsky:The Chimp Who Would Be Human”

CINEMATOGRAPHYMichael Simmonds

EDITINGJinx Godfrey

MUSICDickon Hinchliffe

PRODUCERSimon Chinn

CO-PRODUCERSGeorge Chignell Maureen A. Ryan

PRODUCTIONRed Box Films (United Kingdom)

ITALIAN DISTRIBUTIONSacher Distribuzione (Italy)

SALESIcon Entertainment International(United Kingdom)

James Marsh (United Kingdom, 1963) is a directorof both documentary and narrative feature films. Hisfirst dramatic feature, The King (2005), waspresented at the Cannes Film Festival. His previousfilm, Wisconsin Death Trip (1999), after premieringat the Venice Film Festival and winning a BAFTAaward, was released in the UK and the US, where itstayed on art house release for two years. Marsh wonan Academy Award for Man on Wire (2008), whichscreened in Extra to audience acclaim. Released byFeltrinelli, Man on Wire has sold more than 50,000copies. Red Riding: In the Year of Our Lord 1980,premiered at the Rome Film Festival in 2009.

151

DIRECTED BY

EXTRA OUT OF COMPETITIONDOCUMENTARIES

United States, Iran, France, Lebanon | 2011Color | 2K D-Cinema | 105’Original language: Farsi

CASTNikohl Boosheri Sarah Kazemy Reza Sixo Safai Soheil Parsa Nasrin Pakkho Sina Amedson Keon Mohajeri

SCREENPLAYMaryam Keshavarz

CINEMATOGRAPHYBrian Rigney Hubbard

EDITINGAndrea Chignoli

PRODUCTION DESIGNNatacha Kalfayan

COSTUME DESIGNLamia Choucair

MUSICGingger Shankar

PRODUCERSKarin Chien Maryam Keshavarz Melissa M. Lee

CO-PRODUCERAntonin Dedet

PRODUCTIONMarakesh Films (United States /Iran)

CO-PRODUCTIONA Space Between (United States) Bago Pictures (Hong Kong) Neon Productions (France)

SALESFunny Balloons (France)Maryam Keshavarz (United States) is a director,

producer and writer of Persian origin. Her debut filmwas the experimental, black and white, 16mmSanctuary, a fantasy on the life of an Iranian womanin New York post-9/11. Her first documentary, TheColor of Love (2004), was an intimate portrait ofsocietal change in Iran, from the concept of love topolitics. Her adolescent love triangle The Day I Died(2006), set in an Argentinean city, won a Teddy andan Honorable Mention for Best Short Film at theBerlinale.

153

Heartbreakingly beautiful and seductive, Atafeh andShireen are friends who desire one another and thetransgression that animates their Tehran nights, asthey move both agilely and cautiously throughcontemporary Iran. Bur their relationship is destinedto be condemned by their families and society. Thevivid feature debut of the young Maryam Keshavarzis a knowing, revealing chronicle of a dolce vita lived

in the shadows of terror of the commissariats.Illuminated by a style that alternates ellipticalconcentration and devastating physicality, the filmmade Indiewire’s list of best independent titles ofthe year. The two main characters move like pagangoddesses among tradition, amour fou, betrayal andpassion, without ever abandoning a drop of theirrevolutionary sensuality.

CIRCUMSTANCE MARYAM KESHAVARZ

152 EXTRA | OUT OF COMPETITION | FEATURE FILMS

DIRECTED BY

EXTRA OUT OF COMPETITION | FEATURE FILMS

Turn Me On, Goddammit!

Norway | 2011Color | 2K D-Cinema | 76’Original language: Norwegian

CASTHelene BergsholmMatias MyrenMalin BjørhovdeBeate Støfring

SCREENPLAYJannicke Systad Jacobsen (based on Olaug Nilssens’ novel)

CINEMATOGRAPHYMarianne Bakke

EDITINGZaklina Stojcevska

PRODUCTION DESIGNSunniva Rostad

MUSICGinge Anvik

PRODUCERBrede Hovland

PRODUCTIONMotlys AS (Norway)

SALESCelsius Entertainment (United Kingdom)

Jannicke Systad Jacobsen (Norway, 1975) studiedfilm directing at FAMU (The National Film School ofthe Czech Republic) and the London InternationalFilm School. She has also studied dramaturgy anddrama, as well as social anthropology at the Universityof Oslo. She directed several documentaries and shortsbefore making her feature film debut with Få meg på,for faen! (Turn me on, Goddammit!). Systad Jacobsen,who also wrote the screenplay for the film, recentlyreceived the award for Best Screenplay in the WorldNarrative Competition at the Tribeca Film Festival.

155

There’s not much to do in the Norwegian villagewhere Alma (Helene Bergsholm) lives but daydreamabout Artur (Matias Myren), her schoolmate, andring up the hot lines. When the dashing Artur makesan absolutely unconventional pass at Alma during aparty, the situation becomes critical. When Almatells her envious girlfriends what he’s done, theydon’t believe her, Artur denies it, and at school they

laugh at her. Suddenly an outcast from her society,Alma is tempted to flee, but courageously sticks toher story. In her directorial debut, Jannicke SystadJacobsen tinges her coming-of-age tale – one of themost acclaimed independent films of the year – withcold Northern light and touches of full-bloodedcomedy, and seasons it, above all, with a vivid,cracking teenage sensuality.

FÅ MEG PÅ, FOR FAEN!

JANNICKE SYSTAD JACOBSEN


DIRECTED BY


Lunatics

Colombia | 2011Color | HDCAM SR | 72’Original language: Spanish

CASTCesar BadilloMarcela Carvajal

SCREENPLAYHarold Trompetero Gerardo Pinzón

CINEMATOGRAPHYManuel Castañeda

EDITINGJonathan Palomar

PRODUCTION DESIGNSandra Lilia Rengifo

COSTUME DESIGNAlvaro Holguin

MUSICJuan Pablo Martinez Songo Studio

PRODUCERSCarolina Barrera Harold Trompetero

PRODUCTIONHarold Trompetero Producciones (Colombia)

SALESHarold Trompetero Producciones (Colombia)

Harold Trompetero (Colombia, 1971) pursued filmstudies in Cuba, Spain and France. He worked formany years in advertising, receiving numerousawards. In 2000 he made his first feature film, theaward-winning Diástole e Sístole: Los movimientosdel corazón (Diástole and Sístole, the Movements ofthe Heart). In 2004 he produced and co-directedDios los junta y ellos se separan. In December 2007he directed Muertos de susto, which was a box officesuccess in Colombia. In late 2008 he releasedRiverside.

157

With a job to repaint a psychiatric ward, Eduardo(Cesar Badillo) goes literally mad with passion fora psychotic patient, Carolina (Marcela Carvajal).The solitary protagonist and erstwhile creature ofhabit is now hunched up in a ball, his eyes lightingup at the idea of achieving his heart’s desire at allcosts. She seems to come from another planet, alife form that is incomprehensible and beyondreach, yet the two worlds intersect and the impact

is dizzying; there will be pain all around. Outsidethe hospital, their love spins out of control. Tautlyfilmed with an unobtrusive touch, tight andpolished and alive to the silences, the slightestmovements and emotions of the two leads, the filmis not so much an apology for the blurred linebetween sanity and madness as it is a unique,unconventional love story that Ferreri and Buñuelwould have enjoyed.

LOCOS HAROLD TROMPETERO


DIRECTED BY


Sleepless Night

France, Belgium, Luxembourg | 2011Color | 35 mm | 98’Original language: French

CASTTomer SisleyJoeyStarrJulien BoisselierSerge RiaboukineLaurent StockerBirol Ünel

SCREENPLAYFrédéric Jardin Nicolas Saada Olivier Douyère

CINEMATOGRAPHYTom Stern

EDITINGChristophe Pinel

PRODUCTION DESIGNHubert Pouille

COSTUME DESIGNUli Simon

MUSICNicolas Errera DJ Yenn Ionic Benton Artaban

PRODUCERSMarco Cherqui Lauranne Bourrachot

CO-PRODUCERSDavid Grumbach Paul Thiltges Jean-Jacques Neira Hubert Toint Adrian Politowski Gilles Waterkeyn

PRODUCTIONChic Films (France)

CO-PRODUCTIONPaul Thiltges Distribution (Luxembourg) Saga Film (Belgium) uFilm (Belgium)

SALESBac Films (France)

Frédéric Jardin (France, 1968) took his first steps incinema as an assistant to Jean-Luc Godard, ClaudeSautet and Jacques Doillon. In 1994 he made hisdebut feature, La Folie Douce, starring Edouard Baerand Géraldine Pailhas and produced by Alain Sarde.He followed that up with The Sister Brothers (2000),a frenetic comedy starring Denis Podalydès and JoséGarcia, and the dark comedy Cravate Club (2003),with Edouard Baer and Charles Berling.

159

A heist gone bad. Very bad. In a night streakedwith blow and blood, a corrupt cop will find outwhat it means to be a father as he dodges bulletsand ambushes. A razor-sharp, high-tension noir.Considered one of the best police officers in thecity, Vincent has in his possession a large quantityof cocaine. When drug traffickers kidnap his son,he must meet with them in their “headquarters,”a large nightclub on the outskirts of Paris.Everything takes place in one night, almost entirely

in the disco. The film recalls the French crime novelsof José Giovanni and Jacques Deray and the well-oiled mechanisms of American B-movies such as TheNarrow Margin and The Big Clock, also set entirelyin one claustrophobic space. A handful of actors in astate of grace, an array of faces that seem pluckedfrom prison and all the colors of impenetrabledarkness are distilled in the luminous tones of onevery sleepless night.

NUIT BLANCHE FRÉDÉRIC JARDIN


DIRECTED BY


Argentina | 2011Color | HDCAM | 85’Original language: Spanish

CASTLaura Paredes Julián Tello Santiago Gobernori Débora Dejtiar Julio Citarella Fernanda Alarcón Agustina Liendo

CINEMATOGRAPHYAgustín Mendilaharzu

EDITINGAlejo Moguillansky

MUSICGabriel Chwojnik

PRODUCERMariano Llinás

PRODUCTIONEl Pampero Cine (Argentina)

SALESEl Pampero Cine (Argentina)

Laura Citarella (Argentina, 1981) is a member ofthe production company El Pampero Cine, alongwith Mariano Llinás, Alejo Moguillansky andAgustín Mendilaharzu. In 2006 she won theHistorias breves 5 contest and in 2008 she madethe short film Tres Juntos. She produced, amongother films, Extraordinary Stories (Historiasextraordinarias, 2008) and Castro (2009). She isalso a musician, and in 2009 she released herdebut album, “Laura Citarella”, produced by JohnStewart. Ostende (2011) is her first feature film.

161

Hitchcock in South America. Laura (Laura Paredes)wins a vacation on the radio and arrives at a largehotel in Ostende, on the Atlantic, not far from BuenosAires. Against the gloomy backdrop of the ocean atlow season, between calls to her boyfriend Paco(Santiago Gobernori) and chats with the waiter(Julián Tello), Laura notices an elderly man (JulioCitarella) with two young women, and can’t ignoretheir comings and goings in the room across the hall.She starts to fantasize about their ambiguous

relationships (who wouldn’t, after all?), intrigued by afascinating microcosm that could have countlessstories to tell. In this undeclared remake of RearWindow, only the viewer will learn the truth in thefilm’s finale. The ambiguous, threatening atmosphere,the hypersensitive shots that seem to quiver on everydetail, and the evocation of a cryptic, distant worldmake this a remarkable debut.

OSTENDE LAURA CITARELLA


DIRECTED BY


INDIAN HIGHWAY

2011, documentary, 15’Production CortoArteCircuito at MAXXIDirection Dodo Fiori

LA TRACCIA

2010, short film, 6’44” Production CortoArteCircuito at AsiaticaDirection Mazdak Mirabedini

DA UNO A MOLTI. 1956 - 1964

2011, short film, 13’Production CortoArteCircuito at MAXXIDirection Dodo Fiori

PERSON

2008, single-channel video 16/9, 16’14’’Direction MasbedoPresented by CortoArteCircuito

162 EXTRA | OUT OF COMPETITION

ideo and short films can document theprocess of creating a work of art as well ascapture the expressions, words and bodiesof those who make it. It can map out andexplore the material from which art is

made or relate the aesthetic and architecturalprocesses that govern its exhibition. In collaborationwith MAXXI and the association CortoArteCircuito,Extra offers an exclusive program for discovering whathappens when a story told in images meets artists,exhibit and video art: a medley of pure concentrationand intensity, information, essay, and the amplifiedperception of the works of Masbedo, MaurizioMochetti, Michelangelo Pistoletto, Martha Colburn,Jacob TV and the Indian avant-garde.

EXPANDED VIDEO - JACOB TV

2011, video interview, 11’57’’Production MAXXI B.A.S.E.Direction Gianfranco Fortuna and Felice Bagnato

EXPANDED VIDEO - MARTHA COLBURN

2011, video interview, 7’10’’Production MAXXI B.A.S.E.Direction Gianfranco Fortuna and Felice Bagnato

V

MAXXICORTOARTECIRCUITO

163EXTRA | OUT OF COMPETITION

irst and foremost, these two actors have provenwith their talent and careers that one can berecognized as a European actor by becoming acharismatic force of their respective domestic

cinema, and simultaneously a highly esteemedprofessional on the big screen in any language.Castellitto began his career during the revival of Italianindependent cinema in the late ’80s and “grew up”under the gaze of prestigious filmmakers such as EttoreScola (The Family), Marco Ferreri (The Flesh), GiuseppeTornatore (The Star Maker) and Marco Bellocchio (MyMother’s Smile). Today Penelope Cruz is one of themost renowned film actresses and divas in the world;one of her first starring roles was actually in AurelioGrimaldi’s Italian film La ribelle, then she went on tobecome one of the most adored faces of PedroAlmodóvar’s films, as well as of Woody Allen’s (whoafter Vicky, Cristina, Barcelona called her to star in hisBebop Decameron, shot in Rome). Both are comfortable in great auteur as well as inmainstream international films - Luc Besson’s andJacques Rivette’s films, Vanilla Sky, The Chronicles ofNarnia: Prince Caspian and Pirates of the Caribbean:On Stranger Tides were all international blockbustersstarring Castellitto or Cruz. And there is more than alittle professional affinity and mutual esteem betweenthe two: Cruz was the body and soul of the popular maincharacter in the film Don’t Move, successfullyacclaimed by the audience and critics alike, based onMargaret Mazzantini’s novel translated into manylanguages and directed by and co-starring Castellitto.After such a profitable and profound collaboration, theyreunited and are currently working on Venuto al mondo

(also based on Mazzantini’s novel, Campiello Award2009). Which is why this duet will be “doubling up” –Mazzantini will participate in the encounter, as willEmile Hirsch, one of the most promising young actorsof American cinema who co-stars in Venuto al mondo.International Rome Film Festival audiences rememberhim well from one of the most popular films of lastyear’s edition, Into the Wild. The foursome make up theprotagonists of this highly anticipated event, the Duet(in the EXTRA section), a tradition begun by the RomeFilm Festival, which previously hosted the duetsBernardo Bertolucci-Marco Bellocchio, Toni Servillo-Carlo Verdone, Muccino-Tornatore and MargheritaBuy-Silvio Orlando. Castellitto and Cruz will select scenes they love fromeach other’s films and comment on them in adiscussion open to the public, who can purchase ticketsfor the event, as well as the press.

CASTELLITTO | CRUZHIRSCH | MAZZANTINI DUET

F

THE MAGNIFICENT FOURAlso participating in the Sergio Castellitto-Penelope Cruz Duet are writer MargaretMazzantini and actor Emile Hirsch. Castellitto,Cruz and Hirsch star in the film Venuto almondo, based on Mazzantini’s novel.

167EXTRA | DUETS166 EXTRA | DUETS

risks in framing shots (Signorina Effe by WilmaLabate, Valzer by Salvatore Maira, Viola di mare byDonatella Maiorca, and Ruggine by DanieleGaglianone). The way Solarino nonchalantly combinesa quavering whisper with a powerful physical presencemay be her trademark in the scenes in which sheappears.Vinicio Marchioni may be going in the oppositedirection: after his dramatic portrayal as the lead in20 sigarette, a generous performance devoid ofrhetoric, only very lately has he appeared to havefound his element in a smart and unconventionalItalian film like Cavalli by Michele Rho, and above allin Scialla by Francesco Bruni, where, in the role of atwo-bit crook who worships Pasolini, he seems to pokefun at that role as a urban gang member that thrusthim into the limelight in Romanzo Criminale.

‘Duetto’ welcomes two actors who, in just a few shortseasons, have won audiences over with an impressiveportfolio of roles and films; and those audiences arekeen to learn what else the two can do, and what otherstories and films they’ll see them in.

MARCHIONI | SOLARINODUET

aleria Solarino seemed to come out ofnowhere when she appeared in adisjointed, free-thinking, and unsparingfilm like Fame chimica, about urban

youth on the city’s fringes. But with her sensual yetretiring femininity, her composure, her sinuous,adolescent physique, and the face of a catwalk model,that turn sufficed to win her roles in other coming-of-age films such as Che ne sarà di noi by GiovanniVeronesi, as well as an auteur film by AlessandroD’Alatri (La febbre) and Roberto Andò’s Viaggiosegreto with its arty mise-en-scène.After scattered appearances on television and in a fewindependent films, Vinicio Marchioni came into hisown – with no small help from his icy gaze straightout of a 40s crime movie and a square, comic-herojaw – thanks to his role as Freddo in the most

acclaimed television series in recent years (RomanzoCriminale), a critical and audience favorite. Indeed,rarely has a television series generated such instantpopularity for its stars; perhaps the reason is thesuperb directing, writing, and acting that the smallscreen was long awaiting.It took Solarino no time at all to become aMediterranean icon courted by magazines, TV shows,and the fashion world, nor did she have to knockherself out or do anything special to attract theintense media coverage our times offer. And althoughshe has been recruited for important roles incomedies (Manuale d’amore 3, Italians), the scriptsshe chooses shows that, like all true actors trying togrow, Solarino knows how to gamble on stories, anddirectors, that don’t shy away from controversy; thatmake exemplary biographies; and that take stylistic

VDUETVinicio Marchioni and Valeria Solarino team up fora Duet in the EXTRA section. Each will chooseclips they love from the other’s films and discussthem in a one-on-one conversation open to thepress and the ticket-holding public.

169EXTRA | DUETS168 EXTRA | DUETS

albeit from virtually diametrically opposed startingpoints. Rubini began his career at the Academy and inthe theatre, quickly making a name for himself on thestage as one of the most talented heirs of a naturalistictradition the god of which is none other than EduardoDe Filippo. He then went on to carefully, doggedlycreate perhaps the most interesting filmographies of anyItalian actor-director to have debuted in the ’80s.Scamarcio studied at the National Film School andexploded as a teen idol before more serious“apprenticeships” with directors such as DanieleLuchetti, Michele Placido and Ferzan Ozpetek, andfinally, critical and public acclaim in the theatre as well,in Valerio Binasco’s Romeo e Giulietta.

171EXTRA | DUETS

RUBINI | SCAMARCIODUET

n 1991, with his film The Station, Sergio Rubiniofficially inaugurated a bridge with the audiencesof a new generation of Italian directors and actorsthat had disappeared in the ’70s. Practically an

overnight sensation, and one of very few Italian filmstars to have become a heartthrob for adolescent girls,Riccardo Scamarcio gradually molded himself into anesteemed actor, rising above the media attention thathad relegated him solely to the role of sex symbol.Unlike Rubini, who often told the stories ofmarginalized, unattractive people; lost youths in isolatedtowns; and fantastical, remote worlds nestled in a sunnysouthern Italy fraught with shadows. Yet when they’retogether them seem to move across common, almostatavistic ground (they are both from Apulia). Colpo d’occhio features animal-like jealousy, maleantagonism, anger and manipulation, in which like

warring beasts the actors challenge one another toexhaustion, until one of them is knocked down for good.In L’Uomo nero – their most recent film together, whichlike Colpo d’ occhio was directed by Rubini – they liveside by side within family rituals, at family meals, intown squares, as if they knew each gesture, each corner,inside and out. As is the case with many strikingly handsome stars,Scamarcio had to work hard to not be reduced to justhis pretty face, to not be a slave to it. Whereas Rubiniused his strong, shambling, and intriguingly seductive,features to his favor, initially creating touching dreamsthat were too big for their dreamers, then filling atreasured gallery of characters (like the unforgettable,loathsome loan shark in Our Land), reserving thesecondary ones for himself. It is as if they arrived at a common ground together,

I

170 EXTRA | DUETS

DUET + FILMSSergio Rubini un attore regista (20 min) and PaoloSantolini’s Io non sono io. Romeo, Giulietta e glialtri (70 min, see box next page) respectively openand close the Duet, revealing new aspects of theduo’s work. In the former, Rubini is shown castingactors for his film (including a memorable auditionfor the role of the father). In the latter, Scamarciois followed from the early stages of his work onRomeo e Giulietta, and with surprising couragebares himself before a video camera that shadowshim everywhere, onstage and off.

© Francesco Escalar / Lightshape© Claudio Porcarelli

e is considered by some to be the onlytrue heir to the great American filmtradition - the one that produced Hawks,Lang and Friedkin - but Michael Mann is

not fond of these comparisons. Still, from Thief toHeat and Collateral, he has completely revisited the“crime movie”, turning it into a sort of noir parexcellence that unfolds in a world in which peopleare never tough enough or smart enough to resist thetemptations and avoid the snares of the sprawlingmetropolis. Mann hates the word “style” (and saysso in the interview), but see The Last of the Mohicansjust once and you’ll realize what a supreme stylist heis. From his invention of TV series that revolutionizedthe small screen (“Miami Vice”) to the radical digitaltechnology in Public Enemy, Mann is the living proofthat it is possible to be a great filmmaker andinnovator by simply doing one’s job to the best ofone’s abilities (“People who are very good at whatthey do and are conscious while they engage in theactions of their lives, are refreshing and admirable tome. If there’s one thing I loathe or fear, it’s decayinginto complacency”). Just like Mann’s bestcharacters, from the jewelry thief James Caan inThief to the taxi driver Jamie Foxx in Collateral. Andjust like when it hosted Coppola, Malick, the Coenbrothers, and many others, Extra is particularlypleased and proud to invite a master Americanfilmmaker like Michael Mann to conduct a film classfor the Festival audience.

It is quite impressive to note how important it isfor you to know the real people behind thecharacters in your films: real thieves, real cops(Dennis Farina, if I am not wrong, was a cop beforebecoming an actor), real prison and prisoners (as inthe first film you directed). You shot in MuhammadAli’s real home for Ali and you had a real mailcorrespondence with a serial killer before working onManhunter. Beyond a natural need for truth in

IO NON SONO IO. ROMEO, GIULIETTA E GLI ALTRI

DIRECTED BY PAOLO SANTOLINI

172 EXTRA | DUETS

MASTERCLASSMICHAEL MANN

H

173EXTRA | MASTERCLASS

“When I take the stage, to give the best that I cangive, I have to have the feeling, or rather certainty,that I could die to do just that,” Al Pacino told RomeFilm Festival audiences a few years ago. A sentimentthat perhaps could have been used in the opening ofthis film, which shows from the inside what it trulymeans to act, step into a character’s skin, and face,before the live audience even, those directly aroundyou (the director, your fellow actors, the crew and allthe collaborators), when you are an established filmactor. Paolo Santolini’s I Am Not Me. Romeo, Julietand the Others follows Riccardo Scamarcio in thestaging of Valerio Binasco’s Romeo e Giulietta, the

surprising audience hit that also garnered ravereviews. On this journey, Scamarcio courageously andgradually strips himself of his star status to confrontthe fears, helplessness and risks of the stage, and theunrelenting eye of the video camera – to which,however, he confesses at times, as if to liberatehimself. Initial mistrust, an intimate and collaborativerelationship (without a net) with a director, the weightof the ego, giving in to abandon: rarely has theadventure of a theatre play – based on violentconflicts and affections that upset and shape acommunity – been told from so near and with somuch transparency.

Italy • 2011 • Color • DCP • 75’ • Italian

Cast Valerio Binasco, Riccardo Scamarcio, Deniz Ozdogan, Antonio Zavatteri, Filippo Dini, Milvia Marigliano,Fabrizio Contri, Andrea Di Casa, Simone Luglio, Gianmaria Martini, Giampiero Rappa, Nicoletta Robello,Roberto Turchetta, Fulvio PepeScreenplay Clelio Benevento, Paolo Santolini Cinematography Paolo Santolini Editing Emily Greene, ClelioBenevento Music Arturo Annecchino Executive Producer Paolo Benzi Production Nuova Teatro Eliseo (Italy), Magnolia (Italy), Rai Cinema (Italy)

filmmaking, one feels as though you need to beethically close to the world in doing your work, a kindof personal faith and a sort of storytellingprofessionalism at the same time. What can you sayabout this ?

«Yes, Dennis Farina was a detective in a majorcrime unit in the Chicago Police department. Hispartner was Charles Adamson, who I mentored as awriter and he co-created my television series “CrimeStory” from 1988-1990, which starred Dennis. Theproblem with this question is that you wrote theanswer and it’s correct. I do seek to be as immersedas I can be in the world in which I’m making the film.Why would anyone want it any other way? The deeperyou go into complexity, the richer are the discoveries.Usually, I’m searching for the contradictions and theanomalies. The character of Wigand, in The Insider,so far surpasses pure invention, trying to make him upin a room in Los Angeles. The experience is to go onan adventure. The search is for character, ambiance,the unexpected causal drain to an event, the tones andcolors, rhythms and patterns to a milieu. Overall, the process of immersion is analogous to anactor being in character. That’s what I try to do. For adirector, of course, it’s not character; it’s the totalworld of the film. So, to have met and correspondedwith Dennis Wayne Wallace prior to Manhunterallowed me to understand and recuse Thomas Harris’Dollarhyde and the mindset of Dollarhyde whichGraham is imagining and projecting himself into. FromDennis Wayne Wallace I got the delusional scheme inhis mind, why it was there, the very dark humor, thebelief that he had a true love (a go go dancer calledCinnamon Cindy the Surfin’ Queen [True!]) and theirlove song, Iron Butterfly’s “In A Gadda Da Vida”. Allof that helped me to create the Dollarhyde characterso wonderfully played by Tom Noonan. Regarding places, places talk to me and I should beable to make them talk to audience. There wassomething grand about the commodious living spacesthat Muhammad Ali occupied in Hyde Park in Chicago(Obama’s neighborhood). They bespoke Ali’s large andaccurate vision of what he was making himself into,

which was important because that which herepresented was powerfully motivational to peopleglobally. Their aspirations were symbolized by hisstruggles and victory. In my mind, his identity reachedits ultimate iteration in his victory over George Forman.He came to personify the ambition and all over theplanet, for many people seeking to rise up from below.Forman, on the other hand, became the unwittingpersonification of the status quo.»

I found several references where you express yourdislike for the definition of your cinema as the workof a stylist. How can people who love the way youcarefully handle the lighting, and music and editingin filmmaking define you? When does your love forperfectionism change from style to something else?

«“Style” to me is what form decays into whencontent isn’t there.»

Since your first movies your work has revealed aspecial aptitude for progressive and electronic

THE MASTER OF AMERICAN NOIR Continuing the tradition of encounters with greatdirectors (including Coppola, Malick and the Coenbrothers, among others), Extra is hosting, at theAuditorium Parco della Musica, a masterclass withthe American maestro Michael Mann.

Heat (1995)

sound. Could you please speak about this side ofyour cinema?

«I’m always alive to and excited by new tools andadvanced ways to impact an audience. »

I know you had the chance to meet RobertoSaviano in Los Angeles – I understand you evenrecommended a few names for his security staffwhile he was in the U.S.; he told me himself whenwe arranged a talk at USC. I would like to know whatyou think about this important author (and writerslike him, or cops like Kiki Camarena, or thebiochemist Jeffrey Wiegand) who finds himselffighting crime and illegality and putting his own lifeon the line. Watching your movies it seems that thisis an issue you are very sensitive to. How do you feelabout this?

«When characters are impelled by internalconflicts or external circumstances to committhemselves by the actions they take to a course ofaction outside of the circumscribed “eye”, theresometimes is a liberation, life is more intense, vivid,perception is sharper. Often times I’m interested incharacters who have extended themselves into thatplace of risk. It is often ennobling. In Wigand’s case,he was a great whistle-blower hero because he was aflawed person. His flaws allowed the valuation of hisaction to stand out in high relief. If he had lookedand acted like Robert Redford, it would be boring. Ibelieve people ought to be judged by their actions.What they do. Not even their intent. Certainly notwhether or not they’re attractive or nice people whoare pleasant to be around. Wigand is not pleasant.He and Lowell don’t get along. Bergman didn’tparticularly like him. That made what Wigand did,and Lowell Bergman’s solidarity with Wigand soimpressive to me.In thinking about character traits, I’m probably mostinfluenced by my upbringing and my father, who wasa very honorable man of great character. With KikiCamarena, whom we see a little of, it’s a much morecomplex story. He became a martyr to a culture ofmen within the DEA who had an archetypal storyform of martyrdom imprinted in their minds because

of their common background. Many DEA agentsworking Mexico were Hispanic or had Jesuiteducations. The tragedy of what happened toCamarena - the torture and murder - fit into a storyform of passion, of saints torn apart. To me thatexplained the unmoved commitment of men like JackLawn, the DEA Administrator at the time, and JaimeKuykendahl, Camarena’s partner. They proceededwith an aggressive prosecution, a quest againstpeople high up in the Government of Mexico,complicit in Camarena’s murder, and swept asideimpediments put in their way because of foreignpolicy, White House, banking interests, even the ColdWar interests of the CIA.»

by MARIO SESTI

A COMPLETE RETROSPECTIVEOn the occasion of Michael Mann’s Masterclassin the Extra section, Kino is organizing, from19th to 26th October, a complete retrospectiveof his films (in English with Italian subtitles).The retrospective, featuring 12 films, retraceswith audiences the career of a director loved byfilm buffs, who combines visionary strength andentertainment in an unmistakable, personalstyle. A film club and organic food bistro inRome’s Pigneto neighborhood, Kino wasfounded by 55 film professionals (includingdirectors, screenwriters, producers andtechnicians) and is unique for its culturalofferings of international titles unreleased inItaly and great auteur cinema.• www.ilkino.it • [email protected]

175EXTRA | MASTERCLASSEXTRA | MASTERCLASS174

ALICE NELLA CITTÀ

AMY GEORGEYonah Lewis, Calvin Thomas

LA BRINDILLEEmmanuelle Millet

DAVIDJoel Fendelman

DEATH OF A SUPERHEROIan FitzGibbon

LE DIABLE DANS LA PEAUGilles Martinerie

EN EL NOMBRE DE LA HIJATania Hermida P.

FOSTERJonathan Newman

HASTA LA VISTA Geoffrey Enthoven

JESUS HENRY CHRIST Dennis Lee

KIDS STORIESSiegfried

KOKURIKOZAKA KARAGoro Miyazaki

LITTLE GLORYVincent Lannoo

NO ET MOIZabou Breitman

NORDZEE TEXASBavo Defurne

THE LION KING 3DRoger Allers, Rob Minkoff

DUDAMEL EL SONIDO DE LOS NIÑOSAlberto Arvelo


Canada | 2011Color | HDCAM | 95’Original language: English

CASTGabriel del Castillo MullallyClaudia DeyDon KerrNatasha AllanEmily Henry Candice Barkin

SCREENPLAYYonah Lewis Calvin Thomas

CINEMATOGRAPHYCalvin Thomas Yonah Lewis

EDITINGCalvin Thomas Yonah Lewis

PRODUCTION DESIGNAndrea Leigh Pelletier

COSTUME DESIGNMaerin Hunting

MUSICLev Lewis

PRODUCERSYonah Lewis Calvin Thomas

PRODUCTIONC&Y (Canada)

ALICE NELLA CITTÀCOMPETITION

Yonah Lewis (Canada, 1986) and Calvin Thomas(Canada, 1986) met in film school in 2006 and havebeen collaborating ever since. After graduation theyhave devoted their time to the watching, writing anddirecting of films. Amy George, their first feature, wasshot in the homes, parks, and backyards of Riverdale,Toronto.

179

13-year-old Jesse (Gabriel del Castillo Mullally)lives with his parents, Sabi (Claudia Dey) and Tim(Don Kerr), in the lefty, middle-class Torontoneighbourhood of Riverdale. A quiet and distantonly child with budding artistic aspirations, Jesseis inspired by a school assignment: a photographicself-portrait intended to portray one’s self without

resorting to words. Wielding a newly-acquiredcamera, Jesse sets out to capture his surroundings,but soon realizes the undramatic nature of hisfamily, neighbourhood and existence. This triggersa sort of stream of consciousness that will leadJesse to search for a way to meet his youngneighbor, Amy (Emily Henry).

AMY GEORGE YONAH LEWIS, CALVIN THOMAS

178 ALICE NELLA CITTÀ | COMPETITION

DIRECTED BY

Twiggy

France | 2011Color | 35 mm | 85’Original language: French

CASTChrista ThéretJohan LibéreauMaud WylerAnne Le NyLaure DuthilleulNina Meurisse

SCREENPLAYEmmanuelle Millet

CINEMATOGRAPHYAntoine Heberlé

EDITINGEmmanuelle CastroAnny Danché

PRODUCTION DESIGNCarine Levoyer

COSTUME DESIGNSylvie Gautrelet

MUSICChristophe Julien

PRODUCERSCatherine Bozorgan Christine Gozlan

PRODUCTIONManchester Films (France) Thelma Films (France)

SALESFilms Distribution (France)

Emmanuelle Millet studied international relationsbefore working for humanitarian organizations suchas Doctors of the World, Handicap International andSecours Populaire Français. For the latter shedirected the documentary T’as un rôle à jouer!(2005), with the participation of Mathieu Amalric.She went on to conceive Dix films pour en parler(2007), 10 short films on domestic violenceproduced by Les Films du Poisson and directed byherself, Patrice Leconte, Zabou Breitman and BrunoPodalydes, among others. Twiggy (2011) is herdebut narrative feature.

181

When she unexpectedly feels ill one day, Sarah(Christa Théret), an intern in a prestigious artgallery, is stunned to discover that she’s six monthspregnant even though she isn’t showing at all.Initially refusing to accept the diagnosis, she triesto escape what she sees as a trap, then thinksabortion is her only option before facing herimminent motherhood and deciding to go throughwith the birth and give the baby up for adoption.

Jobless, homeless and too proud to confide in hermother, who lives in another city, Sarah checksinto the local clinic, full of other women in hersame situation, but with one significant difference:they want to keep their babies. Her experience withthe women and the reality of the birth shake upSarah’s inflexibility in a passionate crescendo. Anemotionally intense story and brilliant actressmake for an explosive feature debut.

LA BRINDILLE EMMANUELLE MILLET


DIRECTED BY


United States | 2011Color | 2K D-Cinema | 80’Original language: Arabic, English

CASTMaz JobraniMuatasem MishalBinyomin ShtaynbergerDina ShihabiGamze CeylonMichael Golden

CO-DIRECTIONPatrick Daly

SCREENPLAYJoel Fendelman Patrick Daly

CINEMATOGRAPHYRobbie Renfrow

EDITINGJoel Fendelman

PRODUCTION DESIGNShruti Parekh

COSTUME DESIGNShruti Parekh

MUSICGil Talmi

PRODUCERSJulian Schwartz Stephanie Levy Joel Fendelman Patrick Daly Maz Jobrani

CO-PRODUCERYuta Silverman

PRODUCTIONDavid the Movie LLC (United States)

Joel Fendelman (United States, 1981) has spent thelast seven years in Brooklyn producing and directingaward winning films. His feature debut documentarywith partner Patrick Daly Needle Through Brick(2008) won the Silver Palm award at the MexicoInternational Film Festival. In developing the scriptfor David, Fendelman spent a year immersed in boththe orthodox Jewish and conservative Muslimneighborhoods of Brooklyn. Based loosely on Joel’sexperience of growing up Jewish in Miami David wascreated with the intention of exploring themes ofidentity and the struggle to fit in.

183

An innocent mistake quickly leads to an unlikelyyet genuine friendship between the eleven-year-oldson (Muatasem Mishal) of the imam of the Brooklynmosque (Maz Jobrani) and a Jewish boy of the sameage from the Orthodox Jewish community (BinyominShtaynberger). Two kids from extremely conservativereligious environments find they have surprisingaffinities, a reflection of the real living conditionsof both the Arabs and the Jews in America today,

as they embrace modernity while preserving theessence of their religions and their cultures. Davidis one of those rare films that show us howpowerful the gaze of children can be, when it isdirected at our era. In a sort of mute reproach, itlays bare, with precision, the cultural prejudicesthat run through our lives, our habits and gestures,the places we live, the words we say; the objectswe touch; our thoughts and our relationships.

DAVID JOEL FENDELMAN


DIRECTED BY


Germany, Ireland | 2011Color | 2K D-Cinema | 97’Original language: English

CASTAndy SerkisThomas Brodie-SangsterAisling LoftusSharon HorganMichael McElhattonJessica SchwarzRonan Raftery

SCREENPLAYAnthony McCarten

CINEMATOGRAPHYTom Fährmann

EDITINGTony Cranstoun

PRODUCTION DESIGNMark Geraghty

COSTUME DESIGNKathy Strachan

MUSICMarius Ruhland

PRODUCERSAstrid Kahmke Philipp Kreuzer

CO-PRODUCERMichael Garland

PRODUCTIONBavaria Pictures (Germany)

CO-PRODUCTIONGrand Pictures (Ireland)

SALESBavaria Film International (Germany)

Ian FitzGibbon (Ireland, 1962) was raised in Brussels.He trained as an actor at the world famous RoyalAcademy of Dramatic Arts in London. Ian has a longand extensive acting career principally on Englishtelevision where his credits range from PrimeSuspect to Father Ted. Between Dreams (1999),one of his first short films as a director, was selectedfor competition at the Venice Film Festival. He thenwent on to write and direct Paths To Freedom, amulti award-winning television series. He hasdirected two feature films prior to Death of aSuperhero, A Film With Me In It (2008) and Perrier’sBounty (2009).

185

Donald (Thomas Brodie-Sangster) feels he haslittle to hope for. Undergoing chemotherapy forleukemia, he must face the kind of pain andtorment that no 14-year-old should ever have toface. He escapes from his fears and darkestemotions only through his illustrated comic bookadventures. An animated parallel world in whichDonald is no longer a sick teenager but a brawnysuperhero who fights his arch-nemesis: a mad

scientist with syringes for fingers. Through arealistic approach on the subject of his death, histherapist (Andy Serkis) will challenge Donald’simpenetrable defense mechanisms, and give theboy the courage to face his pain, limits, frailty,refusals and terrors, as necessary steps, evenplacing his life in jeopardy, in order to draw outthose brief moments that can save an entire life.

DEATHOF A SUPERHERO

IAN FITZGIBBON


DIRECTED BY


Brothers Xavier (Quentin Grosset) and Jacques (PaulFrancois), aged eleven and seven, are inseparable,bound closely to one another through a violentfamily environment. They live in the countryside ina land full of gorges, plateaus and vast expansesthat offer the thrill of freedom and the primitivepleasure of a poetic relationship with nature. It’sthe eve of holidays and summer looks promising.

Then they accidentally learn that the next back toschool will separate them: Jacques will be sent awayto a special institute. This is their last summer…before everything changes for good. The film deftlytransforms a senseless, inconceivable event into acontemporary fable of disconcerting and cruelbeauty, precisely like traditional fables.

LE DIABLEDANS LA PEAU

GILLES MARTINERIE


Devil in the Skin

France | 2011Color | 2K D-Cinema | 82’Original language: French

CASTQuentin GrossetPaul FrancoisAugustin QuerOrfeo CampanellaFrancis RenaudJoséphine DerennesAlexandre Le Provost

SCREENPLAYGilles Martinerie Nicolas Peufaillit

CINEMATOGRAPHYMartin de Chabaneix

EDITINGJulie Duclaux

PRODUCTION DESIGNDaniel Bevan

COSTUME DESIGNElisa Ingrassia

MUSICCarlo Crivelli

PRODUCERSJérôme Vidal Julien Naveau

PRODUCTIONNoodles Production (France)

SALESNoodles Production (France)

Gilles Martinerie (France, 1961) studied Art historyand began his career as a cinematographer when theopportunity to work in the film industry presenteditself. He has worked with directors such as AgnèsVarda, Maurice Pialat, Olivier Assayas, Benoit Jacquotand Manuel Pradal. Devil in the Skin is his firstfeature film as writer and director.

187

DIRECTED BY


Summer 1976. Nine-year-old Manuela (Eva MayuMecham Benavides) has eyes so lively they shinewith an almost physical force. She and her youngerbrother Camilo (Markus Mecham Benavides) arespending the summer on their grandparents’ farmin a valley of the Andes in Ecuador, with theircousins. Her Catholic-conservative grandmother(Juana Estrella) insists Manuela be baptized, afterwhich she must take on the religious name that allthe women in the family have carried for generations.But wanting to defend the ideas of her father, an

atheist and Communist, and maintain her sense ofintegrity, Manuela proudly defies the tradition of afamily she feels is uncaring. The feud over her namewill lead her to forever change her relationships withher family, and face the rigid conventions of bothCatholicism and Communism. The girl at the heartof this vivid, realistic portrait calls to mind femalecharacters of certain fables. The real fables, inwhich a character must be extraordinary in order totraverse the centuries without so much as ascratch.

EN EL NOMBREDE LA HIJA

TANIA HERMIDA P.


In the Name of the Girl

Ecuador | 2011Color | 35 mm | 100’Original language: Spanish

CASTEva Mayu Mecham Benavides Markus Mecham Benavides Juana Estrella Pancho Aguirre Martina León Sebastián Hormachea Francisco Jaramillo

SCREENPLAYTania Hermida P.

CINEMATOGRAPHYArmando Salazar

EDITINGJuan Carlos Donoso Vanessa Amores

PRODUCTION DESIGNJuan Carlos Acevedo

COSTUME DESIGNMaría Caridad Carrión

MUSICNelson García

PRODUCERSMary Palacios Tania Hermida P.

CO-PRODUCERAnaís Domínguez

PRODUCTIONEcuador para Largo (Ecuador) Gestionarte Cine (Ecuador)

SALESThe Match Factory (Germany)

Tania Hermida P. (Ecuador, 1968) studied filmdirection at the San Antonio de los Baños InternationalFilm and TV School. She combined her work as afilmmaker with teaching at the San Francisco de QuitoUniversity between 1996 and 2007. Her first featurefilm How Much Further (2006) won acclaim frominternational critics and audiences alike. It alsobroke national box office records in Ecuador and wasdistributed successfully in Spain, France andSwitzerland. In the Name of the Girl is Tania’s secondfeature film.

189

DIRECTED BY


United Kingdom | 2011Color | 2K D-Cinema | 91’Original language: English

CASTToni Collette Ioan Gruffudd Maurice Cole Richard E. Grant Hayley Mills Anne Reid

SCREENPLAYJonathan Newman

CINEMATOGRAPHYDirk Nel

EDITINGEddie Hamilton

PRODUCTION DESIGNJames Lewis

COSTUME DESIGNAnnie Hardinge

MUSICMark Thomas

PRODUCERDeepak Nayar

CO-PRODUCERAlice Dawson

PRODUCTIONKintop Pictures (United States)

CO-PRODUCTIONReliance Entertainment (India) Starlight Film Partners (United Kingdom) Bent Nail Productions (United States)

SALESSC Films International (United Kingdom)

Jonathan Newman (United Kingdom, 1972) hasbeen described as one of the UK’s ‘most excitingfilmmakers.’ He spent his formative years in LosAngeles. He earned his MA in Film Production fromthe Northern Film School. Father’s Day, made for the2010 Ford Mustang, won Grand Prize in a worldwidecompetition. 2011 sees the release of two featurefilms shot back to back, both written and directedby Newman and produced by Deepak Nayar:Swinging with the Finkels and Foster, which is basedon his award-winning short film.

191

Zooery (Toni Collette) and Alec Morrison (IoanGruffudd) are a married couple who have never reallyrecovered from the death of their five-year-old sonmany years earlier. Since they can no longer havetheir own children, the Morrisons are on the waitinglist to become foster parents. One day, a seven-year-old boy, Eli (Maurice Cole) mysteriously lands on

their doorstep, saying he has been sent by theagency. The boy is surprisingly mature and providesthe couple with moral support and some healthyadvice on how to save their relationship. Adored byhis adoptive mother, admired by his father, the childhelps the couple reconnect, until they rekindle theirromance and conceive a baby of their own..

FOSTER JONATHAN NEWMAN


DIRECTED BY


Come As You Are

Belgium | 2011Color | 2K D-Cinema | 115’Original language: Dutch, French, Spanish

CASTRobrecht Vanden ThorenGilles De SchryverTom AudenaertIsabelle De Hertogh

SCREENPLAYPierre De Clercq

CINEMATOGRAPHYGerd Schelfhout

EDITINGPhilippe Ravoet

PRODUCTION DESIGNKurt Rigolle

COSTUME DESIGNJoëlle Meerbergen

MUSICMeuris & Papermouth

PRODUCERMariano Vanhoof

CO-PRODUCERSDominique Janne Jean Philip De Tender Elly Vervloet Marc Anthonissen

PRODUCTIONFobic Films (Belgium)

CO-PRODUCTIONéén (Belgium)K2 (Belgium)

SALESFilms Boutique (Germany)Geoffrey Enthoven (1974) graduated in 1999 as

Master in Audio Visual Arts at the KASK. That sameyear he established the production company FobicFilms with his fellow film fanatic Mariano Vanhoof.In 2001 he directed their debut feature Les Enfantsde l’amour (Children of Love). In 2004 he wrote withJacques Boon the script of his second featureVidange Perdue (The Only One), which was releasedin 2006. Two years later he directed Happy Together,which was followed in 2009 by Meisjes (Over theHill). Hasta La Vista (Come As You Are) is his fifthfeature film. On a freelance basis he also directscommercials, videoclips and fiction series.

193

A tour of the Spanish vineyards is all the excusethree friends who are handicapped need so theycan put their bizarre plan into practice and losetheir virginity, another handicap, at a bordellospecialized in such cases. Telling their parents onlyhalf of the story, Philip (Robrecht Vanden Thoren),Lars (Gilles De Schryver), and Jozef (Tom Audenaert)set off for sunny Spain, leaving the grey skies of

Belgium behind, accompanied by a mysteriousnurse. As in every epic journey, what counts is notso much the destination as the journey itself, withits fresh experiences and revelations, its rashdecisions and inevitable disappointments. A roadmovie on wheelchairs with a confessional bent,liberating and bittersweet, using irony as a tool forunderstanding.

HASTA LA VISTA GEOFFREY ENTHOVEN


DIRECTED BY


United States | 2011Color | Beta Digital PAL | 91’Original language: English

CASTToni Collette Michael SheenJason Spevack Samantha WeinsteinFrank Moore

SCREENPLAYDennis Lee

CINEMATOGRAPHYDaniel Moder

EDITINGJoan Sobel

PRODUCTION DESIGNRobert Pearson

COSTUME DESIGNDebra Hanson

MUSICSimon Taufique David Torn

PRODUCERSPhilip Rose Lisa Gillan Sukee Chew

PRODUCTIONRed Om Films (United States)

SALESIM Global (United States)

Dennis Lee (United States, 1970) attended ColumbiaUniversity, where his thesis, a short film version ofJesus Henry Christ, won a Student Academy Award®.He moved to Los Angeles as an ABC/DisneyTelevision Directing Fellow and made his feature filmdebut with Fireflies in the Garden (2008), whichstarred Ryan Reynolds, Willem Dafoe, and JuliaRoberts. Jesus Henry Christ is his second feature filmas a writer and director.

195

10-year-old Henry James Herman (Jason Spevack)is a genius, raised by a loving, left-wing feministmother, Patricia Herman (Toni Collette). Henry’sprecocious, rabble-rousing ways catch up with himwhen he gets kicked out of school for writing“Manifestos on the Nature of Truth.” Meanwhile,12-year-old Audrey (Samantha Weinstein) has herown problems because of her single father,

university professor Dr. Slavkin O’Hara (MichaelSheen), who used her as the test subject for his best-selling book “Born Gay or Made that Way?” Needlessto say, she gets a not-so-nice nickname from herclassmates. When Henry scores a scholarship to theuniversity as a child prodigy, the two families crosspaths and everything they knew about their lives isthrown to the wind.

JESUS HENRY CHRIST DENNIS LEE


DIRECTED BY


France | 2011Color | 2K D-Cinema | 90’Original language: Bengali, Kazakh

CASTKabirRechmaArujanAltimbekUmut

SCREENPLAYSiegfried

CINEMATOGRAPHYSiegfried

EDITINGHervé Schneid

MUSICSiegfried

PRODUCERSiegfried

SALESFilms Distribution (France)

Siegfried (France, 1973), also known as Sig, studiedcello, percussion and piano. After long trips aroundthe world taking photographs, he became a filmmakerand composer. In addition to his own films, he hasalso scored several original soundtracks. His first shortfilm La faim (1996), was selected for the CannesFestival in the Cinémas en France section. Louise(Take 2), his first feature film, was screened in theofficial selection at the Cannes Festival in 1998, inUn Certain Regard, as well as at Sundance in 1999.His second film, Sansa, was shown at the Directors’Fortnight in 2003. Kinogamma (2008) was featuredin the official selection of Locarno in 2008.

197

Calcutta: Kabir runs away from school because hehasn’t done his homework, which earns him adressing-down in absentia in the teachers’ room,turned into a makeshift courtroom. Meanwhile, Kabirspends two days on his own in the metropolis, his ownpersonal mini-odyssey. Kazakistan: in a small villageon the steppes, life is peaceful for two young people,until Altimbek, a teenager, falls in love for the firsttime, while his little sister Arujan is forced to leave

home to deliver her grandmother a letter in thesteppes, grappling with her fears in the dark night. Twoepisodes cleanly acted, without affectation, clichés orsentimentalizing, the result being an overwhelmingempathy. Tales of disobedience, heroism, and theaspirations to be found in love stories great and small:stories that reflect the urge to capture the richness oflife, fluid and unpredictable even in its simplestoccurrences.

KIDS STORIES SIEGFRIED


DIRECTED BY


From Up On Poppy HillDalla collina dei papaveri

Japan | 2011Color | 35 mm | 91’Original language: Japanese

SCREENPLAYHayao Miyazaki Keiko Niwa (based on Chizuru Takahashi and TetsuroSayama’s graphic novel)

MUSICSatoshi Takebe

PRODUCERToshio Suzuki

PRODUCTIONStudio Ghibli (Japan)


SALESWild Bunch (France)

Goro Miyazaki (Japan, 1967) studied Forestry Scienceat Shinshu University’s School of Agriculture. He thenworked as a construction consultant, taking part inlandscape planning and design of parks and urbanforestry projects. From 1998, he undertook the overalldesign of the Ghibli Museum, Mitaka, and acted asthe museum’s managing director from 2001 to 2005.In 2004, he was awarded the Minister of Education’sArt Encouragement Prize for New Artists in the fieldof art promotion. His debut as a director came withthe animated feature film Gedo Senki (Tales fromEarthsea, 2006).

199

A story of young love set against the student protestsagainst unscrupulous modernization during Japan’seconomic revival before the 1964 Olympics. Umiand Shun fall in love as a debate rages over whetherto demolish or save an old wooden schoolhouse, the“Quartier Latin,” home to the philosophy andastronomy academic clubs as well as a treasure

trove of memories for pre- and post-war generations,of their adventures, loves and experiences. Butwhen they start telling each other about theirrespective families, to their dismay they uncover asecret from the past that unites them. A fascinatingportrait of an era in transition, in which people stillfought to preserve the memory of the past.

KOKURIKOZAKA KARA GORO MIYAZAKI


DIRECTED BY


Belgium | 2011Color | 2K D-Cinema | 109’Original language: English

CASTCameron BrightIsabella Blake ThomasHannah MurrayAstrid WhettnallMartin Swabey

SCREENPLAYFrançois Verjans

CINEMATOGRAPHYVincent Van Gelder

EDITINGFrédérique Broos

PRODUCTION DESIGNAlina Santos

COSTUME DESIGNBrenda Shenher

MUSICMichelino Bisceglia Stefan Liberski

PRODUCERJohn Engel

CO-PRODUCERSRhonda Baker Adrian Politowski Gilles Waterkeyn Arlette Zylberberg

PRODUCTIONLeft Field Ventures (Belgium)

CO-PRODUCTIONuFilm (Belgium) Belgacom (Belgium) RTBF (Belgium)

SALESThe Little Film Company (United States)Vincent Lannoo (Belgium, 1970) graduated from a

performing arts high school and Belgium’s BroadcastArts Institute. After a string of short films, includingthe multiple award-winning I Love Movies (J’adore lecinéma), his 2001 debut feature, the dogma-styledmockumentary Strass, shocked and delightedaudiences and critics alike. His second feature,Ordinary Man (2004), was a hybrid arthouse thriller,while his third film, Vampires (2010), returned tothe mockumentary comedy, turning the vampiregenre on its ear. Little Glory is his fourth feature film.

201

Nineteen-year-old Shawn (Cameron Bright) battleseveryone and everything to raise his nine-year-oldsister Julie (Isabella Blake-Thomas). Unexpectedlyorphaned, without even having had the time cry,due to the consequences that the financial crisishas on real people like them, Shawn finds himselflost in an apathetic society in which the adults areweak, confused, threatening, vague and unable to

be radical or caring. He quickly learns what itmeans to be an older brother and grow up too fast.This personal story is told with extraordinary bravura,through a careful, profound look at childhood andadolescence, and the grace, earnestness, melancholy,happiness, sensitivity and intelligence that markthese ages.

LITTLE GLORY VINCENT LANNOO


DIRECTED BY


No and Me

France | 2010Color | Beta Digital PAL | 105’Original language: French

CASTNina RodriguezJulie-Marie ParmentierAntonin ChalonZabou BreitmanBernard CampanGrégoire BonnetGuilaine LondezEric Valéro

SCREENPLAYZabou Breitman Agnès de Sacy (based on “No et moi” by Delphine de Vigan)

CINEMATOGRAPHYMichel Amathieu

EDITINGFrançoise Bernard

PRODUCTION DESIGNFrançois Emmanuelli

COSTUME DESIGNMarie-Laure Lasson

PRODUCERSFrédéric Brillion Gilles Legrand

PRODUCTIONEpithète Films (France)

CO-PRODUCTIONFrance 3 Cinéma (France)

SALESRoissy Films (France)

Zabou Breitman (France, 1959) is an actress anddirector. She is the daughter of actors Jean-ClaudeDeret and Céline Léger. At age four, she appeared inher first movie. Since 1981, Zabou has acted indozens of roles in films, TV movies, and theaters.She made her directorial debut in 2001 with Sesouvenir des belles choses (Beautiful Memories), forwhich she won a César Award for Best Debut.

203

A school research project brings brainy Lou (NinaRodriguez), aged thirteen, into contact with theplight of the homeless. On the way home one day,she crosses paths with Nora (Julie-Marie Parmentier),an eighteen-year-old girl who lives off handouts andlooks for cigarettes in the trash at the AusterlitzStation, along with two other kids and a dog. Andsince the rest of the world holds No at arm’slength, she overcomes her distrust and hostility

and accepts the invitation to go live with what willbecome her new family. A disinterested gesture oftrust, made unreservedly, that will turn the twogirls into friends and more than friends: sisters. Afilm about dialogue between human beings andtwo people’s choice to accept suffering, take risksand face fear by exercising respect, trust, andunderstanding, trying their hardest to find a newhope, if not salvation.

NO ET MOI ZABOU BREITMAN


DIRECTED BY


North Sea Texas

Belgium | 2011Color | 2K D-Cinema | 94’Original language: Dutch

CASTJelle FlorizooneMathias VergelsNina Marie KortekaasEva Van der Gucht Katelijne Damen Thomas Coumans Luk Wyns

SCREENPLAYBavo Defurne Yves Verbraeken

CINEMATOGRAPHYAnton Mertens

EDITINGEls Voorspoels

PRODUCTION DESIGNKurt Rigolle

COSTUME DESIGNNathalie Lermytte

MUSICAdriano Cominotto

PRODUCERYves Verbraeken

PRODUCTIONIndeed Films (Belgium)

CO-PRODUCTIONVRT (Belgium) Mollywood (Belgium)

SALESWavelength Pictures (United Kingdom)

Bavo Defurne (Belgium, 1971) has establishedhimself with a sequence of critically acclaimed shortfilms that examine the themes of gay love and loss,the body and the power of nature and silence.Campfire (2000) was the climax of his shortfilmmaking. His work has also found its way into artgalleries and museums. 2011 sees the release ofDefurne’s long awaited first feature film, North SeaTexas, which advances the themes of his acclaimedshort films.

205

Pim (Jelle Florizoone) lives in a rundown down ina dead end alley of a forgotten town on the Belgiancoast with his mother (Eva Van der Gucht) in thelate ’60s. Here, life tastes of cheap cigarettes,vermouth and stale beer, but Pim lives happily inhis own fantasy world. Until he turns 16, wheneven his relationship with Gino (Mathias Vergels),and the strong emotional attraction upon which ithas always been based, becomes the source of thesmall humiliations and great hopes typical to first

love. When his mother leaves him to go off with ayoung lover, Pim sees a chance to turn at leastsome of his dreams into reality. Based on the AndreSollie novel, North Sea Texas resolutely and withinfinite tenderness captures one adolescent’s initiationinto emotions, identity, physical development, parentalconstraints and the sometimes cruel rules governingthem, in a triumphant combination of depth andlightness typical to great stories.

NORDZEE TEXAS BAVO DEFURNE


DIRECTED BY


207ALICE NELLA CITTÀ | OUT OF COMPETITION206 ALICE NELLA CITTÀ | OUT OF COMPETITION

THE LION KING 3DDIRECTED BY ROGER ALLERS, ROB MINKOFF

After the death of his father, little lion Simba fleeshis land and is taken in by Timon and Pumbaa, onlyto return to rightfully reclaim his kingdom from hisevil uncle, Scar. When The Lion King “roared” for thefirst time in movie theatres in 1994, Simba’s storytouched the hearts of an entire generation. The film’smoving soundtrack, irresistible humor andunforgettable characters captured audiencesworldwide. Made after The Little Mermaid and

Beauty and the Beast, the film contributed to therevival of Walt Disney Studios’ animated films andbecame one of the biggest animated box-office hitsof all time. The Lion King won Oscars® for BestOriginal Score (Hans Zimmer) and Best Original Song(“Can You Feel the Love Tonight” by Elton John andTim Rice) as well as Golden Globes® for the samecategories and Best Motion Picture - Comedy orMusical.

Il Re Leone 3D United States • 2011 • Color • 3D • 90’ • English

Screenplay Irene Mecchi, Jonathan Roberts, Linda Woolverton Production Design Chris Sanders MusicHans Zimmer Producers Don Hahn, Chris Thomas Production Walt Disney Studios Motion Pictures (United States) ItalianDistribution Walt Disney Studios Motion Pictures Italia (Italy) International Distribution Walt Disney StudiosMotion Pictures (United States)

DUDAMELEL SONIDO DE LOS NIÑOS

DIRECTED BY ALBERTO ARVELO

Children's and youth orchestras are emerging in manycountries of the world, inspired by the Venezuelanmusical and educational program El Sistema, whichimmerses children in the world of music, art,teamwork, discipline, cooperation, fun, learning,creativity, and high values. Gustavo Dudamel, theamazingly gifted Venezuelan conductor who wasentirely educated in El Sistema, guides this journeythrough the stories of some of the young people whoare experiencing the joy of music in the most diverseand contrasting corners of the world. These childrenare bringing a simple message to all of us: art is a

universal right. Filmed in seven different countries,Dudamel: Let the Children Play is an opportunity toglimpse the world of orchestras, conducting and theimportance of art as a hopeful path to face theeducational crisis worldwide. Italy has begun its ownSistema of musical training to get young people awayfrom crime and off of drugs, giving them a chance atsocial redemption. The non-profit Comitato Sistemadelle Orchestre e dei Cori Infantili e Giovanili wasinspired by the Venezuelan model and is the vitalalternative that musical education can offer childrenand youths in their formative years.

Dudamel: Let the Children Play Venezuela • 2011 • Color • 2K D-Cinema • 85’ • English, Spanish

Screenplay Jorge Chacín, Carlos Díaz, Nascuy Linares, Alberto Arvelo Cinematography Nascuy Linares,Alberto Arvelo Editing Luis Colina Musical Directors Frank Di Polo, Beatriz Abreu Music Nascuy LinaresProducers Eloísa Maturén, Ananda Troconis, Luis Colina, Pedro Mezquita Production Ciclorama Producciones(Venezuela) Sales TV Planet LLC (United States)

FOCUSUK

SHOWCASE

THE BRITISH GUIDE TO SHOWING OFFJes Benstock

THE DEEP BLUE SEATerence Davies

PAGE EIGHT David Hare

TRISHNAMichael Winterbottom

TYRANNOSAURPaddy Considine

WEEKENDAndrew Haigh

WILD BILLDexter Fletcher

FOCUS UK

PUNKS AND PATRIOTSRETROSPECTIVE

A CANTERBURY TALE (1944) Michael Powell, Emeric Pressburger

THE FALLEN IDOL (1948) Carol Reed

A HARD DAY'S NIGHT (1964) Richard Lester

HUE AND CRY (1947) Charles Crichton

THE LADYKILLERS (1955) Alexander Mackendrick

THE LAST OF ENGLAND (1988) Derek Jarman

A MATTER OF LIFE AND DEATH (1946) Michael Powell, Emeric Pressburger

MY BEAUTIFUL LAUNDRETTE (1985) Stephen Frears

MY SON THE FANATIC (1997) Udayan Prasad

PERSUASION (1995) Roger Michell

THE PUMPKIN EATER (1964) Jack Clayton

SUNDAY BLOODY SUNDAY (1971) John Schlesinger

EXHIBITION

RAISE THE DEADDouglas Gordon

United Kingdom | 2011Color | HDCAM SR | 92’Original language: English

CASTAndrew LoganBrian EnoRuby WaxGrayson PerryZandra Rhodes Richard O’Brien

CINEMATOGRAPHYDenzil Armour-BrownAndrew David Clark Jonny Cocking

EDITINGStephen Boucher

ANIMATIONAndrew Savage

MUSICMike Roberts

PRODUCERDorigen Hammond

CO-PRODUCERSusan Jeffries

PRODUCTIONLiving Cinema 001 (United Kingdom)

SALESLiving Cinema 001 (United Kingdom)

FOCUSSHOWCASE

Jes Benstock (United Kingdom, 1964) is afounding member of the comic stage troupe TheMerry Mac Fun Show, based in Edinburgh. He is anaward-winning creator of short experimentaldocumentaries, animated and feature films, andmusic clips. He has directed the documentariesOrders of Love (2004) and The Holocaust Tourist(2005), the TV documentary series Reel London(2006), and the portrait of “heretical” scientistRupert Sheldrake The Man with the Extended Mind(2006). He co-founded the production companyLiving Cinema in 2007.

211

Sculptor, painter, and video artist, the eclecticAndrew Logan is a living legend. An emblematicfigure of the British underground scene, the artistis best known as the creator and organizer of theAlternative Miss World competition. Anarchic,irreverent, and unconventional, as its namesuggests, this is a beauty contest that sends up thebetter-known Miss World. Described by Loganhimself as “a sculpture in time,” the show bothreflects and influences pop culture trends,

discrediting and rejecting them at the same time.The British Guide To Showing Off follows the fiveyears spent readying the 2009 edition ofAlternative Miss World, which debuted back in1972. Director Jes Benstock’s tribute to Logan’sexercise of freedom of expression takes the formof a sort of collage film that skilfully blends thedocumentary genre with animation and genuineBritish eccentricity. Archivial footage and imagesfeaturing Divine, Derek Jarman and David Bowie.

THE BRITISH GUIDETO SHOWING OFF

JES BENSTOCK

210 FOCUS | SHOWCASE

DIRECTED BY

United Kingdom | 2011Color | 35 mm | 98’Original language: English

CASTRachel WeiszTom HiddlestonSimon Russell Beale

SCREENPLAYTerence Davies (based on Terence Rattigan’s play)

CINEMATOGRAPHYFlorian Hoffmeister

EDITINGDavid Charap

PRODUCTION DESIGNJames Merifield

COSTUME DESIGNRuth Myers

PRODUCERSSean O’Connor Kate Ogborn

PRODUCTIONCamberwell Productions (United Kingdom) Fly Film Company (United Kingdom)

SALESProtagonist Pictures (United Kingdom)

FOCUSSHOWCASE

Terence Davies (United Kingdom, 1945) is noted forhis trio of autobiographical works, known as TheTerence Davies Trilogy (1983), which has beenscreened at film festivals world-wide and has wonnumerous awards. His next two films were bothadaptations, The Neon Bible (1995) starring GenaRowlands and The House of Mirth (2000) withGillian Anderson. His most recent work is thedocumentary, Of Time and the City, which waspremiered at the 2008 Cannes Film Festival.

213

Hester (Rachel Weisz), the lovely wife of HighCourt judge Sir William Collyer (Simon RussellBeale), leads a privileged life in London in the 50s,until she falls hopelessly in love with the youngFreddie Page, former RAF pilot (Tom Hiddleston),and runs off to live with him, earning the sternreprobation of the London society of the day. Basedon the 1952 play by Terence Rattigan, the filmlays bare all the insecurity and hypocrisy ofBritain’s upper class and revisits the theme of the

amour fou, in which love and death are intrinsicallylinked. Hester is one of the great female roles inmodern British theater, played in the past byactresses of the caliber of Peggy Ashcroft andVivien Leigh. For this new film version the role isentrusted to and masterfully acted by RachelWeisz, winner of the Oscar® for Best Actress in2006 for her turn in The Constant Gardener.

THE DEEP BLUE SEA TERENCE DAVIES


DIRECTED BY

United Kingdom | 2011Color | HDCAM SR | 99’Original language: English

CASTBill NighyRachel WeiszMichael GambonJudy DavisTom HughesFelicity JonesRalph Fiennes

SCREENPLAYDavid Hare

CINEMATOGRAPHYMartin Ruhe

EDITINGJinx Godfrey

PRODUCTION DESIGNCristina Casali

COSTUME DESIGNJulian Day

MUSICPaul Englishby

PRODUCERSDavid Heyman David Barron

CO-PRODUCERSRosie Alison Celia Duval

PRODUCTIONHeyday Films (United Kingdom)

CO-PRODUCTIONHeyday Films (United Kingdom) Runaway Fridge TV (United Kingdom) Carnival Films (United Kingdom) Masterpiece (United Kingdom) NBCUniversal (United Kingdom) BBC (United Kingdom)

SALESNBCU International TV Studio / CarnivalFilms (United Kingdom)

FOCUSSHOWCASE

David Hare (United Kingdom, 1947) has written anddirected three original films for television: LickingHitler, Dreams of Leaving and Heading Home. Hehas directed three feature films from his ownscreenplays: Wetherby (1985), Paris by Night(1988) and Strapless (1989), and one written byWallace Shawn, The Designated Mourner(1997).Hare’s other screenplays include Stephen Frears’Saigon: Year of the Cat, Fred Schepisi’s Plenty(1985), Louis Malle’s Damage (1992), HowardDavies’ The Secret Rapture(1993), and StephenDaldry’s The Hours (2002) and The Reader (2008).

215

The veteran secret service agent Johnny Worricker(Bill Nighy) is a gentleman out of another era, aphlegmatic observer of the scene, and a jazz loverand art collector. After his boss Benedict Baron(Michael Gambon), also his best friend, suddenlydies, Johnny finds himself with a mysterious top-secret file on his hands, containing embarrassingrevelations about the British prime minister(Ralph Fiennes). Meanwhile, his apparently casual

encounter with the charismatic political activistNancy Pierpan (Rachel Weisz) only complicatesthings further. A series of events is triggered thatwill put Johnny’s integrity to the test. Theatmosphere is straight out of a Le Carré thrillertransposed to the modern day and the corridors ofLondon’s power elite, against the backdrop of thewar on terror.

PAGE EIGHT DAVID HARE


DIRECTED BY

United Kingdom | 2011Color | 35 mm | 117’Original language: Hindi, English

CASTFreida PintoRiz AhmedHarish KhannaMeeta VasishtRoshan SethLeela MadhauramLakshman Madhauram

SCREENPLAYMichael Winterbottom (based on “Tess of the D’Urbervilles” byThomas Hardy)

CINEMATOGRAPHYMarcel Zysking

EDITINGMags Arnold

PRODUCTION DESIGNDavid Bryan

COSTUME DESIGNNiharika Khan

MUSICShigeru Umebayashi

PRODUCERSMelissa Parmenter Michael Winterbottom

CO-PRODUCERSAnthony Wilcox Anna Croneman Jessica Ask Anurag Kashyap Guneet Monga Sunhil Bohra

PRODUCTIONRevolution Films (United Kingdom)

CO-PRODUCTIONFilm i Vast (Sweden)

SALESBankside Films (United Kingdom)

FOCUSSHOWCASE

Michael Winterbottom (United Kingdom, 1961) hasdirected more than 20 films, as Butterfly Kiss(1995); Jude (1996), winner of Michael PowellAward ; Wonderland (1999), winner of Best BritishFilm at British Independent Film Awards; In ThisWorld (2003), winner of the Golden Bear at BerlinInternational Film Festival; The Road to Guantanamo(2006), winner of the Silver Bear for Best Directorat Berlin Film Festival; A Mighty Heart (2007),presented at Cannes Film Festival; Genova (2008)winner of the Best Director award at San SebastianFilm Festival; The Killer Inside Me (2010) premieredat Berlin Film Festival.

217

Freida Pinto, whose face became famous thanks toher turn in Slumdog Millionaire by Danny Boyle in2008, takes on her boldest, most demanding role.Trishna is a poor Indian girl who lives with herfamily in the countryside in Rajasthan. When shemeets Jay (Riz Ahmed), the son of a rich Britishentrepreneur, her own life is turned upside down.Their love buckles under the opposing pressures ofa rural society that is rapidly changing, withattendant clashes between progress and tradition.The film is based on the Thomas Hardy novel “Tess

of the D’Urbervilles,” which has frequently beenadapted for the theater and the big screen.Winterbottom’s stroke of genius is transposing thestory to contemporary India, immersing the originalclash between classes, and the sexes, in Indiansociety today, which still labors under a rigid castesystem. The superb score by Shigeru Umebayashi,long-time composer for Kar Wai Wong, accentuatesthe element of melodrama in the conflict.

TRISHNA MICHAEL WINTERBOTTOM


DIRECTED BY

United Kingdom | 2011Color | HDCAM | 91’Original language: English

CASTPeter MullanEddie MarsanOlivia Colman

SCREENPLAYPaddy Considine

CINEMATOGRAPHYErik Alexander Wilson

EDITINGPia Di Ciaula

PRODUCTION DESIGNSimon Rogers

MUSICChris Baldwin Dan Baker

PRODUCERDiarmid Scrimshaw

PRODUCTIONWarp X (United Kingdom)

CO-PRODUCTIONInflammable Films (United Kingdom)

SALESProtagonist Pictures (United Kingdom)

FOCUSSHOWCASE

Paddy Considine (United Kingdom, 1974) is anactor, director and screenwriter, familiar toaudiences for his roles In America (2002), 24 HourParty People (2002), Dead Man’s Shoes (2004),The Bourne Ultimatum (2007), Hot Fuzz (2007)and Red Riding: In the Year of Our Lord 1980(2009) where he acted alongside Peter Mullan. Hisdirectorial debut, Dog Altogether, won a number ofawards including the 2008 BAFTA Award for BestShort Film. Tyrannosaur, which he wrote anddirected, is his first feature film. Considine will alsobe presenting his new project, The Leaning, at NewCinema Network.

219

Joseph (Peter Mullan) is a widower, unemployedand an alcoholic, bent on self-destruction. Aserendipitous encounter with Hannah (OliviaColman), trapped in a loveless, violent marriage,gives Joseph a chance to redeem himself. The twobecome friends and then lovers; their bond willenable them to realize who they are andunderstand their lives. The highly dramatic storydevelops in a realist framework, far from any kind

of artificiality, and is charged with remarkabledramatic tension. This extraordinary directorialdebut for actor Paddy Considine won kudos at the2011 Sundance Festival, winning the WorldCinema Directing Award and top honors for theastonishing performances by the two lead actors(among his other awards, Peter Mullan took theprize for best actor at Cannes in 1998, for MyName is Joe by Ken Loach).

TYRANNOSAUR PADDY CONSIDINE


DIRECTED BY

United Kingdom | 2011Color | HDCAM | 96’Original language: English

CASTTom CullenChris NewJonathan RaceLaura FreemanJonathan WrightLoretto Murray

SCREENPLAYAndrew Haigh

CINEMATOGRAPHYUla Pontikos

EDITINGAndrew Haigh

PRODUCTION DESIGNSarah Finlay

MUSICJohn Grant

PRODUCERTristan Goligher

CO-PRODUCERClare Mundell

PRODUCTIONGlendale Picture Company (United Kingdom) The Bureau (United Kingdom)

CO-PRODUCTIONSynchronicity Films (United Kingdom)

SALESThe Film Collaborative (United States)

FOCUSSHOWCASE

Andrew Haigh (United Kingdom, 1973) worked formany years in editing with credits on films as diverseas Ridley Scott’s Gladiator (2000) to HarmonyKorine’s Mister Lonely (2007). He has made anumber of short films that have played at festivalsworldwide including Berlinale, Edinburgh, Nashvilleand London. His first feature, the award winningGreek Pete (2009) was released in both the UK andthe US in 2010. In 2008 he was named as one ofScreen International’s ‘Stars of Tomorrow’. Weekendis his second feature-length film.

221

Friday night. Russell (Tom Cullen) meets Glen(Chris New) at a gay bar and spends the wholeweekend with him, drinking, taking drugs, havingsex, and sharing confidences. Presented to greatacclaim at the SXSW Festival in Austin, Texas,where it won the Audience Award, the film wasshot in just 17 days. The director has chosen anintimist style to describe the relationship betweenthe two leads, one that transcends the stereotyped,artificial formula for portraying homosexual love on

the big screen, to recreate, with the truthfulnessof an instant movie, the blossoming of love in thespace of one intense weekend. The meeting ofthese two young men coping with solitude and thechallenges of day-to-day existence swiftly turnsinto a universal portrait of a generation – with allits disappointments, disenchantment and regrets,its need to break the rules, yet be understood –trying to find its rightful place in the world.

WEEKEND ANDREW HAIGH


DIRECTED BY

United Kingdom | 2011Color | 2K D-Cinema | 98’Original language: English

CASTCharlie Creed-MilesWill Poulter Sammy Williams Leo Gregory Andy Serkis Jason Flemyng

SCREENPLAYDanny KingDexter Fletcher

CINEMATOGRAPHYGeorge Richmond

EDITINGStuart Gazzard

PRODUCTION DESIGNMurray McKeown

COSTUME DESIGNMatt Price

MUSICChristian Henson

PRODUCERSSam Tromans Tim Cole

PRODUCTION20ten Media (United Kingdom)

SALES20ten Media (United Kingdom)

FOCUSSHOWCASE

Dexter Fletcher (United Kingdom, 1966) has beenacting since the age of 6 and during that time hasworked with such legendary talents as David Lynch,Derek Jarman, David Puttnam, Guy Ritchie, MatthewVaughn and Tom Hanks. Fletcher took roles in suchclassics as The Elephant Man(1980) with John Hurtand The Long Good Friday (1980) with BobHoskins. In recent years, he has garnered acclaimfor roles in Lock Stock & Two Smoking Barrels(1998), Stardust (2007) and Kick-Ass (2010). WildBill is Fletcher’s eagerly anticipated directorialdebut, which he also co-wrote and produced.

223

Out on parole after eight years in jail, Bill Hayward(Charlie Creed-Miles) comes home to his roughneighborhood in London’s East End, rife with drugsand violence, as before, and reunites with his twochildren, Dean (Will Poulter), who is fifteen, andJimmy (Sammy Williams), eleven, both abandonedby their mother and toughing it out on their own.Bill, no father figure, would love to split the scenebut is forced to take care of his two boys. Just as

scared and immature as they are, the wild fatherfaces an uphill road to redemption. With a stylisticnod to Guy Ritchie’s action films, iconic westerns,and the sounds of dub and northern soul, this firstfilm by Dexter Fletcher, a well-known British actormaking his directorial debut, is fascinating thefestivals audiences.

WILD BILL DEXTER FLETCHER


DIRECTED BY

he year 2011 has been a critical one forBritain, with a new Conservative governmentreviving the grim social divisions of theThatcher era. In the media, two

diametrically opposed images have defined Britain:on the one hand, a royal wedding, with its nostalgicecho of Diana worship; on the other, riots, looting, aclimate of dissatisfaction that alarms the Left andRight alike. What better time, then, to programme aset of films highlighting two opposite positions inBritish cinema? For the programme entitled “Punksand Patriots”, we asked a number of leading figuresin UK cinema and culture to each choose twocontrasting films of importance to them. The onlycondition was that one film (in what you might callthe ‘Patriots’ category) should reflect mainstream ortraditional images of Britain, while the other (let’s call

it ‘Punks’) should embody dissent, subversion,radicalism - whether political, sexual or aesthetic. Wealso gave our contributors licence to play with thesecategories, and subvert them if they wished. Indeed,the programme shows that there isn’t always a cleardistinction between rebels and establishment figures.Hanif Kureishi, for example, chose a film starring theBeatles - in the early 60s, heralds of seismic socialchange, but a decade later, sufficiently old-guard fortheir punk inheritors, the Clash, to sing, “No Elvis,Beatles or Rolling Stones in 1977”. Or take Powelland Pressburger - godfather figures who, for some,represent the high tradition of British cinema, but whoalso emerge here as imaginative radicals, formaliconoclasts. This might have been a very differentprogramme. It might, for example, have includedJames Ivory and David Lean films or perhaps Chariots

PUNKS AND PATRIOTSRETROSPECTIVE

224 FOCUS | RETROSPECTIVE

Tof Fire in the ‘Patriots’ strand, and under the ‘Punks’heading, Julien Temple’s rock movies, thrillers suchas Mike Hodges’s Get Carter, experimenters such asSally Potter, or the socially committed realism of KenLoach and Alan Clarke. As it is, this season reflectsthe passions of its contributors, and offers somefascinating contrasts and contradictions. While someof the vigorously inventive new British cinema can beseen in the Festival’s UK showcase, “Punks andPatriots” represents some of the precursors who offersuch important inspiration to emerging film-makers -inspiration to which, sometimes, a new generationmust pay tribute by rebelling against it.

JONATHAN ROMNEY

225FOCUS | RETROSPECTIVE

FILM + ENCOUNTERS

Two firsts for Festival audiences, as four of theU.K.’s leading cultural lights involved inselecting titles for the Focus retrospectivedevoted to British film face off in two differentevening events. In pairs, Terence Davies withMichael Nyman, and David Hare with HanifKureishi, take the stage to talk with audiencesabout the “Punks and Patriots” films on theprogram.

he Pumpkin Eater. The story is simple. Whatis really interesting is the way Pinter hastranslated Penelope Mortimer’s novel intopurely cinematic terms. It’s his best

screenplay, I think, and beautifully directed by JackClayton with wonderfully crisp, chilly black and whiteby Oswald Morris and a lovely delicate score byGeorges Delerue which softly cushions the characters’hurt. But the subtext is really about the impenetrabilityof other people. If we do not know ourselves (and wenever truly do), how can we know others? Life is astransitory as it is enigmatic. The characters live inprivileged luxury and the world beyond their world isseen to be full of menace (Yootha Joyce, terrifying atthe hairdressers... The ‘King of Judah’ knocking on thedoor asking for money) and so is Jo’s breakdown inpublic at Harrods. Menace and ambiguity are seen ineverything; even the children seem remote and alien.Marriage and fecundity aren’t enough, but perhapssimple acceptance is the simple key to life and love.At the end of the film there is an implied hope - notfor happiness but for contentment, peace of mind. Wecannot fathom the mystery of love, which is probablythe greatest mystery of all. We live. We die. Life goes on... but without us.When will we dead awaken?The Ladykillers. One of Ealing’s greatest comedies,full of a dark, glittering wit. Each member of the gangis from a different stratum of British society and theyare all failures. A metaphor for Britain at the end ofEmpire - tired, old, no longer relevant - yet despite allthat, Mrs Wilberforce (the innocent who wreaks havocwithout ever knowing it) shows us that we can stillkeep up appearances and keep our dignity.Britain may no longer be important or powerful but wemust ‘make the best of it’ by retaining our decorum.Our manners, our dress and even our speech may nowbe out of date, may be hopelessly anachronistic, butonly someone very uncouth would admit it.

TERENCE DAVIES

Terence Davies was educated at Catholic primaryand secondary schools in Liverpool followed by workin accounting and bookkeeping. He studied at theCoventry Drama School and later at the NationalTelevision and Film School. His prize-winningTrilogy - Children, Madonna and Child and Deathand Transfiguration - was made between 1974 and1983. His first novel Hallelujah Now was publishedin 1984. His feature films are Distant Voices, StillLives (1988); The Long Day Closes (1992); TheNeon Bible (1995), adapted from the novel by JohnKennedy Toole; and The House of Mirth (2000),from the Edith Wharton novel. He also wrote,directed and narrated Of Time and the City (2008),a documentary about Liverpool. His latest film isThe Deep Blue Sea, from Terence Rattigan’s 1952play. His radio work for the BBC includes The Wavesby Virginia Woolf (2007) and Intensive Care, apersonal memoir (2010).

TERENCE DAVIES’ CHOICE

T

United Kingdom • 1955 • Color • 35 mm • 88’ • English

Professor Marcus rents a room from an elderly lady, Mrs. LouisaWilberforce. Here he invites four of his friends to rehearse for their stringquintet performance. In reality, Marcus is no musician: he’s the ring-leader of a gang of oddball criminals, and the rehearsals are a cover asthe quintet plans a bold heist, with Louisa as unwitting accomplice.Just when they are about to pull it off, though, Louisa accidentallylearns the truth. Now the gang shifts to Plan B: eliminate her…

Cast Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers, Danny Green, Katie Johnson Screenplay William Rose Cinematography Otto Heller Editing Jack Harris Production Design Jim Morahan CostumeDesign Anthony Mendleson Music Tristram Cary Producer Michael Balcon Co-Producer Seth Holt ProductionEaling Studios Co-Production The Rank Organisation Film Production Ltd. Print Source Tamasa Distribution

THE LADYKILLERS

ALEXANDER MACKENDRICK

United Kingdom • 1964 • B/W • 35 mm • 110’ • English

THE PUMPKIN EATER

Jo has already been married twice before, with six children to showfor it. Her third husband, Jake, is a successful screenwriter, but thetwo can’t communicate at all. Jo is unhappy and thinks Jake ischeating on her, getting so depressed that she turns to a psychiatrist,while Jake blithely pursues his brilliant career. Once Jo obtains proofof her husband’s infidelity, she withdraws to the country house withher children, in a last desperate attempt to save her family.

JACK CLAYTON

Cast Anne Bancroft, Peter Finch, James Mason, Janine Grey, Cedric Hardwicke Screenplay Harold Pinter (based on the novel by Penelope Mortimer) Cinematography Oswald Morris EditingJames Clark Production Design Edward Marshall Costume Design Motley Music Georges Delerue ProducerJames Woolf Co-Producer James Ware Production Romulus Films Print Source BFI Rights Park Circus

226 FOCUS | RETROSPECTIVE 227FOCUS | RETROSPECTIVE

PUNKS

PATRIOTS

DIRECTED BY

DIRECTED BY

veryone knows Graham Greene's great screenmasterpiece The Third Man, but in its quietway The Fallen Idol is just as impressive. Ithas an unusual theme - a child's misplaced

worship of an adult - and it's centred round a verybeautiful scene in a tea shop between RalphRichardson and Michèle Morgan, where love,devastatingly, is seen through a young boy's eyes.And I choose My Son The Fanatic, because I thinkof it as the most overlooked of British films - perhapsbecause, like The Fallen Idol, it's primarily a writer'sfilm. Hanif Kureishi prophesied so many of theruptures within Islam which have since become thecommonplaces of twenty-first-century journalism.Only he wrote about them first, in 1997, and I'm notsure anyone since has written better.

DAVID HARE

David Hare was born in Sussex in 1947. He is alsothe author of 28 plays for the stage, sixteen ofwhich have been presented at the National Theatre,London. Ten of his best-known plays, includingPlenty, The Secret Rapture, Skylight, The BlueRoom, Amy's View, The Judas Kiss, Via Dolorosa -in which he performed - and The Vertical Hour havealso been presented on Broadway. He has directedfour feature films from his own screenplays:Wetherby (1985), Paris by Night (1988), Strapless(1989) and Page Eight (2011). His otherscreenplays include Saigon: Year of the Cat(Stephen Frears,1983); Plenty (Fred Schepisi,1985); Damage (Louis Malle, 1992); The Hours(2002) and The Reader (2008), both directed byStephen Daldry. He is the winner of the 2011PEN/Pinter Prize.

DAVID HARE’S CHOICE

E


Parvez is a Pakistani-born taxi driver who lives in Bradford with hiswife Minoo and his son Farid, perfectly integrated into English society.His regular customers include a prostitute, Bettina, to whom Parvez isattracted. When Farid decides to espouse the cause of Islamicfundamentalism, and Bettina starts going out with Schitz, a Germanbusinessman, Parvez’s world begins to fall apart. After falling out withboth his wife and his son, he finds himself cut off, now truly a strangerin a strange land.

Cast Om Puri, Rachel Griffiths, Stellan Skarsgård, Akbar Kurtha, Gopi DesaiScreenplay Hanif Kureishi (based on his short story) Cinematography Alan Almond Editing David GambleProduction Design Grenville Horner Costume Design Mary-Jane Reyner Music Stephen Warbeck Producer ChrisCurling Production Zephyr Films, BBC Films Co-Production UGC Droits Audiovisuels, Arts Council of England

MY SON THE FANATIC

UDAYAN PRASAD


THE FALLEN IDOL

Based on a 1936 story by Graham Greene, “The Basement Room”,the film tells the story of an ambassador’s eight-year-old son who isleft with the butler, Baines, for a weekend. The boy has alwaysidolized Baines, until now: he discovers that the butler, who ismarried, has been carrying on an affair with a young embassyemployee. From this point on, the child begins to see the grown-upworld in a very different light.

CAROL REED

Cast Michèle Morgan, Ralph Richardson, Sonia Dresdel, Bobby Henrey, Denis O’Dea, Jack HawkinsScreenplay Graham Greene (based on his story “The Basement Room”) Cinematography Georges PérinalEditing Oswald Hafenrichter Production Design Vincent Korda Music William Alwyn Producer Carol ReedProduction London Film Productions Print Source BFI Rights Tamasa Distribution


PUNKS

PATRIOTS

DIRECTED BY

DIRECTED BY

unday Bloody Sunday. There is not muchin cinema that can shock us any more.Maybe in its day Sunday Bloody Sundaywas deemed radical because of its frank

portrayal of homosexuality and free love, but lookingat it now, it is more shocking for its unapologetic lookat British middle-class characters. This still gives itthe power to stir up prejudices, to a British audienceanyway. John Schlesinger’s brilliance is in making yousee deep into the souls of the imperfect characters,perfectly played by Peter Finch and Glenda Jackson.This grown-up film is still way ahead of most filmsdealing with adult relationships.Persuasion. I frequently ask myself, what is the pointof adapting books for film? Surely there are plenty ofnew stories to tell. I am a passionate Jane Austenite,but who needs another glossy, star-driven film version?Roger Michell’s Persuasion is different and standshigh above the others. Here there are no beautifulpeople, but believable people, and the film isremarkable for its gentleness and un-showyEnglishness. Jane Austen’s ability to look honestly atthe minutiae of life seems at odds with cinema’s loveof the bold and the epic, yet Michell’s versionembraces Austen’s world with its tarnished portrayalof the everyday.

JOANNA HOGG

Joanna Hogg started her career as a photographer,before becoming a prolific director of television drama.She made her feature debut with Unrelated in 2007.It was a critical success on its UK release in 2008 andwon numerous prizes including the FIPRESCIInternational Critics’ Award at the London Film Festival2007. Her second feature film Archipelago (2010),also received critical acclaim and provoked muchcomment and debate on its release. She is currentlywriting her third feature film, a contemporary story setin London, which will complete the trilogy.

JOANNA HOGG’S CHOICE

S

United Kingdom, United States • 1971 • Color • 35 mm • 110’ • English

A twenty-five-year-old designer is ‘shared’ by his two lovers, onefemale, a successful lawyer, and the other male, a Jewish doctor, bothof them older than he is. After a weekend in which he splits his timebetween them, the young man, indifferent to the suffering he causes,suddenly announces that he is going to the U.S., leaving a terrible voidin two hearts.

Cast Peter Finch, Glenda Jackson, Murray Head, Peggy Ashcroft, Tony BrittonScreenplay Penelope Gilliatt Cinematography Billy Williams Editing Richard Marden Production DesignLuciana Arrighi Costume Design Jocelyn Rickards Music Ron Geesin Producer Joseph Janni ProductionVectia Film, Vic Film Print Source Park Circus

SUNDAY BLOODY SUNDAY

JOHN SCHLESINGER


Based on the novel by Jane Austen, the story unfolds in early 19th-century England. Dire economic straits force the Elliot family to moveout of their home and go to live in Bath. They rent the house to AdmiralCroft, whose brother-in-law, Captain Wentworth, had once beenengaged to Anne Elliot, but her friend Lady Russell had persuadedAnne that he lacked prospects. Now Anne is twenty-seven, but she hasnever forgotten her first love, who now comes back into her life. Aftera series of misunderstandings, the captain writes to Anne and assuresher he has loved her all along. And the wedding bells can finally ring.

Cast Amanda Root, Ciaran Hinds, Susan Fleetwood, Corin Redgrave, Fiona Shaw, John Woodvine, PhoebeNicholls, Samuel WestScreenplay Nick Dear (based on the novel by Jane Austen) Cinematography John Daly Editing Kate EvansProduction Design William Dudley Costume Design Alexandra Byrne Music Jeremy Sams Producer FionaFinlay Production BBC Films, WGBH (Boston), Millesime Prods/France 2

PERSUASION

ROGER MICHELL


PUNKS

PATRIOTS

DIRECTED BY

DIRECTED BY

can remember seeing A Hard Day’s Night at theBromley Odeon, probably in 1964 or 65 - Iremember all the mothers screaming. I’d neverseen such a visceral reaction to a film before,

certainly not in Bromley. It was the first film that Iwas aware of that was about what has become knownas celebrity. It’s about the sexualisation of Britishculture, and the rise of pop. There are all those oldmen in the film who represent the old world, the worldof authority - and these beautiful young men in theirwell-cut suits. In that sense, A Hard Day’s Night is like My BeautifulLaundrette - it shows something new that’s about tostart. My Beautiful Laundrette is the first film that’sreally about Asian or Pakistani characters, showingthat Britain was about to become multi-cultural.

I threw all my concerns of the time into the film - mychildhood as an Asian kid growing up in quite a racistpart of South London, and these members of myfamily who were Thatcherites, who were becoming thenew entrepreneurial class. It showed for the first time that it was possible tomake films about ethnic minorities for a largeaudience. In television I’d been told that the subjectwas not of interest to large audiences and I shouldconcentrate on writing about white people - but Istuck to my guns because that’s all I knew. Also,before Laundrette, films about homosexuality usuallystarred Dirk Bogarde and he usually died at the endof them. Homosexuality in film had been a grimbusiness - this made it rather glamorous.

HANIF KUREISHI

Hanif Kureishi is the author of numerous novels,short story collections, screenplays and plays. In1984 he wrote My Beautiful Laundrette (directedby Stephen Frears), which received an Oscarnomination for Best Screenplay. His second film,Sammy and Rosie Get Laid (Stephen Frears, 1987),was followed by London Kills Me (1991), which healso directed. The Buddha of Suburbia won theWhitbread Prize for Best First Novel in 1990 andwas made into a four-part drama series by the BBC.Intimacy, his third novel, was published in 1998,and was adapted for film in 2001. His work hasbeen translated into 36 languages. He has beenawarded the Chevalier de l'Ordre des Arts et desLettres and a CBE for services to literature. In 2008‘The Times’ listed him as one of ‘The 50 GreatestBritish Writers since 1945’ and in 2010 he wasawarded the PEN/Pinter Prize. Hanif Kureishi livesin London with his wife and children.

HANIF KUREISHI’S CHOICE

I

United Kingdom • 1985 • Color • 35 mm • 97’ • English, Urdu

Omar, a young middle-class Anglo-Pakistani, son of a former Socialistjournalist with a bad case of depression and a drinking problem, istrying to make ends meet in a country that leaves its minorities veryfew options. He goes to work for his uncle, who has a finger in manypots, lucrative affairs, but not altogether legal. Hoping to get placesfast and make money, Omar takes over a dilapidated laundrette andrenovates it with the help of Johnny, his old school friend, poor, white,and an ex neo-Nazi punk to boot. The two become lovers, not withouttheir problems, but they manage to put the business back on its feet,and take over other laundrettes in the vicinity as well.

Cast Saeed Jaffrey, Roshan Seth, Daniel Day-Lewis, Gordon Warnecke, Derrick Branche, Rita WolfScreenplay Hanif Kureishi Cinematography Oliver Stapleton Editing Mick Audsley Production Design HugoLuczyc Wyhowski Costume Design Lindy Hemming Music Ludus Tonalis Producer Tim Bevan Co-ProducerSarah Radclyffe Production Working Title Films Co-Production SAF Productions Print Source Park Circus

MY BEAUTIFUL LAUNDRETTE

STEPHEN FREARS

United Kingdom, United States • 1964 • B/W • 35 mm • 88’ • English

A HARD DAY’S NIGHT

Back in the day: the Beatles, a fresh-faced band from Liverpool, arrivein London to appear on a TV show. With their manager hoveringanxiously, and screaming fans following them everywhere, in the madrace from the station to the studio, all they want is a little peace andquiet. So the Fab Four, accompanied by an unlikely grandfather, getinto all sorts of trouble, with Ringo ending up at a police station justbefore they go on the air. Helped by his friends, he still manages toget to the studio in time, to the delight of the teenage audience. Afterthe event, off they go in a helicopter, destination unknown: the nextconcert awaits.

RICHARD LESTER

Cast John Lennon, Paul McCartney, Ringo Starr, George Harrison, Wilfrid BrambellScreenplay Alun Owen Cinematography Gilbert Taylor Editing John Jympson Production Design Ray SimmCostume Design Julie Harris Music John Lennon, Paul McCartney Producer Walter Shenson Co-ProducerDenis O’Dell Production Proscenium Films Co-Production United Artists Print Source Park Circus


PUNKS

PATRIOTS

DIRECTED BY

DIRECTED BY

y choices are A Matter of Life andDeath and Hue and Cry - and checkingtheir dates, I discovered they weremade a year apart, in 1946 and 1947

respectively. Yet their roles in my own filmautobiography are totally contradictory. Maybe I sawHue and Cry when I was around 5 or 6 at the‘Saturday Morning Pictures’ at the Odeon, SouthChingford. Obviously a small kid would identify witha bunch of small kids playing in that curious postwarspace defined only as a ‘bomb site’, even though Ihave totally forgotten the plot. And it seems odd thatI was unknowingly exposed to a soundtrack byGeorges Auric, long before I studied the group ofcomposers ‘Les Six’ as a musicology student at theRoyal Academy of Music in 1961. I only discoveredA Matter of Life and Death during the Powell andPressburger ‘revival’ some time during the 90s, whenI discovered that camera and plot could magically freethemselves - had already freed themselves, just a fewyears before I saw my first films - from the harshdisciplines of visually and structurally mannered‘logic’ that I had become locked into while workingfor 25 years with Peter Greenaway.

MICHAEL NYMAN

Michael Nyman first made his mark as amusicologist in the late ’60s, and in 1969 wrote thelibretto for Harrison Birtwistle’s opera Down By TheGreenwood Side. In 1976 he formed his ownensemble, the Campiello Band (now the MichaelNyman Band). His scores include a dozen PeterGreenaway films, including The Draughtsman’sContract and The Cook, the Thief, His Wife & HerLover; Neil Jordan’s The End Of The Affair; severalMichael Winterbottom features; Andrew Niccol’sGattaca; and Jane Campion's 1993 The Piano, thesoundtrack album selling more than three millioncopies.His operas include The Man Who Mistook His WifeFor a Hat and Facing Goya. He has also collaboratedwith artists including Bruce McLean, Damon Albarnand Kutlug Ataman. Nyman’s own visual work hasbeen exhibited in institutions including the TateModern in London and the Museum of Modern Artin New York.In October 2009, Nyman released The Glare, acollection of songs with David McAlmont. MichaelNyman’s first feature film is NYman with a MovieCamera, a shot-by-shot reconstruction of DzigaVertov's iconic Man with a Movie Camera.

MICHAEL NYMAN’S CHOICE

MUnited Kingdom • 1947 • B/W • 35 mm • 82’ • English

Just after the Second World War, a band of street kids roams thebombed-out streets of London’s East End shattered by the Blitz. Theydiscover that a criminal gang is using their favorite comic strip to passon orders and plot its next crimes, by subtly changing the strip everyweek without the artist’s knowing. It’s the start of a frightening yethilarious adventure that the children handle brilliantly, with no helpwhatsoever from the police.

Cast Alastair Sim, Jack Warner, Valerie White, Harry FowlerScreenplay T.E.B Clarke Cinematography Douglas Slocombe Editing Charles Hasse Production Design NormanG. Arnold Music Georges Auric Producer Michael Balcon Co-Producer Henry Cornelius Production Ealing Studios Print Source BFI Rights Tamasa Distribution

HUE AND CRY

CHARLES CRICHTON

United Kingdom • 1946 • Color - B/W • 35 mm • 104’ • English

A MATTER OF LIFE AND DEATH

During a flight mission over the Channel during World War II, anEnglish plane is in flames, and the pilot ditches with no parachuteafter a last radio exchange. Inexplicably, he survives and meets theAmerican radio operator who had received his dramatic message, andthey fall in love. But their idyll is shaken by the aviator’s odd crises,during which an envoy from the beyond orders him to the other side,and a jury of Americans and Englishmen debate whether or not histime on earth is up. An operation on his brain will decide the matter…

MICHAEL POWELL,EMERIC PRESSBURGER

Cast David Niven, Roger Livesey, Kim Hunter, Marius Goring, Raymond MasseyScreenplay Michael Powell, Emeric Pressburger Cinematography Jack Cardiff Editing Reginald MillsProduction Design Alfred Junge Costume Design Hein Heckroth Music Allan Gray Producer Michael Powell,Emeric Pressburger Production The Archers Print Source Park Circus


PUNKS

PATRIOTS

DIRECTED BY

DIRECTED BY

ichael Powell, a Man of Kent, and EmericPressburger, a Hungarian, made one oftheir most personal and elegiac films, ACanterbury Tale, in 1944. A small

village, crosshatched by ancient beams, connected toelsewhere by its smoke-billowing dragon of a steamtrain, on the Pilgrim's Way to hallowed Canterbury.Land girls and soldiers, allies foreign to each other yetall too familiar, a patrician magistrate, memory andglue and sacrifice and the question of what lastsforever and what impermanence we must bear: thereare few films so shamelessly committed to a sense ofnationhood, history and ancient cultural bonds.In 1988 Derek Jarman, an English film-makerregularly inspired by Powell and Pressburger madeanother film, The Last of England, a passionatepolitical elegy dedicated to the same country, andarguably to the same spirit. Jarman was profoundlyromantic about the power of a poetic response to acultural heritage he felt was endangered. Shot onSuper 8 over a year and blown up to 35mm in apioneering gesture of independence, The Last ofEngland freed Jarman to work outside budgetconstraints. Working with a collage of images thispoet/painter/punk film-maker collated his ‘scenes’ asif they were an anthology of writings shuffled and

ordered accordingly, outside any narrative limitations. The Last of England - named after Ford MadoxBrown’s Victorian masterpiece painting depictingdisplaced English families boarding ship for the NewWorld - was conceived, like A Canterbury Tale, in darktimes. For one, world war against fascism; for theother, the threat of political suppression and thedevastating realities of AIDS; in both films, the lamentfor a potential loss of cultural spirit rings clear. Butboth look forward to a new horizon and a brighterfuture with resolute hope and energy. Both Powell andJarman occupy places in the English pantheon asprovocateur visionaries of international stature. Butboth these films are the songs of humane lyricists inlove with the spiritual wellspring of the perennialtraditions of nature, art and life. Maybe the Punk andthe Romantic Englishman are more often than not oneand the same - in an honourable, invaluable, outsiderposition occupied from William Blake onward, and onwhich our national identity (wisely, and eternally)relies.

TILDA SWINTON

A native of Scotland, Tilda Swinton started makingfilms with Derek Jarman in 1985, with Caravaggio.They made seven more films together including TheLast of England, Edward II (Best Actress at the 1991Venice Film Festival) and Wittgenstein. She gainedwider international recognition with Orlando, directedby Sally Potter. She has established ongoingfilmmaking relationships with Lynn Hershman Leeson;John Maybury; Jim Jarmusch; and Luca Guadagnino(notably I Am Love, which she co-produced). In 1995,she conceived and performed her live art piece TheMaybe; it was presented at London’s SerpentineGallery with an installation she devised with CorneliaParker. Swinton’s other films include Adaptation,Young Adam, The Man from London, the Chroniclesof Narnia films, Julia and Michael Clayton (winningBAFTA and Academy Awards® for Best SupportingActress of 2008).

TILDA SWINTON’S CHOICE

MUnited Kingdom • 1988 • Color - B/W • 35 mm • 87’ • English

Scenes from a virtually non-existent narrative structure: the directorat work in his London home; old Super 8 footage; a young man takingdrugs; a trip to New York; a symbolic marriage; a torchlight processionin an abandoned factory; masked soldiers. The relationship betweencinema and painting holds it all together. In fact, the film’s title is thesame as a 1855 painting by Ford Madox Brown depicting Englishemigrants setting off for America, excited, true, but not a dry eyeamong them.

Cast Tilda Swinton, Spencer Leigh, Spring, Gay Gaynor, Matthew HawkinsScreenplay Derek Jarman Cinematography Derek Jarman, Christopher Hughes, Cerith Wyn Evans, RichardHeslop Editing Peter Cartwright, Angus Cook, Sally Yeadon, John Maybury Production Design Christopher HobbsCostume Design Sandy Powell Music Simon Fisher Turner et al Producer Don Boyd, James Mackay ProductionBritish Screen, Film Four, ZDF, Anglo-International Rights Hollywood Classics

DEREK JARMAN


A CANTERBURY TALE

During the Second World War, the destinies of three individuals areentwined near Canterbury: an American soldier, Bob Johnson, anEnglish sergeant, Peter Gibbs, and a lovely young shopgirl fromLondon, Alison Smith. The three of them set out to unmask themysterious “glue-man” who has been pouring glue on girls’ hair on thestreet, late at night. To get to the truth and nab the culprit, the trioturns to Thomas Colpeper, a magistrate and local history expert.

MICHAEL POWELL,EMERIC PRESSBURGER

Cast Eric Portman, Sheila Sim, Dennis Price, Sergt. John Sweet , Esmond KnightScreenplay Michael Powell, Emeric Pressburger Cinematography Erwin Hillier Editing John SeabourneProduction Design Alfred Junge Music Allan Gray Producer Michael Powell, Emeric Pressburger ProductionThe Archers Co-Production Independent Producers Print Source Park Circus

THE LAST OF ENGLAND


PUNKS

PATRIOTS

DIRECTED BY

DIRECTED BY

AUTEUR RED CARPET BY EVENT FLORIST SIMON J. LYCETTThe installation in the photo, which will be the backdrop to the parade of stars at the International Rome FilmFestival is a work by British artist Simon J. Lycett in collaboration with the Chelsea Flower Show in London.Lycett has woven an irreverent abstract version of the British flag, the Union Jack, to line the redcarpet, applying metallic elements, fruit and vegetables to three large panels in a blend ofstreet punk influences and droll English humor. The artist, who has worked withthe British royal family for years, created part of the flowerarrangements for the royal wedding of Prince William andKate Middleton, and has also designed floraldecorations for film sets like that ofFour Weddings and aFuneral.

ouglas Gordon (Glasgow, 1966) hasmoreover sought to tear down the barriersbetween the arts more than most, inparticular between visual art and cinema.

The International Rome Film Festival is organizingthe exhibit Raise the Dead, which will include thevideo installation 24 Hour Psycho Back and Forthand To and Fro as well as a new series of “artisticallyaltered” photographs of celebrated Italian directors.Gordon has used cinema and the cinematic mediumas an instrument of infinite expressive possibilities,through which to analyze and challenge the rules ofsocial communication and language; the perceptionof environmental and cultural stimuli; virtuality andthe construction of memory. In his first video works,Gordon used and reworked with equal ease both old,anonymous medical-scientific film footage andfamous movies that are part of the collectiveimagination. In one of his most celebrated works, 24Hour Psycho (1993), one of the best known films in

the history of cinema is shown without sound onto alarge screen at two frames per second, instead of theusual 24, so that the film takes an entire day tounfold. In Gordon’s new version, the sequences ofHitchcock’s masterpiece, among the most universallyrenowned, reveal new and unexpected details,psychological situations and traps of thesubconscious that completely recreate the narrativeimagination of the film, drastically challenging ourpresumed familiarity with the plot; time is blockedand hence reconstructed. The extreme decelerationof the sequences reveals to us the coerciveillusionistic techniques with which often, through the

modern and omnipresent systems of imagecommunication, we are forced to experience joy andfear beyond our will. Almost as if to emphasize, over15 years later, a further and obsessive increase in thereiteration of images thanks to the acceleration oftechnological progress, in the more recent 24 HourPsycho Back and Forth and To and Fro (2008),Hitchcock’s film is projected onto two adjacentscreens, with the same reduced speed as before. Oneproceeds normally, the other in reverse, until theymeet at the same image for just a second. In anotherseries of works dedicated to the film industry and itsinfluence on the collective imagination, Gordon usesphotographs of renowned Italian directors. Theirlegendary faces are partially burnt, and almostunrecognizable, creating a sensorial and mnemonicshort circuit that plays with the notion of time andthat displacement between reality and fiction, lifeand myth upon which cinematic narrative feeds.

MARIO CODOGNATO

RAISE THE DEADEXHIBITION DOUGLAS GORDON

D

238 FOCUS | EXHIBITION

24 Hour Psycho Back and Forth and To and Fro, 2008 Image courtesy Studio lost but found (Frederik Pedersen)

Raise the Dead - Douglas Gordon’s ExhibitionAuditoriumArteOctober 26 from 18:00 to 22:00October 27- November 5 from 11:00 to 22:00Free admission

Document of Preparation for Self-portrait of You+Me(Pier Paolo Pasolini), 2011

MARIO CAMERINI, FROM SOUND TO SILENTSROTAIE

A PROVOCATIVE LILIANA CAVANII CANNIBALI

VIVA L’ITALIA! THE RISORGIMENTO ON SET

ITALIAN DECAMERON

150TH ANNIVERSARY OF THE UNIFICATION OF ITALYA JOURNEY THROUGH ITALIAN IDENTITY

150th ANNIVERSARY OF THE UNIFICATION OF ITALYA JOURNEY THROUGH ITALIAN IDENTITY

MARIO CAMERINIFROM SOUND TO SILENTS

hirty years after the death of MarioCamerini, the International Rome FilmFestival pays tribute to the filmmaker witha first-time screening of his silent film

Rotaie, in the version restored by the FondazioneCineteca Italiana in Milan. In fact, while thesonorized version of the film, not authorized by thedirector, premiered in 1931, there is no record ofpublic screenings of the silent version. The screeningof Rotaie is accompanied by a live musicalperformance by Carlo Casillo (guitar, live computers,glockenspiel), Roberto Caberlotto (accordion), NicolaFadanelli (viola), Mariano De Tassis (percussions,

live eletronic effects), a mix of melodies andelectronic music, pulsating, evocative effects andstrains of futurist music. Rotaie is a milestone in thehistory of Italian film, marking the rebirth of theindustry after the slump in the late 20s. The casinosequences are the real heart of the film, andCamerini’s only cameo appearance on screen at thispoint, in the biggest close-up of the whole sequence,is no accident.The digital restoration, conservative and non-invasive, was carried out at Bologna’s ImmagineRitrovata in 2010-2011, and faithfully recapturesthe excellence of the original photography of theperiod. On the occasion of this 30-year anniversary,“Gli archivi del ‘900” have brought out a monographdevoted to Mario Camerini, edited by ArnaldoColasanti and Ernesto Nicosia, with the collaborationof the most respected experts on the filmmaker, andillustrations from the sizable archives of the CSCNational Film Archives; a book presentation will beheld during the Festival at the Auditorium Bookshop.T

ROTAIE DIRECTED BY MARIO CAMERINI

Italy • 1929 • B/W • 35mm • 74’

Cast Käthe Von Nagy, Maurizio D’Ancora, Daniele Crespi, Aldo Moschino, Mario CameriniStory Corrado D’Errico Script Mario Camerini, Corrado D’Errico Cinematography Ubaldo Arata ProductionDesign Umberto Torri, from sketches by Daniele CrespiCopy conserved and restored by the Fondazione Cineteca Italiana.

243A JOURNEY THROUGH ITALIAN IDENTITYA JOURNEY THROUGH ITALIAN IDENTITY242

he restored version of the provocative filmdirected by Liliana Cavani in the turbulentyears of the student protests will bescreened at the International Rome Film

Festival. With her 1969 film The Year of theCannibals, the well-known director reworkedSophocle’s tragedy in a contemporary vein and re-evoked Antigone’s struggle for universal values in ahostile society that has lost its faith. The film showsthe streets and squares of a large modern city filledwith corpses, but passers-by don’t seem to notice andkeep walking. The authorities have left the bodies ofthe rebels in the street to serve as a warning anddiscourage further insurrections, but Antigone, thedaughter of a well-off family, wants to give herbrother, one of the fallen, a proper burial. No one willhelp her: neither her family nor her fiancé, the sonof a high-ranking government official. The onlyperson willing to assist Antigone is Tiresia, a youngforeigner who speaks in a strange tongue. Together,they proceed to give a burial to as many of the deadas they can, until their subversive activity reaches thedictators’ ears, and their fates are sealed. The twomartyrs, however, have become an example for otheryoung people, who challenge the injustice of theauthorities’ ban and take to the streets themselves tocollect the bodies remaining and bury them.

A PROVOCATIVE LILIANA CAVANI

T

FILM + MUSICThe International Rome Film Festival presents a first:a screening of the restored version of the silent filmRotaie by Mario Camerini, accompanied by a livemusical performance.

RESTORED FILMA tribute to filmmaker Liliana Cavani, with a galaevent dedicated to the screening of the restoredversion of I cannibali, a sophisticated inquiry intothe legitimacy of power.

I CANNIBALIDIRECTED BY LILIANA CAVANI

Italy • 1969 • Color • 35mm • 95’

Cast Francesco Arminio, Delia Boccardo, Pierre Clementi, Britt Ekland, Francesco Leonetti, Marino Masè,Cora Mazzoni, Tomas Milian Script Liliana Cavani, Italo Moscati, Fabrizio Onofri Cinematography Giulio Albonico Editing Nino BaragliProduction Design Ezio Frigerio Score Ennio Morricone Producers Doria, San Marco Produzione

ITALIAN DECAMERON A TEN-PART REALIST/SURREALIST JOURNEY THROUGH ITALIAN IDENTITY IN CINEMA

n the occasion of the 150th anniversaryof Italian Unification, the Casa delCinema offers a five-day program, fromOctober 31 to November 4, of screenings

during the Rome Film Festival. Dedicated to the bigscreen’s treatment of Italian national identity, theoverview features five pairs of films, each pairillustrating five important aspects of what it meansto be Italian, in a realist, epic, dramatic or grotesquevein. The Italian national character, the importanceof the family and the Catholic faith, the historic orimaginary divide between northerners andsoutherners, the emigration of the past century andthe immigration of the present: the ten filmsconstitute a polygonal portrait, a virtual Decameronfor our times. Each two-film screening – the first at18:00, the second at 21:00 - will be accompanied

by a debate between two historians, social critics,novelists, journalists or filmmakers, who will call ona third key figure in the audience: the director orstar of the film being screened, or another privilegedobserver connected with the film or the theme insome way.Just the way to grapple with our feelings about ournational identity without being rhetorical,conventional, or even monolithic, by comparingopposing views, or at least divergent ones. The eventhas been organized in collaboration with theFondazione Centro Sperimentale di Cinematografia- National Film Archive, which provided copies ofthe films.

MARCELLO VENEZIANI

O


I MOSTRI

by Dino Risi • B/W • 1963 • 123’

Cast Vittorio Gassman, Ugo Tognazzi, Lando Buzzanca, MarisaMerlini, Michèle Mercier, Ricky Tognazzi, Maria Mannelli,Mario Cecchi Gori, Sal Borghese Screenplay Age e Scarpelli,Elio Petri, Dino Risi Cinematography Alfio Contini MusicArmando Trovajoli Editing Maurizio Lucidi Production MarioCecchi Gori

OCTOBER 31 ITALIANS/ITALIOTS

LA GRANDE GUERRA

by Mario Monicelli • B/W • 1959 • 134’

Cast Alberto Sordi, Vittorio Gassman, Silvana Mangano,Romolo Valli, Folco Lulli, Mario Valdemarin, Livio Lorenzon,Bernard Blier, Tiberio Murgia, Elsa Vazzoler Screenplay Age eScarpelli, Luciano Vincenzoni, Mario Monicelli CinematographyGiuseppe Rotunno Music Nino Rota Editing Adriana NovelliProduction Dino De Laurentiis

rom the triumphal, epic Risorgimento inAlessandro Blasetti’s 1860 (1934) to themore problematic version in We Believed byMario Martone (2010): the photography

exhibition “Viva l’Italia! The Risorgimento on Set”,organized by the International Rome Film Festival tocelebrate the 150th anniversary of Italian Unification,moves between these two poles.The exhibition takes its name from the film by RobertoRossellini to showcase some striking examples of howItalian cinema has dealt with the age of theRisorgimento and its leading exponents, in a fascinatingand contradictory weave of history and fiction. The showis not a comprehensive overview – many film sceneshave been left out for various reasons, despite theirimportance – but a memorable journey through cinema,using stills taken on and off the set, that takes a newlook at films that are celebratory (besides Viva l’Italia,Camicie rosse by Goffredo Alessandrini), as well asmore restrained, tied to minor episodes (Piero Nelli’s Lapattuglia sperduta), or films in which the historical

record is retraced in the guise of melodrama (LuchinoVisconti) or comedy (Luigi Magni).This blend of high culture and popular culture, andnobility and common folk, so characteristic of theperiod of the Unification, is underscored by thearrangement of the photographs on display, whichdepict both the stars of Italian cinema and the extrasthat crowd the screen.The photographs are on loan from: the Archivio Storicodel Cinema/AFE (Roma), Franco Bellomo, CentroCinema Città di Cesena, the Bologna Cineteca, theNational Film Museum in Turin, and AssociatedReporters (Roma).

F

Viva l’Italia! The Risorgimento on SetCurated by Antonio Maraldi (Centro CinemaCittà di Cesena)Foyer Sala PetrassiAuditorium Parco della MusicaOctober 26-November 4 - 11:00 to 18:00Free admission

VIVA L’ITALIA! THE RISORGIMENTO ON SET


IL PAPÀ DI GIOVANNA

by Pupi Avati • Color • 2008 • 104’

Cast Silvio Orlando, Francesca Neri, Ezio Greggio, Alba Rohrwacher,Serena Grandi Screenplay Pupi Avati Cinematography PasqualeRachini Music Riz Ortolani Editing Amedeo Salfa ProductionAntonio Avati, Medusa Film

NOVEMBER 1 NORTHERNERS/SOUTHERNERS

TRE FRATELLI

by Francesco Rosi • Color • 1981 • 111’

Cast Philippe Noiret, Michele Placido, Vittorio Mezzogiorno,Charles Vanel, Andréa Ferréol, Maddalena Crippa, Sara Tafuri,Marta Zoffoli Screenplay Francesco Rosi, Tonino GuerraCinematography Pasqualino De Santis Music Piero PiccioniEditing Ruggero Mastroianni Production Giorgio Nocella,Antonio Macrì

NELL’ANNO DEL SIGNORE

by Luigi Magni • Color • 1969 • 105’

Cast Nino Manfredi, Claudia Cardinale, Enrico Maria Salerno,Britt Ekland, Robert Hossein, Ugo Tognazzi, Alberto Sordi,Pippo Franco Screenplay Luigi Magni Cinematography SilvanoIppoliti Music Armando Trovajoli Editing Ruggero MastroianniProduction Bino Cicogna

NOVEMBER 3 BELIEVERS/CLERICALISTS

FRANCESCO

by Liliana Cavani • Color • 1988 • 150’

Cast Mickey Rourke, Helena Bonham Carter, Paolo Bonacelli,Andréa Ferréol Screenplay Roberta Mazzoni, Liliana CavaniCinematography Giuseppe Lanci, Ennio Guarnieri MusicVangelis Editing Gabriella Cristiani Production Karol Film, RaiUno, Istituto Luce

PUMMARÒ

by Michele Placido • Color • 1989 • 101’

Cast Thywill A.K. Amenya, Pamela Villoresi, Franco Interlenghi,Jacqueline Williams Screenplay Michele Placido, SandroPetraglia, Stefano Rulli Cinematography Vilko Filac Music MauroMalavasi, Lucio Dalla Editing Ruggero Mastroianni ProductionClaudio Bonivento

NOVEMBER 4 EMIGRANTS/IMMIGRANTS

PANE E CIOCCOLATA

by Franco Brusati • Color • 1974 • 114’

Cast Nino Manfredi, Paolo Turco, Anna Karina, Ugo D’AlessioScreenplay Franco Brusati, Nino Manfredi, Jaja FiastriCinematography Luciano Tovoli Music Daniele PatucchiEditing Mario Morra Production Maurizio Lodi-Fe

IL POSTO

by Ermanno Olmi • B/W • 1961 • 93’

Cast Sandro Panseri, Loredana Detto, Tullio Kezich, MaraRevel, Bice Melegari. Screenplay Ermanno Olmi, EttoreLombardo Cinematography Lamberto Caimi Music Pier EmilioBassi Editing Carla Colombo Production The 24 Horses

NOVEMBER 2 FAMILY/FAMILISTS

I BASILISCHI

by Lina Wertmüller • Color • 2008 • 82’

Cast Antonio Petruzzi, Stefano Satta Flores, Rosanna SantoroScreenplay Lina Wertmüller Cinematography Gianni DiVenanzo Music Ennio Morricone Editing Ruggero MastroianniProduction Lionello Santi

EXHIBITIONSMONICA AND CINEMAA LEGENDARY FILM CAREER

P.P.P. A TRIBUTE TO PIER PAOLO PASOLINI

AUDREY IN ROME EXTERIOR DAYNEWFOUND SPLENDOR FOR A STYLE ICONBREAKFAST AT TIFFANY’S

EXHIBITIONS

MONICA AND CINEMA A LEGENDARY FILM CAREER

he International Rome Film Festival, theCentro Sperimentale di Cinematografia, andCinecittà Luce celebrate Monica Vitti on theoccasion of her 80th birthday, with an

extraordinary exhibition of photographs. The show retraces the splendid 40-year-long career ofone of Italian cinema’s greatest film actresses, whoseastonishing range allowed her to shine in dramatic rolesin Michelangelo Antonioni’s films and comic roles aswell, becoming the only real comediènne of thecommedia all’italiana, able to hold her own against herfamous male colleagues, such as Alberto Sordi, UgoTognazzi, Vittorio Gassman, and Nino Manfredi.The exhibition features photographs from the archives ofCinecittà Luce and the National Film Library at the

Centro Sperimentale di Cinematografia. The impressivecatalogue will be presented during the Festival, on 3rdNovember, at 18:00, at the spazio Lancia.The tribute to Monica Vitti includes the screening of twoof her films: the famous Dramma della gelosia - Tutti iparticolari in cronaca directed by Ettore Scola in 1970,and Vitti’s last film in 1990, Scandalo segreto, whichshe also wrote and directed.

T

250 EXHIBITIONS

Auditorium Parco della MusicaFoyer Sala SinopoliOctober 26, 18:00-21:00October 27 - November 5, 11:00-18:00Free admission

251EXHIBITIONS

fter Sergio Leone and Federico Fellini, theRome Film Festival pays homage to anothermaster filmmaker, Pier Paolo Pasolini, asfiltered through the genius of production

designers Dante Ferretti and Francesca Loschiavo,along with images from his own films. Pasolini wasone of the most lucid and passionate witnesses to theage that saw Italy’s transformation from an agriculturaleconomy into a modern industrialized nation. Thisrapid metamorphosis, which was far from painless,radically changed the Italian landscape (disfigured byrampant construction), modified its culture andaltered the Italian population itself, especially theworking classes, who, in Pasolini’s view, lost theiroriginal identity by aping models imposed on them bytelevision and consumerism. The writer and directorcalled this process “homogenization”.To portray this transformation, Pasolini depended notonly on the stories he chose for his films, but also onthe faces and bodies he selected as matches for his

characters and the urban and peripheral landscapesagainst which their stories unfolded, landscapeschanging very visibly on screen, from Rome in MammaRoma (1962) to the industrial outskirts of Milan inTeorema (1968). In the first section of this exhibition,the stills by Angelo Novi (one of the great photographersin Italian cinema) document the metamorphosis of the

A

P.P.P. A TRIBUTE TO PIER PAOLO PASOLINI

252 253EXHIBITIONS EXHIBITIONS

P.P.P. A Tribute to Pier Paolo PasoliniCurated by Gian Luca Farinelli, Cineteca di BolognaMounted by Dante Ferretti e Francesca LoschiavoConceived by Equa - Production Cineteca diBologna - In collaboration with Festival Internazionale del Film di RomaAuditorium Parco della MusicaExhibition Hall - October 26 - 18:00 to 21:00 from October 27 to November 5 Opening times: 12:00 to 18:00 Open till 20:00 for those holding tickets to afestival screening - Free admission

peninsula just as Pasolini implicitly described it and re-evoked it both in the physicality of his films’ charactersand the lay of the land, from the plebeian peripheriesin Mamma Roma and La ricotta (1963, an episodefrom Ro.Go.Pa.G.); to Comizi d’amore (1963-64), inwhich Pasolini crossed the entire country from top tobottom; and The Gospel According to St. Matthew(1964), which revealed the poverty and helplessness ofthe South; and, finally, the faceless outskirts andbourgeois interiors of The Hawks and The Sparrows(1966) and Teorema (1968).Novi’s stills are also of interest because thephotographer, to document Pasolini’s research,captured the faces of real working-class people turnedinto fictional characters (like Franco Citti or MarioCipriani, the leads in Accattone and La ricotta,respectively); he also immortalized the expressions ofthe underproletarians, farmers, and petit-bourgeoiswhom the director met, interviewed, and filmed for hiscinéma-vérité experiment in Comizi d’amore. Thesame holds for the professional actors (Anna Magnani,Totò) ‘disguised’ as plebeians in Mamma Roma andThe Hawks and The Sparrows.However, behind the bodies of actors and non-actors,it’s the backdrops that are decisive; Pasolini chosethem himself, and devoted much time to scoutinglocations. These are places and spaces that the stillscapture in all their evocative power, crystallizing themso they can be contemplated and “studied” from theperspective of their morphing landscapes. By contrast,the second part of the exhibition is a selection ofportraits of Pasolini himself on the set of his films inthe 60s, as well as his next-to-last film, Arabian Nights(1974). Roberto Villa took these photographs afterspending several months with Pasolini and the crewon the set. The result is an array of splendid shots thatrecreate the figurative magic and the working-classphysicality of Pasolini’s most visionary film and enrichour understanding of the work with glimpses of theArab world that inspired it. They also attest to theparticular creative phase the poet-filmmaker was goingthrough, seemingly on the same wavelength as the

culture surrounding him, which he himself had chosento be the motif and inspiration for the film,transfiguring it by means of the fairy-tale filter of theArab literary classic.What emerges from the sizable selection of portraits ofthe poet/filmmaker on the set is the extraordinaryexpressiveness of Pasolini’s face and body, asinterpreted by great photographers such as Angelo Novi,Roberto Villa, and Mario Dondero (who shot pictures ofthe director on the sets of three films in the early 60s,La ricotta, Comizi d’amore, and La rabbia). But thecenterpiece of the exhibition is sure to be the originalinstallation exclusively designed by FrancescaLoschiavo and Dante Ferretti, who collaborated withPasolini on the films Medea (1969), The Decameron(1971), The Canterbury Tales (1972), Arabian Nights(1974) and Salò or the 120 Days of Sodoma (1975).Visitors see a cloud that springs from a typewriter anda torrent of words, papers and images that bring backthe sheer excitement of the unique, prophetic oeuvrethat Pier Paolo Pasolini bequeathed to us.

GIAN LUCA FARINELLI Director of the Bologna Cineteca

A production by Conceived by

Anna Magnani in Mamma Roma(1962), Angelo Novi © Cinetecadi Bologna - Archivio Fotografico

Pier Paolo Pasolini on the set of Teorema (1968), Angelo Novi © Cineteca di Bologna - Archivio Fotografico

n the 50th anniversary of Breakfast atTiffany’s, for the first time ever Rome willcelebrate Audrey Hepburn with a tributeexhibit to raise money for UNICEF’s fight

against child mortality, a cause to which Ms. Hepburndedicated much of her life as a Goodwill Ambassador.All proceeds of the ticket supplement will go toUNICEF.Promoted by the Department of Cultural Policies andthe Historical Centre-Superintendence of CulturalAssets of Rome Capital, the Audrey Hepburn Children’sFund and UNICEF/Amici di Audrey, the exhibit “Audreyin Rome” will be held at the Ara Pacis Museum fromOctober 26 - December 4, 2011. Audrey Hepburn’ssecond son, Luca Dotti, curated the exhibit withLudovica Damiani, Sciascia Gambaccini and GuidoTorlonia, and consultant Sava Bisazza Terracini. Anexclusive video and a selection of never-before-seenphotographs – from the archives of Reporters Associati,Photomasi, Istituto Luce and Kobal Collection – willreveal moments of her everyday life in Rome and willbe accompanied by some of Ms. Hepburn’s clothingand accessories. There will also be photographs fromthe UNICEF archives of Ms. Hepburn’s many visits toneedy children around the world.

AUDREY IN ROMEEXTERIOR DAY

NEWFOUND SPLENDOR FOR A STYLE ICON

AUDREY HEPBURN TRIBUTE EXHIBIT IN SUPPORT OF UNICEF

Audrey Hepburn in Rome1968 Elio Sorci © Camera Press/Photomasi

Ara Pacis Museum Lungotevere in Augusta(on the corner of Via Tomacelli)October 26 - December 4 Museum hours 9:00-19:00 (admission until 18:00)Closed Mondays Tickets: Full price €11,50; reduced price €9,00 Catalogue Electa curated by Ludovica Damianiand Luca Dotti with texts by Sciascia Gambaccini Info 060608

www.arapacis.itwww.audreyhepburn.comwww.unicef.it

O

254 EXHIBITIONS

BREAKFAST AT TIFFANY’S

Colazione da Tiffany • United States • 1961 • 115’

Cast Audrey Hepburn, George Peppard, Patricia Neal

DIRECTED BY BLAKE EDWARDS

ifty years after its release, the film Breakfastat Tiffany’s, starring an unforgettable AudreyHepburn, makes a new Italian debut onNovember 4 at the International Rome Film

Festival, thanks to the restoration carried out by NexoDigital, publisher and distributor of alternative filmcontent. The screening of the timeless masterpieceby Blake Edwards, superbly restored, is the closingevent of the Festival, and precedes the November 9tribute to Audrey Hepburn, when Breakfast at Tiffany’swill be treated to a single-day release in Italiancinemas (the list is available at www.nexodigital.it).Based on the novella by Truman Capote, Breakfast atTiffany’s was a milestone in the history of film andsocial mores as well. It garnered two Oscars® thanksto the extraordinary score by Henry Mancini and thesuccess of the celebrated ballad “Moon River.”Today, 50 years later, the the restored digital 4Kversion of the film, in all its original splendor, provesonce again the power of this comedy to span past andpresent. Thanks to new digital technologies, on thevery special day devoted to Hepburn a newgeneration of film fans will have the chance tobecome acquainted with an icon of style andunsurpassed femininity, as fresh and contemporarytoday as she was in 1961.

F

255EXHIBITIONS

OTHER EVENTSIN THE AUDITORIUM

259OTHER EVENTS IN THE AUDITORIUM

FORUM FERPI ITALIAN FEDERATION FOR PUBLIC RELATIONSCOMMUNICATION FOR CINEMA: POSSIBLE SCENARIOS

The forum “Communication for cinema: Possible scenarios”, organized by FERPI CULTURA delegate ElisaGreco in collaboration with the Fondazione Cinema per Roma, will be an occasion to speak about cinema notonly as art, but from a cultural, economic and production perspective as well. It intends to open up a dialoguebetween leading film and public relations professionals on the new paths that film communication will take inthe near future.Auditorium Parco della Musica - Studio 3 - October 28 at 11:00 - Free admission - www.ferpi.it

D-CINEMA: A JOURNEY INTO DIGITAL

In 2010, Italian cinema proved it could achieve unexpected results not only in terms of international prestigebut at the box office as well. Our film industry is engaged in the business of digitalizing cinemas as the role ofpublic monies becomes increasingly marginal in order to make room for private investment. Organized by theFondazione Ente dello Spettacolo in collaboration with the International Rome Film Festival, the round tablewill focus on the prospects of digital cinema. Event mediator is Dario E. Viganò, president of the FondazioneEnte dello Spettacolo. Following the introduction of the institutions, speakers will include university professors,industry professionals and prominent figures of Italian cinema. Event participants: AGIS, ANICA, Istituto LuceCinecittà Srl, CMCS-LUISS, Lucky Red, Ministry of Culture, Film Commission Torino Piemonte.Auditorium Parco della Musica - Studio 3 - November 1 at 10:30 - Free admission

CINEMA AND THE ECONOMY: A SNAPSHOT IN MOVEMENT

On November 3 at 9:00, in Studio 3 of the Auditorium Parco della Musica, the Associazione per l’Economia dellaCultura will present its magazine issue 2/2011 published by Il Mulino (Economia della Cultura) dedicated to theeconomics of cinema, as a discussion entitled “Cinema and the economy: A snapshot in movement”. This is animportant opportunity to analyze the ties between cinema and the economy, including the advent of new technologies,in particular the Internet, which has begun to affect film production and distribution and obliges a profound rethinkingof business models. Although there is no significant decrease in demand, there are new forms of accessing audiovisualwork as well as important changes in distribution windows within this multi-media scenario. Organized in collaborationwith BNL, the International Rome Film Festival and its market, The Business Street, the discussion will featurespeakers including institutional experts, researchers and film professionals. Auditorium Parco della Musica - Studio 3 - November 3 at 9:00 - Free admission

Associazione per l’Economiadella Cultura

258 OTHER EVENTS IN THE AUDITORIUM

5th ANNUAL INTERNATIONAL GRAND PRIZE FOR DUBBING

The International Grand Prize for Dubbing is a unique event created in response to a profound need: to providevisibility and cultural recognition to an art, dubbing, for which Italy is renowned the world over. Now in its fifthedition, this year the Grand Prize for Dubbing once again singles out the most talented professionals in Italiandubbing in 2011, selected by a jury of experts from entertainment and academia and divided into specificcategories for the contest. And as of this year, the gala event on October 30, which will take place in the SalaCinema Lotto at the Auditorium Parco della Musica, has been appointed one of the official events on theInternational Rome Film Festival program. As in past years, the participation of well-known names in entertainmentand the involvement of all the Italian film distributors make the International Grand Prize for Dubbing the largestevent anywhere devoted to the dubbing profession in Italy. There are various other initiatives connected with theawards ceremony. During the week preceding the event, meetings, interviews, and debates featuring leading“voices” in Italian dubbing are scheduled at dedicated venues in the Cinema Village. The coupons for admissionto the event must be picked up from the ticket office of the Auditorium Parco della Musica the previous day andare available to the public on a first-come, first-served basis (max 2 coupons for person).Auditorium Parco della Musica - Sala Cinema Lotto - October 30 at 16:30

SHOWCASE OF YOUNG ITALIAN FILMMAKERS

OFF DOC AT THE CASA DEL CINEMA

UNIVERSITY SHORT FILM FESTIVAL

MAXXI | CINEMA AND ART

MAXXI | ON THE INDIAN HIGHWAY

A FESTIVALAROUND THE CITY A FESTIVAL

AROUND THE CITY

In keeping with its commitment to support emergingItalian cinema, the Department of Youth of thePresidency of the Council of Ministers, with theFondazione Cinema per Roma, besides continuingworkshop activities within the New CinemaNetwork, is this year inaugurating a Showcase ofYoung Italian Filmmakers at the 6th InternationalRome Film Festival.The showcase aims to help young, creative,independent cinema, which faces great difficultiesin finding distribution and reaching audiences,and offers greater visibility for the most worthyfilms. The event will screen ten feature films by

young directors, from October 28 to November 2,at the Elsa Morante Cultural Center, with thecollaboration of Zètema progetto Cultura. Theaudience will vote on the ten films in competitionand the winner will be screened at the AuditoriumParco della Musica on November 4, the day of theFestival’s closing awards ceremony.

Italy • 2010 • 90’

Forty-year-old Mario is a porn addict. Forced to stay in the city inAugust, he has a random, unexpected encounter with young, singlemother Agatha, who bursts into his monotonous and solitary life,reawakening long-forgotten feelings that Mario will have to face.

AMORE LIQUIDOMARCO LUCA CATTANEODIRECTED BY

SHOWCASE OF YOUNGITALIAN FILMMAKERS

A CULTURAL CENTER IN ROME’S OUTSKIRTSCompleted in 2010, the Elsa Morante Cultural Centerwas built as a cultural space in the Laurentinoneighborhood, one of the hubs of the circuit of culturalcenters on Rome’s outskirts that are currently beingconstructed by the Dipartimento per le Periferie. Thecenter was built upon a site destined as a publicparking lot, which was never used. It comprises threepavilions: the first features teaching spaces and a café;the second houses youth orientation activities, visualart exhibits, book presentations and screenings ofmusic videos and short films; and the third is amultipurpose theatre also equipped with a screen forscreenings in an outdoor arena that seats 350. All threebuildings were conceived as flexible open spaces thatcan be re-utilized in a multitude of ways. Each buildinghas a terrace that can host small, outdoor events(readings, cocktails, book presentations). Centro Culturale Elsa Morante - Piazzale Elsa Morantetel. 06.5021181Open Monday-Friday 9:00-19:00Saturday 9:00-13:00Available Saturdays and Sundaysfor special event programming• www.centroelsamorante.roma.it• www.autopromozionesociale.it

263A FESTIVAL AROUND THE CITY | SHOWCASE OF YOUNG ITALIAN FILMMAKERS262 A FESTIVAL AROUND THE CITY | SHOWCASE OF YOUNG ITALIAN FILMMAKERS

Italy • 2011 • 85’

In a rundown Los Angeles, a ruthless Hollywood producer who goes bynickname “the Senator” will go to any lengths to destroy his directcompetitor. The botched delivery of a silver case with mysteriouscontents sets off a chain of unpredictable events.

SILVER CASECHRISTIAN FILIPPELLA DIRECTED BY

Italy • 2011 • 101’

After a 10-year absence, tormented 25-year-old Alba receives a visit fromher cousin Fabrizio, who lives far away. What happened in the past toabruptly break off their encounters? Why was Alba waiting for him and whydidn’t he return then? A secret lurks amid the blinds of the Malaspina’s,the parents’ silence and the young woman’s anxiety. A secret that Fabrizioknows and wants to reveal, but an unexpected event changes everything.

ESTERNO SERABARBARA ROSSI PRUDENTEDIRECTED BY

Italy • 2011 • 90’

A famous film diva, Maria Torricello, receives her sons and her closestcolleagues as if to take stock of her life. Her son Carlo seeks explanationsfor past and present events, while her second son is still searching forhimself. Maria seems to watch over everything from the heights of hermaternal position yet cannot hide her attraction for the young Maila, herprofessional heir.

INTERNO GIORNOTOMMASO ROSSELLINI DIRECTED BY

Italy • 2010 • 89’

The extreme outskirts of Rome provide the backdrop to three parallelstories that slowly converge, entwined by drugs and crime. Anexceptionally effective jewel of wisdom and stark, sober storytelling.

ET IN TERRA PAXMATTEO BOTRUGNO E DANIELE COLUCCINIDIRECTED BY

265A FESTIVAL AROUND THE CITY | SHOWCASE OF YOUNG ITALIAN FILMMAKERS264 A FESTIVAL AROUND THE CITY | SHOWCASE OF YOUNG ITALIAN FILMMAKERS

Italy • 2011 • 95’

In 1942, in Athens, the Helianos family’s apartment is commandeeredby a German officer. Methodic and cruel, Captain Kalter subjects thesubmissive Helianoses to terror. When the master suddenly leaves forGermany, the servants discover that freedom no longer makes anysense. They are even relieved when Kalter returns – he is kinder andmore indulgent, but the balance struck is a fragile one.

APPARTAMENTO AD ATENERUGGERO DIPAOLADIRECTED BY

Italy • 2011 • 53’

On the 30-year anniversary of the Vermicino tragedy, Angelo Licheri,the hero who in 1981 tried to save Alfredino Rampi, the little boy whofell down a well, reconnects with other rescuers and with themreconstructs his desperate rescue attempt. The feverish story revealsheretofore-unknown details about those tragic and still hopeful hours.

L’ANGELO DI ALFREDOFABIO MARRADIRECTED BY

267A FESTIVAL AROUND THE CITY | OFF DOC

aving grown up with the festival and gonethrough protean titles (Roma Doc,Percorso), the space–area–laboratory towhich Extra invites “sweepers,”

consummate filmmakers (such as GianfrancoPannone, Luca Verdone, Theo Eshetu and CorsoSalani, the latter’s memory to which Off Doc wasentirely dedicated in 2010), media professionals andyoung newcomers, to present the documentary in allits various forms (investigation, essay, reportage,anecdote, docu-fiction, mockumentary, and so forth),is an event that attracts increasing attention fromaudiences and critics alike. Extra is also both an experiment in decentralization(held as it is outside the Auditorium, at the Casa delCinema) and an exploration of new territories, inkeeping with the very nature of the section, whoseprimary vocation since the inception of the Festivalhas been the perception of cinema from one extremeto the other. Here, audiences will find all that which

is increasingly harder to find in traditional films, andalmost impossible to find elsewhere: surprisingbiographies, the rediscovery of renowned places,popular investigations, show business legends, localmicro-stories. The documentary – or “Doc” (like the nickname ofmain characters from several immortal westerns), anold friend that never abandoned cinema even thoughhe was often watching from the sidelines – is not onlya tool for casting an intense light onto little-knownplaces (such as schools, jail and convents). It alsoportrays our lives from up close, like a family photoalbum, or introduces us to people who have deeplyshaped the collective imagination (great, popularpainters, actors, song-writers, without whom our verylives would have been different). Off Doc is a venuefor a genre that began cinema and is now profoundlyrevitalizing it.

H

266 A FESTIVAL AROUND THE CITY | SHOWCASE OF YOUNG ITALIAN FILMMAKERS

OFF DOCAT THE CASA DEL CINEMA

Italy • 2011 • 76’

In 1980 Patrizio Peci, a leader of the Red Brigades, was arrested. Afterhis arrest, the terrorist began collaborating with the law, aiding in theapprehension of dozens of Red Brigadists, which effectively markedthe organization’s demise. However, remaining members of the RedBrigades kidnapped and killed his brother Roberto. Thirty years later,Roberto’s daughter speaks about herself and her father.

LA VIA DI MIO PADRELUIGI MARIA PEROTTI DIRECTED BY

Italy • 2010 • 60’

In October 2002 a terrible earthquake struck the small town of SanGiuliano di Puglia, in the Molise region, killing 27 children andforcing most of the villagers to leave. Today, eight years later, thosesame villagers are about to return to their homes, yet the pain overthe lost children is more vivid than ever. How does one survive theloss of an entire generation?

LA TERRA NEGLI OCCHIGAIA ADDUCCHIO DIRECTED BY

Italy • 2011 • 81’

There are breaking points in life. Like when Michelangelo loses hisfather. Or Antonio flees from his wife who cannot bring herself to live.Or Giulia, a young mother, sleeps in the hospital in which her husbandlies in a coma. The lives of the three intertwine and together they willfind their way home.

LA STRADA VERSO CASASAMUELE ROSSIDIRECTED BY

by Gianluca Greco • Italy • 2011 • 51’

Since 1500, in the convent of Rome’s Church of the Santi Quattro Coronati (located between the SanGiovanni and Coliseum neighborhoods), every day, all day, the nuns have been praying. For themselves, foreveryone. How many of their prayers reach us? Gianluca Greco (who has worked with Paolo Virzì, SergioRubini, Gianni Amelio and Pupi Avati) reveals his protagonists’ mysticism with a light, respectful touch anda softly synesthetic approach, capturing lives of another century with the visual tones of a Renaissance fresco.

CASCO IN VOLO

by Vanni Gandolfo, Simone Aleandri, Luca Onorati • Italy • 2011 • 70’

The elderly Antonio plays briscola in his retirement home in Rome’s Trastevere neighborhood. Elderly, seductiveblonde Silvana hangs out by the hoping gate to see him. And more. On every wall in Trastevere, she writes herlove for and invectives against the man who refuses to reciprocate her feelings. Shot entirely in a few squaremeters in an alley, clearing and bar, the film looks at an obsessive stalker (Silvana is terribly jealous – Antoniofound refuge from her after three hellish years of living together) and mad love. This Roman “Adele H,” whoseadvanced age has in no way quelled her emotional temperature, will stay with you for a long time.

ANTONIO + SILVANA = 2

by Marco Turco • Italy • 2011 • 60’

The first day of school in a Rome nursery. Little Bianca cries desperately over her first separation from her pa-rents. Her companions try to console her while the teachers break the ice with a fairy tale. These are the firststeps in the real lives of a group of children from the Tempo Lineare School in the Testaccio neighborhood,where a handful of brave and caring educators dedicate the same attention to speaking with parents as theydo with children. Behind the camera, the discrete eye of Marco Turco records and takes note of the games,snacks and dreams of the little protagonists. As if even the film were a game.

LA CASA DEI BAMBINI

Antonio + Silvana = 2by Vanni Gandolfo,Simone Aleandri, Luca Onorati

La casa dei bambiniby Marco Turco

Casco in voloby Gianluca Greco

Ho visto coseby Chiara Pacilli, Maurizio Tedesco

In arte Lilia Silviby Mimmo Verdesca

Io sono il teatro:Arnoldo Foà raccontato da Foàby Cosimo Damiano Damato

by Cosimo Damiano Damato • Italy • 2011 • 60’

With one of the warmest, sweetest and more trustworthy voices of theatre and television, and a powerful presenceto boot, Arnoldo Foà took on any classic or play onstage with authority, from Chekov to Alessandro Baricco, Danteto Shakespeare. His polished technique and unrelenting sense of tempo make Arnoldo Foà a living legend. Eventoday, at a venerable age, everything he says seems (almost digitally) synchronous with a perfect tone, a delicatenuance, the slow evaporation of humor. This warm, intimate documentary portrait discretely plants its roots inadmiration and affection.

IO SONO IL TEATRO: ARNOLDO FOÀ RACCONTATO DA FOÀ

by Mimmo Verdesca • Italy • 2011 • 65’

Lilia Silvi (1921) was one of the most celebrated actresses of her time. Directed by Mario Camerini, CarmineGallone, Amleto Palermi and Gianni Franciolini, often flanked by co-star Amedeo Nazzari, she embodied a cheery,vivacious femininity loved by her audiences, even in revues. Made thanks to actor Leo Gullotta, the film usesarchive images and rare photos to accompany the lively recollections of a woman who harbors no regrets orrecriminations. A portrait of one of the most joyous faces of the “white-telephone” films, whose off-screen lifereflects the lives of all Italians of the era.

IN ARTE LILIA SILVI

by Chiara Pacilli, Maurizio Tedesco • Italy • 2011 • 30’

Is it merely coincidence that Turin is one of the Italian cities most tied to magic and the occult and the Italiancity where cinema was first produced? Where there exists one of the most beautiful collections in the world ofart from Egypt (the most magical and mysterious civilization) and one of the most beautiful film museums?Where the country’s most renowned occultist (Gustavo Rol, whom Fellini followed religiously) lived and wherethe country’s biggest industry was born? Through Carolina Crescentini’s stupefied eyes, the documentary revealsnever-before-seen events, listens to dozens of voices and takes in the austere charm of the dawn of a city witha simultaneously pragmatic and mysterious nature.

HO VISTO COSE

269A FESTIVAL AROUND THE CITY | OFF DOC268 A FESTIVAL AROUND THE CITY | OFF DOC

based on an idea by Antonietta De Lillo • Italy • 2011 • 51’

Artistic coordination: Antonietta De Lillo, Massimo Gaudioso, Betta Lodoli, Gloria Malatesta, Marco Turco, StefanoRulli and Giovanni Piperno. Editors: Valeria Sapienza and Giogiò Franchini. Professional directors, aspiringfilmmakers and people with no professional ties to cinema were invited to express themselves on the collectivetheme of Christmas festivities on the web. They give life to a brimming, chaotic compilation of snapshots, memories,epiphanies, anecdotes, personal decorations, imaginary decorations, whispered memories and childhood thrills ofan event of which everyone preserves wonderful, precious recollections – in infinite regional, linguistic and familialvariations. The resulting fresco of contemporary Italy renders transparent the changes in society and our country.

IL PRANZO DI NATALE

by Stefano Pistolini • Italy • 2011 • 78’

For 30 years Plastic was the most famous club in Milan and perhaps all of Italy, the only club in whichpeople didn’t go to dance so much as to savor a sense of freedom possible only within its four walls. As itshuts its doors for good, Simona, a Plastic fan and not a detached chronicler, relates its history throughinterviews with its founders and animators, and celebrated club-goers such as Jovanotti and Elio Fiorucci,taking part in some of the last memorable nights. However, not just anyone is allowed into Plastic. Wouldyou even let yourself in?

KILLER PLASTIC-O. TU TI FARESTI ENTRARE?

by Nunzio Massimo Nifosì • Italy • 2011 • 60’

Deemed one of the living masters of contemporary Italian painting, Piero Guccione (to whom the National Galleryof Modern Art in Rome dedicated an exhibit) is one of the very few artists who, like all the greats, knew how tomake principle trends his own, from the figurative to the informal, without forsaking absolute mystery, enigmaticprecision and a luminosity of forms that, albeit in a completely different style, recall the unmistakable atmosphereof a Hopper. Through a visual composition that imitates Guccione’s paintings, whose beauty is explained byexperts, the film brings to the screen the reserved personality and astounding skill of an artist to discover in allhis depth.

PIERO GUCCIONE, VERSO L’INFINITO

KILLER PLASTIC-o. Tu ti farestientrare? by Stefano Pistolini

Piero Guccione, verso l’infinitoby Nunzio Massimo Nifosì

Il pranzo di Natale based on anidea by Antonietta De Lillo

Renato Carosone: un americano aNapoli by Paolo Rossetti

Viaggio nel bullismo by RobertoCitran, Gianni Ferraretto

Il volto della medusa by Donata Gallo

by Donata Gallo • Italy • 2011 • 60’

The island of Elba, Porto Azzurro Prison. A typical day in jail as seen through the eyes of a rehabilitation worker:from dawn to dusk, until the cells close and the staff take home with them even the sounds of the prison locks;from workers’ meetings about the inmates to their personal lives on the island. An ordinary, detailed log on thesocial and living conditions underlying the deprivation of freedom, in a country that seems to ignore its veryexistence.

IL VOLTO DELLA MEDUSA

by Roberto Citran, Gianni Ferraretto • Italy • 2011 • 50’

Beginning with a dialogue between a father and son, Viaggio nel bullismo examines a phenomenon thataffects many Italian youths: the code of silence surrounding bullying in schools, which has reached alarmingheights while parents’ anxieties more often than not preclude any kind of intervention. Setting out on ajourney with their young protagonists, Roberto Citran and Gianni Ferraretto meet educationalists, socialworkers and teachers who evenly paint a picture that is anything but reassuring of a genuine social pathology.

VIAGGIO NEL BULLISMO

by Paolo Rossetti • Italy • 2011 • 50’

Ten years after Renato Carosone’s death, this film recounts the life of a musician many consider to be the greatestswing singer in European history, a singer-songwriter who invented a new style of modern and technically surprisingNeapolitan music, enriched by its centuries-old heritage and humor. Carosone’s music and the many voices ofexperts and fellow singers (including Renzo Arbore, Gigi D’Alessio, Stefano Bollani and Valerio Caprara) convey40 years of Italian history as “told” through snapshots and brilliant, unforgettable caricatures by a highly prolificmusical genius who blended jazz, North African rhythms and Neapolitan melodies.

RENATO CAROSONE: UN AMERICANO A NAPOLI

271A FESTIVAL AROUND THE CITY | OFF DOC270 A FESTIVAL AROUND THE CITY | OFF DOC

he MAXXI – National Museum of XXICentury Arts is partnering with theInternational Rome Film Festival for itssixth edition and will be hosting a

number of important events.

A VIDEO ART MARATHONOn November 3 at the Auditorium Parco dellaMusica, The Extra Section is arranging an eveningevent devoted to contemporary art, the result of apartnership between the MAXXI – National Museumof XXI Century Art and CortoArteCircuito, a non–profitcultural association under the artistic direction ofBeatrice Bordone Bulgari (see p. 166). The event willbe repeated, with the addition of films from theMAXXI B.A.S.E. archives, on November 5 at theMAXXI Auditorium, from 18:00 to 22:00. The videosintroduce artists in the museum’s collection as wellas its exhibition activities, in a marathon entirelydedicated to documentaries and short films aboutarchitecture and contemporary art.MAXXI AuditoriumNovember 5, from 18:00 to 22:00Admission 4 euros

THE TEL AVIV UNIVERSITY FILM SCHOOLTel Aviv University (TAU), with the association “Amicidell’Università di Tel Aviv”, presents a series of shorts bystudents of the TAU Department of Film and Television.Although this is the first time that the TAU film school ispresent at the International Rome Film Festival, in thelast four years alone the school’s films have garnered over100 awards and six nominations and were screened infestivals worldwide. Having trained directors such as AriFolman (Waltz with Bashir), Yaron Shani (co-director ofAjami) and Eytan Fox (Walk On Water, The Bubble), TAUhas significantly contributed to stimulating Israel’s filmand TV industry. The six selected shorts will screenNovember 3 at 18:00 at the MAXXI Museum, followedby an awards ceremony. The student filmmakers will

have a chance to speak with an international audienceand the winner will receive a scholarship.

THE OTOLITH GROUP. THOUGHTFORMAnjalika Sagar and Kodwo Eshun are the founders of theOtolith Group, a collective of English artists who producevideos and films that offer a critical reworking of recenthistory. The collective, founded in London in 2002, wasselected for the 2010 Turner Prize and their work is nowpresented at MAXXI, their first solo exhibition in Italy.Photos, cinema, music, and images from contemporarypolitics and society are all intertwined in their videos,viewers are drawn into a world that mixes past andpresent, fiction and reality. The exhibition retraces themethodology of the collective with cross-references toauteur cinema, Chris Marker’s essay films, and theworks of Jean-Luc Godard, Pier Paolo Pasolini andHarun Farocki. Contemporary cities, futuristic settings,images retrieved from historic archives alternate to forma complex geography of thought.The Otolith Group. ThoughtformUntil February 5, 2012The exhibition is curated by Chus Martinez andcoordinated at MAXXI by Monia Trombetta andorganized by the Museu d’Art Contemporanei deBarcelona (MACBA) and co-produced with MAXXI,Museo delle Arti del XXI secolo, Rome.

MAXXICINEMA AND ART

T

273A FESTIVAL AROUND THE CITY | MAXXI272 A FESTIVAL AROUND THE CITY | UNIVERSITY SHORT FILM FESTIVAL

he first edition of the University Short FilmFestival is promoted by iUniversity withbacking from Mayor of Rome GianniAlemanno, Councillor for Cultural Policies

Dino Gasperini, and the Office of the Mayor’s Delegatefor Relations with the University of Rome, Marco Siclari,in collaboration with the Fondazione Cinema per Roma. The project gives students a chance to flex their creativemuscles by making a short film (on DVD and no longerthan 15 minutes) on the subject “The value of life,”with specific references to the world of young peopleand their social and professional prospects. An ad hoccommittee of film professionals and universityprofessors will present the top three filmmakers,selected from the numerous competition entrants, withscholarships offered by the City of Rome. The UniversityShort Film Festival will be held at the Casa del Jazz theweek before the International Rome Film Festival. Thewinning short and the first ten runners-up will moreoverbe screened during the International Rome FilmFestival. The goal of the shorts festival is to channel andcomprehend the frame of mind, frailties, expectations,strengths and needs of the younger generations, in orderto sensitize institutions, families and policy makers. Aswell as offer an important opportunity to young, aspiringfilm directors. • www.iuniversityroma.it

UNIVERSITYSHORT FILM FESTIVAL

T

CASA DEL JAZZThe Casa del Jazz is a Roman jazz venue located inviale di Porta Ardeatina on extensive grounds. Itfeatures three buildings with different functions. Themain building, with its multipurpose auditoriumseating 150, is used for live concerts, screenings,and meetings. A recording system allows for theproduction of CDs that “immortalize” the events andpublicize the Casa del Jazz concerts and otherinitiatives. A well-stocked audiovisual archive issituated in the same building, with multimediastations for easy consultation, as well as a library. Thesecond building hosts a rehearsal and recordingstudio and lodgings for guest musicians, while thethird is a restaurant.There is a fascinating story behind the Casa del Jazz:once belonging to Enrico Nicoletti, the head ofRome’s notorious criminal organization, the MaglianaGang, the villa was confiscated and turned over tothe city of Rome, a victory for civil societycommemorated by a plaque at the entrance bearingthe names of the victims of the Mafia, in a jointcollaboration with the association “Libera”.• www.casajazz.it

© Bernard Touillon

ccording to François Yon (an influentialglobal distributor), an emerging filmindustry requires an interesting geopoliticalsituation in order to have stories to tell, and

it has to be rich, because films are expensive tomake. Art is the same thing. It relies on a geopoliticalsituation for its stories and its visions, and it needsinvestment, and not just a spiritual one. Culture hashad its costs ever since the Sistine Chapel (and thatwas worth it!). And if India weren’t a BRIC country,perhaps the Indian Highway wouldn’t be so crowded.What is so striking about this journey through Indian

art on show at Rome’s MAXXI (until January 2012),in fact, is the cultural and material richness of thebulk of the works: life-size trucks made of iron rods(Valay Shende), or an entire room filled with incenseholders braided together like a bird’s nest (HemaliBhuta, a two-week effort with 12 university studentsin a workshop with the artist). The accuratereconstruction featuring photosensors distributedhigh and low, in every room, or the sounds of thesacred forest (Desire Machine Collective: close youreyes and you are there): these are works that can’tbe produced on the cheap. And when a wealth ofmeans matches a wealth of ideas, an exhibitionbecomes a major event it would be a crime to miss.Indian Highway, inaugurated at London’s Serpentinegallery in late 2008, has toured Scandinavia andFrance, growing to twice its original size. But theorderly gardens of Kensington lacked the surprisinggaiety that the MAXXI is able to provide, morphinginto an astonishing highway of the imagination. Upthe stairs, on the ramps, inside the spirals: India feels

right at home here, to the point of movinglyreconstructing a corner of the Upper Church in Assisi(Sumakshi Singh), in an Umbrian-Indian synthesisthat no one would have thought even possible. Giottomeets the maharaja, while the faces painted on theground in the square outside recall our sidewalkpainters (N.S. Harsha). Children jump up and downon them: what a celebration!

ALESSANDRA MAMMÌ,• http://mammi.blogautore.espresso.repubblica.it/

The Indian Highway project also features a show calledNineteen Mantras, directed by Giorgio BarberioCorsetti, with music by Riccardo Nova and thechoreography of Shantala Schivalingappa. NineteenMantras will be performed at the Auditorium Parcodella Musica on January 10 and 11, 2012, and at thePiccolo in Milan on January 13 and 14, 2012.The Indian Highway exhibition has been made possiblewith the support of Japan Tobacco International.

ONGOING EXHIBITIONS

MAXXI | ARCHITETTURA• NATURE/Alberto Campo Baeza until October 30, 2011• YAP_MAXXI 2011. Young Architects Programuntil November 6, 2011• EXHIBITING THE COLLECTION 1950-2010.Projects from the MAXXI Architecture collectionsuntil November 13, 2011• CAN YOU IMAGINE? PROGETTO ALCANTARA® -MAXXI until November 13, 2011

MAXXI | ARTE• IL CONFINE EVANESCENTE. Italian Images fromPainting to Digital. Until January 8, 2012• ARTE POVERA 2011 / A Tribute to Arte Povera:Jannis Kounellis, Giuseppe Penone and GilbertoZorio until January 8, 2012

INDIAN HIGHWAYCurated by Julia Peyton-Jones, Hans Ulrich Obrist,Gunnar B. Kvaran, Giulia FerracciCo-production MAXXI, Roma; SerpentineGallery, London: Astrup Fearnley Museum ofModern Art, Oslo at MAXXI until 29 Jenuary 2012

A

MAXXION THE INDIAN HIGHWAY

MAXXINational Museum of XXI Century Artsvia Guido Reni, 4/A - via Masaccio 6,00196 Rome

OPENING TIMESTuesdays, Wednesdays, Thursdays, Fridaysand Sundays from 11:00 to 19:00Saturdays from 11:00 to 22:00Closed Mondays, May 1 and December 25The ticket office closes one hour beforethe museum.

TICKETSfull-price 11 eurosconcessions 8 eurosfree for children up to age 14MAXXI is on the Roma Pass circuit

MEMBERSHIP CARD(free admission for one year and other benefits)Young 25 euros | Individual 50 eurosFamily & Friends 90 eurosSenior (adults over 65) 25 euros

GUIDED TOURSBy reservation from Tuesday to Sundayin Italian, English, French and German

AUDIO GUIDEsingle 5 euros, double 7 euros, in Italianand English

RESERVATIONS AND TICKET PURCHASECall Centre +39 06 32810Online (only full-price tickets)

• www.fondazionemaxxi.it

275A FESTIVAL AROUND THE CITY | MAXXI274 A FESTIVAL AROUND THE CITY | MAXXI

Jitish Kallat - BaggageClaim (Courtesy the artist and ARNDTGallery Berlin)

ENVIRONMENTAL AND SOCIAL ACTION

279ENVIRONMENTAL AND SOCIAL ACTION

AMREF CAMPAIGN STAND UPFOR AFRICAN MOTHERS

AT THE INTERNATIONAL ROME FILM FESTIVAL

“No woman should risk her life to give life” is the message behind AMREF’s international campaignSTAND UP FOR AFRICAN MOTHERS, supported by the International Rome Film Festival, which will hostan event of the ONLUS organization in the Auditorium’s Cinema Village. In Sub-Saharan Africa, one outof every 16 women dies in pregnancy or childbirth (in Europe, one out of 30,000); 70% of African womenhave no access to prenatal medical care; half of all births occur without any medical assistance whatsoever(95% in Sudan). Over one and a half million African babies lose their mothers every year. AMREF’s campaign Stand Up for African Mothers is working to increase universal awareness of theseproblems and the role of the woman for the health of the community. By 2015, AMREF will train 30,000obstetricians in Africa, to reduce maternal mortality by 25%. Caterina Murino is the campaignambassador. “We want to build a future in which African women are in control of their own bodies and can maketheir own choices, can decide when to have a child or if they even want one. A future in which they haveaccess to medical care during pregnancy and childbirth.”www.amref.it - www.standupforafricanmothers.com

278 ENVIRONMENTAL AND SOCIAL ACTION

A.N.G.E.L.S. - NATIONAL ASSOCIATION OF YOUNGENERGIES TO PROMOTE SOLIDARIETY

A.N.G.E.L.S., the National Association of Young Energies to Promote Solidariety, is the onlus that putsinto practice the healthcare aims of the International Convention on Children’s Rights. Its activitiesinclude health care in Italy for sick or seriously wounded children who come from war zones as well asinitiatives that promote peace and solidariety between peoples. A.N.G.E.L.S. collaborates with theMinistry of Foreign Affairs and the Italian Army and Air Force to assist young patients and their families;for medical treatment it works with the Lazio Region and Rome’s Università degli Studi “La Sapienza”.On November 3 at 19:00, in their own Roman residence, the Palazzo Ruspoli, the Prince and PrincessRuspoli will invite select guests to contribute to saving the lives of sick children awaiting treatmentprovided by A.N.G.E.L.S. To take part in this exclusive solidariety event, please write to [email protected] phone (06)97657109 with your complete personal information so you can receive your invitation topresent at the door. During the cocktail reception, there will be a draw for artworks donated by Italian,Israeli and Arab artists. Palazzo Ruspoli, via Fontanella Borghese, 56 - November 3 at 19:00 – tel. 06.97657109 - [email protected]

‘EVERY ONE’: AN EVENING EVENT FOR SAVE THE CHILDREN’S CAMPAIGN

TO REDUCE CHILD MORTALITY

During the Festival, an evening event will be dedicated to the ‘Every One’ campaign, to raise awarenessof the tragic annual statistics for child mortality: almost 8 million victims under 5 years old. The stars ofthe films in the Festival lineup, along with Save the Children ambassadors, will walk down the red carpetholding red balloons, one for the life of every child. Every 4 seconds a child dies from preventable causes:postnatal complications, pneumonia, diarrhea, malaria, and measles, all of which could be avoided withsimple low-cost solutions such as vaccinations, mosquito netting, and antibiotics. To reduce childmortality and bring help to the world’s remote areas, in 2009 Save the Children launched the Every OneCampaign, a concrete commitment to saving 500,000 children’s lives each year by 2015. www.savethechildren.com

GALA EVENING DEDICATED TO TELETHON AND THEIR SUPPORT OF RESEARCH

ON GENETIC DISEASES

On October 28, Telethon will host a gala fundraising evening at the International Rome Film Festival forresearch on genetic diseases, preceded by a guided visit to the MAXXI – National Museum of the XXICentury Arts. The illustrious members of the film and business world attending the gala events willcontribute to raising money to support research on genetic illnesses. In over 20 years of activity, Telethonhas raised over €350 million for research, backed the work of over 1,400 researchers and financed morethan 2,200 projects on over 450 pathologies. In this time, Telethon researchers have achieved importantresults that include finding a cure for ADA-SCID, a grave congenital immune deficiency, and launchingpromising clinical studies on numerous other serious pathologies. Through careful management of itsfinances and a strictly meritocratic method of fund allocation, Telethon is today synonymous throughoutthe world with Italian excellence and represents a concrete hope for patients and their families. But there is still much to be done in defeating genetic diseases. MAXXI National Museum of the XXI Century Arts - Ristorante Ottaviani - October 28 -tel. 06.39746222- 06.39746185 - [email protected] - www.telethon.it

RISONANZE

281ENVIRONMENTAL AND SOCIAL ACTION280 ENVIRONMENTAL AND SOCIAL ACTION

CAR SHARING: ENVIRONMENTALLY SUSTAINABLE MOBILITY

The Fondazione Cinema per Roma, traditionally committed to respecting and protecting the environment,is participating in Carsharing, managed by the Agenzia per la Mobilità. Car sharing is a new form ofindividual-yet-shared transportation and sustainable mobility. With an annual subscription and byreservation, citizens can freely access cars parked in lots throughout the city without having to own theirown vehicle. Each car is placed at the disposal of subscriber and may be used by more people during asingle day. Car sharing contributes to improving the quality of life in cities by lowering polluting fuelemissions, considerably reducing the urban space occupied by cars and contributing to the developmentof a more rational and environmentally sustainable culture of mobility. www.carsharing.roma.it

JTI AND THE INTERNATIONALROME FILM FESTIVAL IN AN ECO-ALLIANCE

JTI and the International Rome Film Festival have more in common than their commitment to qualitycinema; they both have the environment at heart, and they take concrete steps to make the Festivalaudience more aware of green issues and environmentally sustainable behavior.From October 27 to November 4, the 600,000 film aficionados who attend the International Rome FilmFestival will have over 100,000 reusable, washable pocket ashtrays at their disposal at the Cinema Villageand other Festival venues. The ashtrays will be distributed by JTI in collaboration with the FondazioneCinema per Roma, as a way to concretely promote responsible behavior and respect for the eco-systemon the part of the smokers in attendance.

THE WWF SPECIAL ENVIRONMENTAL AWARD“URBAN CITY-GREENSTYLE”

WWF brings sustainability to the International Rome Film Festival. The 2011 Special EnvironmentalAward “Urban City-GreenStyle” is dedicated to sustainable lifestyles and honors the film that best conveysjust how our daily choices can get the world on track toward a more ethical future, one more sustainableand more respectful of the planet’s resources. To get the rising generation involved, the WWF presentstwo original films made for and by young people, each of which boasts an exceptional cast. The first isa short directed by Luca Argentero, a surreal video game aimed at a world losing all contact with nature;the second is the cartoon Il Paradiso può attendere (Heaven Can Wait), scripted by the kids themselves,produced by WWF and Mondo Home Entertainment and voiced by Luca Argentero, Gabriella Pession,Francesco Facchinetti, Ezio Greggio and Enzo Iacchetti, Francesco Venditti, and Andrea Di Maggio. Withthe distribution of this film WWF will get needed support for its defense of Italian forests. The works willbe screened before the film Jesus Henry Christ (Alice nella città) on 29th October at 10:30, Sala Sinopoli. www.improntawwf.it

TUTTI FRUTTI EVERYONE!

The International Rome Film Festival continues its promotion of parallel events and sensitizationcampaigns on social issues. Among the Festival’s many initiatives this year, one in particular targets theyoung. Students from scientific and classical high schools from Italy’s regional capitals will get a chanceto try their hand at filmmaking, with a short film that offers a healthy and proper perspective on the topicof nutrition. The project acknowledges the fundamental issues sustained by the Ministry of Agricultural,Food and Forestry Policies and aims to stimulate teenagers’ creativity with regards to the consumptionand awareness of Italian fruit. Students can explore all the ways to use video to create a promotionalcampaign on seasonal fruit in Italy. The work will be evaluated by the Festival’s Artistic Direction and themost interesting shorts will screen in the Alice nella Città section dedicated to young audiences. [email protected]

282 ENVIRONMENTAL AND SOCIAL ACTION

“A KINGDOM UNITED AROUND THE DINNERTABLE?” FOOD, CINEMA AND … GREAT BRITAIN

The Sigma-Tau Foundation presents a conversation with Stanley Ulijaszek, Antonio Monda and EnricoDerflingher. When the subject is food, is the U.K. still hamstrung by the clichés that cast the country insuch a bad light? From the wellness-minded to the pathological, the Sigma-Tau Foundation has arranged arumination on food as portrayed on the big screen, an appetizing but also scientific event on October 29 at17:00. Taking his cues from a selection of film clips on the theme, in an attempt to get at the truth aboutnutrition, Antonio Monda will conduct the discussion between Oxford University’s “anthropologist ofobesity”, Stanley Ulijaszak, and master chef Enrico Derflingher, who cooked for the Queen herself for years.Over the course of history, food and the way it is presented and consumed have become a metaphor forexistence at its most elemental: the need for nourishment, in order to grow and stay healthy. This meetingbetween the cinematic imagination and a rigorous scientific framework is what will fuel the debate organizedby the Sigma-Tau Foundation.Auditorium Parco della Musica - Studio 2 - October 29 at 17:00 FESTIVAL

ECHOES

285FESTIVAL ECHOES284 FESTIVAL ECHOES

rturo Brachetti, the greatest and fastestquick-change artist in the world, will bringhis latest one-man show, Ciak si gira!, toItaly from October 18 - December 11.

Featuring over 80 transformations, the showblends special effects with the magic ofcinema and the emotion of theatre, takingaudiences on a surprising journey intothe world of film and television.Brachetti’s parade of charactersis inspired by famous TVseries and films - Zorro,Mary Poppins, Maciste,Cruella De Vil, cowboys,pirates and adventurers-but also by horror movies,Fellini’s world, great Hollywoodclassics (such as Baby Jane) and musicals.The list of characters includes names that wouldmake a cinematheque green with envy: CharlieChaplin, Gene Kelly, King Kong, Shrek, Liza Minnelli,Gollum, Harry Potter, Carmen Miranda, E.T., JudyGarland, Jack Sparrow, Snow White, Darth Vader, andcountless others. Ciak si gira! will be in Bologna(Paladozza, October 21-23), Rome (AuditoriumConciliazione, October 28-November 12), Florence(Teatro Verdi, November 15-20), Milan (Teatro degliArcimboldi, November 22-December 4) and Turin(Teatro Colosseo, December 6-11). Ciak si gira! is produced by MURCIANO INIZIATIVEin association with JUSTE POUR RIRE FRANCE. It isdirected by Serge Denoncourt.

A production by

ACIAK SI GIRA!ARTURO BRACHETTI

Ciak si gira!Tickets run from € 28,50 - € 52,00 • www.murcianoiniziative.com• www.brachetti.com

he new technologies are shaping thecontemporary cultural horizon, evoking afuture that is already present. The interfacebetween cutting-edge technologies and

contemporary art in all its forms, the awareness of theradical transformations that the Web has wrought andthe newest avenues of communication are at the coreof Digital Life 2, a platform built around a wide-rangingexhibition, a conference cycle, and live performances.Thirteen truly visionary high-tech installations turn the

spotlight on artists’ conceptions of the future and thecreativity of engineers, technicians and researchers.Through the works of Saburo Teshigawara, RyoichiKurokawa, Quayola, Giuseppe La Spada, DanieleSpanò, Masbedo, Christian Marclay, Marina Abramović,Carsten Nicolai, Felix Thorn, Devis Venturelli, Santasangre,and The Pool Factory on exhibit at the Ex-Gil di Trastevere,Digita Life 2 shows visitors the marvels of technologyand presents them with a challenge: to imagine thefuture in terms of an increasingly symbiotic relationshipbetween art and technology. Along with the exhibition,there will be a series of talks and workshops at theOpificio Telecom Italia, arranged by the numerouspartners in our initiative. Lastly, the program features aseries of live performances by several of the artists onshow, such as Felix Thorn and Masbedo, Uri Caineand Fabio Cifariello Ciardi, and Selma and SofianeOussi, all of whom will meet up, thanks to Skype, atthe Opificio Telecom Italia for a long-distancechoreographied dance, and the new live multimedia setby Ryojj Ikeda, presented by Dissonanze Lab.

DIGITAL LIFE 2ART | INDUSTRY | MEETINGS | SOUNDS

T

Exhibition: Ex GIL in Trastevere - largo Ascianghi, 5October 26 - December 11 opening hours 16:00 - 23:00 Tuesdays - Fridaysand 12:00 - 23:00 Saturdays and Sundays -closed Mondays

Talks: Opificio Telecom Italia via dei Magazzini Generali, 20/a

Live events: Palladium Università Roma Tre piazza Bartolomeo Romano, 8• www.romaeuropa.net

Giuseppe La Spada - Afleur

photo by Paolo Ranzani

elsomina, Zampanò, and Cabiria are back,and so are Alberto, Giulietta, Marcello, andeven Gradisca, on the arm of Don VitoCorleone: the magic of Richard Galliano’s

French accordion meets Nino Rota’s film scores on thehundredth anniversary of the birth of the composer whocreated the immortal themes of Italian cinema thatenchanted the whole world. Galliano is one of the mainnames behind the glorious comeback of the Frenchaccordion, the musette, with its inimitabile sound. Buthis take on the instrument is comparable to AstorPiazzolla’s revisiting of the bandoneon (incidentally,Piazzolla is one of Galliano’s master influences), witha polychrome universe of sound: from the musette tothe tango, from jazz to Latin music, from the auteurchanson to the classical music repertoire. Rota’s scoresprovide a fertile terrain for Galliano’s talent: from themusic for Fellini’s films, where accordion music sooften sets the atmosphere, to the theme for TheGodfather, with its traditional roots. There are thefamous songs, rousing circus tunes and Brechtianmelodies in “8 ½”, “La Dolce Vita”, “I Vitelloni” and“Amarcord”, as well as some of the loveliest themescomposed for film, like the trumpet piece for “Lastrada”, with its epic quality, its brooding sense of fate.Galliano and his ensemble take an intimate, playfulapproach to Rota’s master themes, blending them withjazz and the haunting notes of the tango, all of itpersonalized by the velvety French sound of hismusette.

Auditorium Parco della Musica Sala Santa CeciliaNovember 6 at 21:00Tickets from € 10,00 to € 33,00Concert lasts 75’

G

irected by Salvatore Nocita and producedby Nicola Salvi and Elisabetta Sola’sOfficina della Comunicazione and FaiService, with the collaboration of the

Pontifical Council for Culture and Rai Cinema and inpartnership with the Fondazione Ente dello Spettacoloand Aeroporti di Roma, La strada di Paolo ispremiering at the Palazzo delle Esposizioni. Shot overone month in Puglia, Jerusalem, Galilee andPalestine, the film features actors Philippe Leroy,Marcello Mazzarella, Valentina Valsania, MilenaMiconi, David Brandon, and Gianni Bissaca. Paolo isa long-haul truck driver on his way to the Holy Land.His trip takes an unexpected turn when he findshimself in places that awaken him to God, faith,grace, and charity and open his eyes to theopportunism and cynicism of his kind. As heencounters, or collides with, religiosity and theunfathomable mystery of the Holy Land, landing insurreal situations and crossing paths with characters

who have unbelievable stories, Paolo sees his horizonsexpand and is led to make a momentous decision. The structure of this film owes much to thesuggestions of key figures who were consulted, amongthem Cardinals Angelo Scola and Gianfranco Ravasi,Salvatore Natoli, Fabrizio Palenzona, RobertoVecchioni, and Lucetta Scaraffia.

Palazzo delle Esposizioni - via Nazionale, 194November 2 at 18:00 - Admission by invitation onlyInfo: Giuseppe Zaccaria 06.96519200 -339.4643813 - [email protected] • www.officinadellacomunicazione.com

287FESTIVAL ECHOES286 FESTIVAL ECHOES

A TRIBUTE TO NINO ROTARICHARD GALLIANO | LA STRADA QUINTET

LA STRADA DI PAOLO

D

288 FESTIVAL ECHOES

A RELIGIOUS SCREENPLAY BY ANTONIONI

n an episode of Beyond the Clouds, one of hislast films, Michelangelo Antonioni examines themystery of all spiritual vocations. While thistheme may not be highly discernible in his

better-known films, it has always been a sideline ofthe master director’s explorations, from his shortstory “Questo corpo di fango” (published in Corrieredella Sera), to a long interview with a young studentof religion at an Umbrian monastery. His interest inthe subject has now been brought back to light withhis inedited screenplay Patire o morire, written thosesame years with Byzantine scholar Silvia Ronchey,who also worked on the preparations for the film thatwas never made. Antonioni already knew of the youngscholar for her remarkable expertise in Greekphilology, in particular feminine mysticism in theEast and West. When asked on a successful talk show if he believedin God, Antonioni offered a seemingly slight andbemused reply: “Sometimes, at night.” That questionlies below the surface in the work being presented,as it did in another film on St. Francis. This is whatmakes this true discovery by the International RomeFilm Festival so particularly important and original. The event is organized in collaboration with the

Ferrara-based Michelangelo Antonioni Association,run by the director’s niece, Elisabetta Antonioni.Silvia Ronchey will also speak on her uniquecollaboration with the maestro of Italian andinternational cinema, along with Corriere della Serafilm critic Paolo Mereghetti, who will discuss thefilmography of a renowned artist and man of cultureworthy of study, including those aspects of his artisticand existential explorations that have been lessexamined thus far.

I

AN INEDITED ANTONIONI On 1st November, at 17:00, at the Spazio BNL ofthe Cinema Village the Festival will present theinedited screenplay of Michelangelo Antonioni’s“Patire e morire” to critics and the press. Eventspeakers are: Silvia Ronchey, who worked on thescript, Paolo Mereghetti and the director’s niece,Elisabetta Antonioni.

289FESTIVAL ECHOES

FESTIVAL ECHOES

13th INTERNATIONAL CINEARTI “LA CHIOMA DI BERENICE” AWARD Instituted in 1998, on the centennial of the birth of cinema (1898), the international Cinearti “La Chiomadi Berenice”. Award is promoted by the Confederazione Nazionale dell’Artigianato (CAN) and Piccola e MediaImpresa. Established as a tribute to the imagination of hair and make-up artists, costume designers, artdirectors and production designers who through cinema influence the fashions and trends of today, the prizeawards the work and creativity of movie professionals essential to the making of any film. Presided over byLeo Gullotta, the award’s 2011 jury is presenting two special career nods, in the categories of Acting andHair and Make-up. Casa del Cinema - Sala Deluxe - largo Marcello Mastroianni, 1 - November 4 at 15:30 -www.premioberenice.com

CINEMA AND DREAMS WORKSHOP: THE ONCOLOGICAL ILLNESS IN THE COLLECTIVE IMAGINATION

On October 28 and 29, as part of the Echoes section of the 6th International Rome Film Festival, the Istitutodi Stato per la Cinematografia e la Televisione “Roberto Rossellini” will host the workshop Cinema andDreams: The Oncological Illness in the Collective Imagination, which ends the classes in psycho-oncology atthe Cattolica University and is part of the course load of the Scuola Internazionale di Psicoterapia nel SettingIstituzionale (SIPSI). The event is reserved for registered participants only. Paolo Virzì’s The First BeautifulThing will be shown the first day while the second day will be dedicated to social dreaming. Faculty andstudents of the Rossellini Institute will film the workshop, and the material will be used for the new editionof the TV programme Doppio Sogno (© IIPRTHP 2002). Istituto di Stato per la Cinematografia e la Televisione“Roberto Rossellini” - via della Vasca Navale, 58 - October 28, 9:00-11:00 pm - October 29, 9:00-13:00 - For registered participants only

FABIO LOVINO. A MOVEABLE FEAST. PORTRAITS OF CINEMA, ACTORS, FRIENDSOn exhibit: photographs of the leading figures of Italian cinema, from new faces such as Riccardo Scamarcio,Valeria Solarino and Claudio Santamaria to established talents like Nanni Moretti, Toni Servillo and ValeriaGolino. As well as international names, including Tilda Swinton, David Lynch and Benicio Del Toro.Photographing people, artists, is complex work that requires intuition and speed, true friendship (those capturedby Lovino are often lifelong friends) and great complicity. And the awareness that a good portrait is the resultof a game between two contenders, before and behind the lens. If the two are equally armed, the results areexcellent. It is in this “jeu a deux,” in the intimacy of an intense relationship, based on respect and symbiosis,that characters are created and people revealed. The exhibit is a project of Fondazione Forma e Contrasto. Casadel Cinema - largo Marcello Mastroianni, 1 - October 24-November 18 - open every day from 9:00 to 21:00

HYPERTEXT “A COMMON MEMORY FOR ITALIAN CINEMA, ITS CULTURAL,THEMATIC, STYLISTIC AND PROFESSIONAL MODELS”: MARIO MONICELLI

The project involves recording video conversations with leading Italian film personalities in order to highlight thebroader cultural context of our cinema over the course of its history, drawing on the interviewees’ observations onthe thematic, aesthetic, poetic, and professional aspects involved in their life’s work. The materials, arrangedaccording to key words and links and accompanied by the relative documentation (film clips, backstage,photographs, scripts, critical reviews, etc.) will comprise a potentially limitless hypertext devoted to the culturalmodels for Italian cinema. The hypertext is aimed at academics and researchers in every field of the humanities,schools at all levels, and the public at large. The papers that may be written after critical and creative consultationsof the hypertext are encouraged to be added to the project to enhance the hypertext itself. The first conversationwith filmmaker Mario Monicelli was taped thanks to the support of MiBAC; four hours of selected materials wereassembled and subdivided into clips according to key words from thematic or stylistic areas. A video monographdevoted to the master filmmaker was also realized, based on a selection of materials as well, and providing avisualization of clips from the films referred to in the course of the conversation. Auditorium Parco della Musica -Bookshop - November 2 at 17:00 - Free admission

291FESTIVAL ECHOES290 FESTIVAL ECHOES 291290

FESTIVAL ECHOES

I GRANDI DI ZAGAROLO” (“ZAGAROLO’S NATIVE SONS”) DEDICATED TO ANGELO FRONTONI

Palazzo Rospigliosi, the prestigious venue in Zagarolo, near Rome, will host the inauguration of the thirdedition of “Risonanze” on Thursday, October 27. Once again dedicated to photographer Angelo Frontoni,and part of the series “I Grandi di Zagarolo”, the event features the exhibition “Cinema amore mio”, curatedby Vladimiro Settimelli, Caterina Settimelli and Giacomo Catanzaro, a display of materials from privatecollections revolving around cinema, both professional and amateur, including posters, black-and-whitephotos of the stars and other cultural memorabilia. Also on the program, which runs from Friday, October28th to Thursday, November 3rd: a conference and a retrospective of films featuring Zagarolo’s own AngeloInfanti, the actor, in collaboration with actress Rossella Infanti, and a closing day concert by Zagarolo’sOrchestra G. Petrassi. Palazzo Rospigliosi - piazza Indipendenza - from October 27 to November 3 - Freeadmission - Tel. 06.95769401 - [email protected] - www.istituzionepalazzorospigliosi.it

“DRESSED FOR THE SCREEN” BY THE FONTANA SISTERS…On the occasion of the International Rome Film Festival, the exhibition “Il vestito del cinema” dalle sorelleFontana…, curated by architect Maria Grazia Perna and sponsored by the Ministry of Culture, brings fashionand film face to face in the breathtaking setting of the Aranciera di San Sisto. This ancient orangery hostsa truly unique catwalk, not for models, but for images. The maxi screen goes beyond the traditional bordersand turns into an animated red carpet. Visitors see unforgettable images of Rome’s Dolce Vita and themost famous outfits in film history designed for the actors by the Fontana sisters. All around them, theniches host an exhibition of the loveliest costumes along with the drawings, designs and accessories thatconvey the extraordinary creativity and painstaking work of the skillful hands that make, behind the scenes,the magic of fashion. Aranciera di San Sisto - via Valle delle Camene, 11 - October 15-30 - opening hours10:00-13:00 and 15:00-18:00 - Sundays 11:00-18:00 - Free admission

NOSFERATU – A CINE-CONCERT BY SUPERSHOCKMurnau’s Nosferatu (1922), accompanied by the live music of rock band Supershock: Paolo Cipriano (voice,guitar, flute) and Valentina Mitola (bass, voice). The celebrated B&W vampire film gets dipped in the colorsof an Italian rock band of international renown. A rock-cinema concert that offers a contemporaryreinterpretation of a classic masterpiece. The film: genius mise-en-scene, impressive photography, a fearsomecreature, a magnificent young woman. The story of a vampire by one of the masters of cinema. The music:specialized in composing film scores, Supershock will prove how music can reinvent a film, bringing it closerto our times. The show: a film screening with all the energy of a live concert. CinemAvvenire - viale delloScalo San Lorenzo, 51/53 - November 3 at 21:00 - Free admission - Tel. 06.44362602 - musicARTeatro incollaboration with the Culture Council of the Municipality of Roma III - www.supershock.org

“QUO VADIS?” EXHIBITIONWhenever the Appian Way is mentioned, three things come to mind: Roman history, celebrity villas, andall those blockbuster films set in ancient Rome. Now the exhibition “QUO VADIS?”, conceived andorganized by the Lazio Region’s CREIA group and the Centro Studi Cappella Orsini, pays tribute to theOld Appian Way with a program of 14 films, all linked by a display of the original shoes worn by theactors in each picture, a generous loan by the well-known footwear manufacturer, Pompei. Ben Hur, QuoVadis?, L’Armata Brancaleone, Il Marchese del Grillo, La Ciociara, La Dolce Vita and other titles willvividly recreate the events in which the Appian Way played a starring role, with its unique history, splendidnatural setting, and artistic and archaeological legacy. The inauguration of the show is set for October21 at 19:00, at the headquarters of the Appian Way Regional Park. The Appian Way Regional Park - viaAppia Antica, 42 - from October 22 to December 15 - Mondays - Fridays 15:00-19:00 - mornings byappointment; Saturdays - Sundays 10:00-13:00 and 15:00–19:00 - tel. 06.6877965 - Free admission

RESPONDING TO ROMEOn the occasion of the International Rome Film Festival’s Focus UK, the British School at Rome presents a videoscreening entitled “Responding to Rome”, which will be held in the Sainsbury Lecture Theatre at the sameacademy on November 4 at 17:30 and 18:40. The screening, a first for Italy, was part of the exhibition“Responding to Rome – British Artists in Rome 1995-2005” which took place at the Estorick Collection of ModernItalian Art in London in 2006. It features videos by artists well-known in the U.K. and abroad: Jordan Baseman,Louise Camrass, Marion Coutts, Dunhill & O'Brien, Mike Marshall, Pat Naldi, Smith/Stewart, and Aaron Williamson.The common thread linking all the works is the fact they were made in Rome. The program, with a runtime of 64minutes, consists of the following videos: Jordan Baseman, Daniel (2003); Louise Camrass, Rino Ramazzotti(2002); Marion Coutts, epic (2000); Dunhill & O’Brien, Gates (2003); Mike Marshall, A place not too far away,(2005); Pat Naldi, High Noon at 12° 21’8”(2000); Smith/Stewart, Lovers, Rome (2002); and Aaron Williamson,Translation/Translatio (2003). Sainsbury Lecture Theatre - British School at Rome - via Antonio Gramsci, 61- November 4 at 17:30 and 18:40 - Free admission - Tel. 06.3264939 - [email protected] - www.bsr.ac.uk

SAMPIETRINO D’ORO MARGUTTIANO On October 28, the Associazione Culturale Diletta Vittoria will present the 6th Sampietrino d’Oro MarguttianoAward to actress Stefania Sandrelli at Galleggiante Soc. Romana di Nuoto 1889, based in lungotevere inAugusta. This year, the jury, comprising Friends of Via Margutta, film professionals and entertainment industrylovers, wishes to dedicate the prize to actor-director Ugo Tognazzi as a tribute to his invaluable work conductedwith the utmost professionalism. The award was founded to remember those entertainment industryprofessionals who are often little known to wider audiences, with varying levels of success, and who beyondtheir specific talents offer vital contributions to television, film and theatre through their commitment anddedication. Galleggiante Soc. Romana di Nuoto 1889 - lungotevere in Augusta - October 28 at 20:00 - Freeadmission - tel. 06.36001878 - Press Office: Roberta Salvi, Tiziano Macciocca - [email protected]

VIEDRAM VISUAL CULTURE FEFÈSTIVAL The international VIEDRAM_VISUAL CULTURE FEFÈSTIVAL is dedicated to visual design, sound design andthe new frontiers of moving images. Organized by the Fefè Project and European Institute of Design, itseighth edition will be held at the Teatro Palladium on Friday, November 4, and features a rich programmepacked into a single day. Events kick off at 11:00 with the conference “The Ipad Magazine and newlanguages. Video design, motiongraphic and frontiers of digital publishing,” with Italian and internationalexperts participating. At 14:30 there will be an auteur focus with the best of from international festivals andtheir stars. These include a lesson/performance by Berlin-based VJ and computer artist Lasal. It will befollowed by a presentation of ADAM, the first Ipad art magazine, an absolute novelty in digital publishing.At 21:30 an international observatory will offer 40 selected videos divided into seven categories: Short Films,Music Videos, Sound, TV, Commercials, Titles and Mapping. Teatro Palladium - piazza Bartolomeo Romano,8 - November 4 - from 11:00 to late evening - Free admission

www.romacinemafest.org

PresidentGian Luigi Rondi

Veronica DeliMarco EspositoGiovanni MastrocinquePresident Staff

General DirectionFrancesca ViaManaging Director

Lucio ArganoHead of Management andOrganization Development

Chiara ColaioriDirection Staff

Human ResourcesCarol PepeHead of Department

Massimo Grasso Marco Lenzi

Jacopo ArdolinoChristian GarraffaGeneral Secretariat

Alessandro Calamunci ManittaPierluigi DarinoRunners

Artistic Direction Piera DetassisArtistic Director

Experts CommissionGianluca GiannelliAlice nella cittàSection Curator

Gaia Morrione Focus Section Curator

Mario SestiExtra Section Curator

Fabia BettiniOfficial Selection Committeeand Alice nella cittàSection

Alessandra De LucaOfficial Selection Committee

Marcello PaolilloOfficial Selection Committeeand Extra Section

International ExpertsClaudio MasenzaUSA

Antonio MondaCo-curator of AmericanCinema Encounters

Elena PollacchiAsia

Eugénie ScheubeckFrance and Germany

Cinema OfficeAlessandra FontemaggiHead of Office

Valeria AllegrittiPatrizia FreddiMarta GiovanniniJacopo MoscaMatteo Pompili

Schools and Alice nella cittàOfficeIlaria Giannelli SavastanoMartina MunafòSara Primante

The Business StreetRoberto Cicutto Director

The Business StreetDepartmentSylvain AuzouInternational Manager Diamara Parodi DelfinoItalian Manager

Francesca PalleschiCoordinator

Markus DuffnerDavide Nardini

STAFF INTERNATIONAL ROME FILM FESTIVAL 2011

311STAFF INTERNATIONAL ROME FILM FESTIVAL 2011310 STAFF INTERNATIONAL ROME FILM FESTIVAL 2011

New Cinema NetworkDepartmentLucia MilazzottoManager

Alexia De Vito

Silvia BignucoloFrancesca LanaBarbara Lasek

Press Officeand WebsiteCristiana CaimmiHead of Cinema Press Office

Francesca Malandrucco Head of Institutionaland International Press

Gianpaolo BonusoPress office/Editorial contactfor the website

Tamer Abdel MaaboudFulvia FasanoNicola FiorentinoFlavia MarincolaLaura MartorelliFiammetta ProfiliAndrea Salvi

Mariangela Hall(DDA Public Relations)International PressConsultant

Sabrina RamacciPress Boxes

Roberto Cespi PolisianiPhotocall

Luca DammiccoGiuseppe Leonardo PanicciaPhotographers

Organization Department Mara NeumannHead of Department

Production and OperationsOfficeDomizia FrisinaManuela Rispoli

Cristiano CenciAnna FerraioliConsuelo MadrigaliGiulia MutiDaniel Pavoncelli

Print TransportationOfficeDario FrisoCoordinator

Stefano CampanoniAntony EttorreRiccardo FrezzaChiara NicolettiMonica Venditto(Cecchetti Speedcoop s.r.l.)

Luca BisanteMauro DiciociaFederico GnoliMarco SabatinoLeone Tuccinardi

Technical OfficeAnnamaria De MarchiHead of Office

Gianluca EspositoFabio Fiscaletti

Maria GerardiClaudio Tamburrini

Pino ChiodoProjection ServicesCoordinator

ITC OfficeAndrea BissiHead of Office

Gianluca Ragosa

Marketingand CommunicationDepartment Stefano MicucciHead of Department

Stefania MarinoCoordinator

Flavia FronzettiSabrina MancoriChiara RennaMarketing Office

Serena ParpaglioniHead of CommunicationOffice

Rita Marchetti

Chiara NordioMichela ParisiCommunication Office

Pubblications OfficeRenata IngraoHead of Office

Giuseppina De SantisCarlo DilonardoElisa PalagiSergio Rios PérezLeila Vitaliti

Valeria Allegritti

Darcy Di MonaNicholas HuntNatasha SenjanovicTranslators

313

Finance, Legaland AdministrationDepartmentCristina RitossaHead of Department

Tiziana AutieriBarbara Di BiagioAndrea MarazzitiClaudio Tarquini

Daniela AveniaVittoria Castagnello

Protocol OfficeDomitilla Ruffo di CalabriaHead of Office

Raffaella Fioretta

Cristina ColliniAlessandra FerracaniGuidalberto Torlonia

Hospitality DepartmentPaola AmiciHead of Department

Antonio Luigi BarberaClaudia PampinellaSibilla PaparattiClaudia QuaglieriVanni Tortoli

Verdiana BonaccortiSimona CaparriniGiorgia ZaccheiTalent Handlers

Juries SecretariatCristina Dall’OglioLudovica DamianiYolanda Hornman

Accreditationand Ticket OfficeTiziana ClementiHead of Department

Marta Turino

Marco LotteriValentina PiscitelliDoriella RutiglianoAccreditation Department

Marzia DanelliTicket Office

ConsultantsLaura BuffoniDario BuzzolanNicola CaloceroNicola ConticelloValentina Di GiuseppeMargherita Di PaolaAntonio Flamini Massimo GalimbertiGermana Madia Giona NazzaroGabriele NiolaAndrea PiersantiCarlotta Sabatino Studio Vezzoli

Trainees and volunteersLeonardo AquiliniAntonio AtteMerilù BarbaroFlaminia BeghiCarlo BellucciLaura BranchiniValentina BrunelliValentina CacciagliaMarta CavalloFlavia CifarelliGreta ColliBarbara CurtiJada DarascenziElena DavittiPaolo De AngelisEugenia Del GaudioClaudia Di Cioccio

Camilla DonghiAlessandra FestaGiada FortePaolo FraioliMaria GammellaStefania GargiuloAssunta GiordanoPolina GrachevaLuca IuorioFilippo KochAttilio Lambiase Lorenzo GuadalupiGiacomo LonghiCarla MancosuCarlotta ManziAlice MarianiMaddalena Messeri Francesca MontaninoTalita MontiniFrancesca MorettiDiana NapoletanoAndrea NembriniClaudia Anna Giulia NorbergSchulzSilvia OcchiutoCarolina PacilliChiara PinardiStefania PizzaGuido Pio PolentanoMartina ProsperiCinzia PuggioniFabio RagazzoSilvia SaittaChiara SanninoEnrico ScanoStella ScarafoniVeronica ScipolitiLucia SorrentinoSamantha SurianiFrancesca SturziTiziana TerranovaManuela TovoMattia VerderamiEnrico Maria VernaglioneMarzia VettoratoRoberta VillariMaria Magdalena WosikAntonio Zappadu

312 STAFF INTERNATIONAL ROME FILM FESTIVAL 2011

Editor in chiefRenata Ingrao

Editorial CoordinationSergio Ríos Pérez

Editorial StaffGiuseppina De Santis, Carlo Dilonardo, Giada Forte, Luca Iuorio, Elisa Palagi

TranslationValeria Allegritti, Darcy Di Mona, Natasha Senjanovic

Photo CreditsAD Andrea Varani, pp. 39 • Andrea Catoni, pp. 52 • Archivio Fotografico Ciak, pp. 41, 168,174, 227, 229, 231, 233, 235, 237, 242, 243, 245, 246, 247, 288 • Archivio Fotograficodella Cineteca Nazionale del Centro Sperimentale di Cinematografia, pp. 250, 251 • BAFTAEllis Parrinder, pp. 230 • Bavaria Pictures / Tom Trambow, pp. 58 • Bernard Touillon, pp. 273 •

Bruno Stevens, pp. 200 • Chic Films – PTD – Saga Film / Ricardo Vaz Palma, pp. 158 • Cinetecadi Bologna - Archivio Fotografico, pp. 252, 253 • Claudio Porcarelli, pp. 170 • DisneyEnterprises, pp. 206 • Elio Sorci Camera Press/Photomasi, pp. 254 • Emanuela Scarpa, pp. 266• Ethan Hill, pp. 226 • Francesco Escalar / Lightshape, pp. 171 • Getty Images, pp. 44, 166,167 • Gianni Mania, pp. 272 • Giuseppe La Spada - Afleur, pp. 284 • Jaap Buitendijk. ©2011GK Films, LLC, pp. 96 • Jack English, pp. 218 • Jitish Kallat - Baggage Claim (CourtesyARNDTGallery Berlin), pp. 274 • Karim Ramzi, pp. 39 • Kevin Day, pp. 236 • lc-architettura(face2face), pp. 262, 263 • Luciano Viti, pp. 272 • M.Bragard, pp. 82 • Marcel Hartmann, pp. 86• Nick Wall, pp. 190 • Oliver Kochta-Kalleinen, pp. 138 • Paolo Ranzani, pp. 285 •

Photomovie/Marco Rossi, pp. 169 • Reporters Associati (G. B. Poletto), pp. 244 • RG 3 AlixLaveau, pp. 287 • Robin Skjoldborg, pp. 39 • Sarah Heitz de Chabaneix - Noodles Production,pp. 186 • Sarah Lee, pp. 232 • Sheila Rock, pp. 234 • Stefano Esposito, pp. 266 • Studio LostBut Found Frederik Pedersen, pp. 238 • www.simonramon.com, pp. 156

This book was published in collaboration with

© Fondazione Cinema per Roma© Interno Otto, 2011All rights reserved

PublisherInterno Otto Srl Via Angelo Poliziano 80 - 00184 RomaTel. 06 47823405 [email protected] - www.internootto.it

Print by Tipografia Rumor Srl - VicenzaVia dell’Economia 127 - 36100 VicenzaTel. 0444 961566

First printing: October 2011ISBN: 978-88-904430-6-0

314

01 DistributionPiazza Adriana, 1200193 Rome (Italy)T. +39 06 684 701F. +30 06 687 2141www.01distribution.it

20ten [email protected]

30 Miles Film Via G. Montanelli, 15 00195 Rome (Italy)

4 ½ Production CompanyKruses Gate 80263 Oslo (Norway)T. +47 95 063 501www.fourandahalf.no

A Few Best MenC/-FSA#40, 38 Driver AvenueNSW 2021 Moore Park (Australia)T./F. +61 2 8353 2440

Alicéleo53, quai Michelet92300 Levallois-Perret (France)T. +33 1 4617 0180F. +33 1 4758 1733

Alliance Films145 King Street EastM5C 2Y7 Toronto ON (Canada)T. +1 416 309 4200F. +1 416 309 4290www.alliancefilms.com

Ambra GroupPiazza dei Quiriti, 3 00192 Rome (Italy)T. +39 06 323 2283F. +39 06 323 2916

Animals of Combat1917 Baxter St.90039 Los Angeles CA (United States)T. +1 917 748 1519F. +1 323 284 8752www.dragonslayermovie.com

Appaloosa Pictures 3323 Caroline Ave90232 Culver City CA (United States)

Archibald Enterprise Film Largo Messico, 1600198 Rome (Italy)T. +39 06 8530 4753 F. +39 06 8530 4971www.archibaldfilm.it

Archlight Films International Suite 228 (FSA # 40), Building 61Fox Studios Australia, Driver AvenueNSW 2021 Moore Park (Australia)T./F. +61 2 8353 24408447 Wilshire Boulevard, Suite 10190211 Beverly Hills CA (United States)T. +1 310 777 8855

Bac Films88, rue de la Folie Méricourt75011 Paris (France)T. +33 5353 0676F. +33 5353 0670www.bacfilms.fr

Bankside Films Douglas House 3 Richmond Buildings 4th floorW1D 3HE London (UK) T. +44 20 7734 3566F. +44 20 3230 1059www.bankside-films.com

Bavaria Film InternationalBavariafilmplatz 7 / Bldg. 7182031 Geiselgasteig (Germany)T. +49 89 6499 2686F. +49 89 6499 3720www.bavaria-film.de

Bavaria PicturesBavariafilmplatz 782031 Geiselgasteig (Germany)T. +49 89 6499 2015F. +49 89 6499 2189www.bavaria-film.de

Bendico Viale Parioli, 72 00197 Rome (Italy)T. +39 06 807 6868

Besito Films LLC3323 Caroline Ave90232 Culver City CA (United States)

Bìbì Film TVVia di San Saba, 2200153 Rome (Italy)T. +39 06 5740 141F. +39 06 5713 3464

Bim DistribuzioneVia Marianna Dionigi, 5700193 Rome (Italy)T. +39 06 323 1057F. +39 06 321 1984www.bimfilm.com

Bob Film SwedenHökens gata 10116 46 Stockholm (Sweden)T. +46 8 556 93090F. +46 8 556 93099www.bobfilmsweden.com

COMPANIES DIRECTORY

315COMPANIES DIRECTORY

EuropaCorp137, rue du Faubourg Saint Honoré 75008 Paris (France)T. +33 1 5383 0303F. +33 1 5383 0304www.europacorp.com

FandangoViale Gorizia, 19 00199 Rome (Italy)T. +39 06 8521 8101F. +39 06 85218120www.fandango.it

Fandango Portobello Sales 12 Addison Avenue, Holland ParkW11 4QR London (UK)T. +44 207 605 1396F. +44 207 605 1391www.portobellopictures.com

Feltrinelli Real Cinema Via Andegari, 620121 Milan (Italy)T. +39 02 725 721F. +39 02 725 72500

Film i VästBox 134 SE 461 23 Trollhättan (Sweden)T./F. +46 520 490 900www.filmivast.se

Film Kairos Via Anapo, 46 00199 Rome (Italy)T. +39 06 8530 4329F. +39 06 8546 041www.kairosfilm.it

Film Transit 252 Gouin Boulevard EastH3L 1A8 Montréal, Québec (Canada) T. +1 514 844 3358F. +1 514 844 7298 www.filmstransit.com

Filmauro Via XXIV Maggio, 1400187 Rome (Italy)T. +39 06 699 581F. +39 06 699 58410www.filmauro.it

Filmexport Group Largo Guglielmo la Pegna, 1800128 Rome (Italy)T. +39 06 5220 7432www.filmexport.com

Films BoutiqueSkalitzer Str. 54A10997 Berlin (Germany)T. +49 30 6953 7850F. +49 30 6953 7851www.filmsboutique.com

Films Distribution 34 rue du Louvre 75001 Paris (France)T. +33 1 5310 3399 F. +33 1 5310 3398 www.filmsdistribution.com

Finecut 4F Incline BD, 891-37Daechi-dong, Gangnam-gu135-280 Seoul (South Korea)T.+82 2 569 8777F.+82 2 569 9466 www.finecut.co.kr

Fobic FilmsNieuwevaart 118 / 0039000 Gent (Belgium)T. +32 9 329 0052www.fobicfilms.com

Fondazione Lelio LuttazziVia Principe di Montfort, 1034123 Trieste (Italy)T./F. +39 040 372 0996 www.fondazionelelioluttazzi.it

Four of a Kind Productions240 Central Park South, Suite 4J10019 New York NY (United States)www.foakproductions.com

Funny Balloons 4bis, rue Saint-Sauveur75002 Paris (France)T. +33 1 4013 0586F. +33 1 4233 3499www.funny-balloons.com

GenfilmPovarskaya ulitsa, 33121069 Moscow (Russia)T. +7 495 231 1221www.genfilm.ru

GK Films 1540 2nd Street, Suite #20090401 Santa Monica CA (United States)T. +1 310 315 1722F. +1 310 315 1723www.gk-films.com

HanWay Films24 Hanway StreetW1T 1UH London (UK)T. +44 207 290 0750www.hanwayfilms.com


C&YT. +1 416 655 4523www.cycinema.ca

Carnivalesque Filmswww.carnivalesquefilms.com

Celsius Entertainment249 Gray’s Inn RoadWC1X 8QZ London (UK)T. +44 207 193 1801F. +44 207 612 0031www.celsiusentertainment.com

Ciclorama ProduccionesParque Central Edificio El Tejar Piso 16-L 1010 Caracas (Venezuela)T. +58 424 132 2319

Ciné@16 rue de la Paix75002 Paris (France) T. +33 1 4296 3060F. +33 1 4296 3062

Cinecittà Luce Via Tuscolana, 105500173 Rome (Italy)T. +39 06 722 861F. +39 06 722 1883www.cinecittaluce.it

Cinemaginaire5144 boulevard Saint-LaurentH2T 1R8 Montréal Québec (Canada) T. +1 514 272 5505F. +1 514 272 9841www. cinemaginaire.com

Citrullo International Via Ascoli Piceno, 2700176 Rome (Italy)T./F. +39 06 9760 1189www.citrullo.com

Chic Films 53, rue du Faubourg Saint-Antoine75011 Paris (France)T. +33 1 7500 1240F. +33 1 5317 0584www.chic-films.com

Clearcut Productions820 N. River Street Suite 20197227 Portland OR (United States)T. +1 503 208 6758www.howtodieinoregon.com

Combo Produzioni Via Aniene, 1600198 Rome (Italy)T. +39 06 8530 5332F. +39 06 8579 2359www.combofilm.it

Creative Artists Agency2000 Avenue of the Stars90067 Los Angeles CA (United States)T. +1 424 288 2000

David the Movie LLC353 Flatbush Avenue #3F11238 Brooklyn, NY (United States)T. +1 917 287 9867F. +1 718 785 9757www.david-themovie.com

Dogwoof Global SaleUnit 211 Hatton SquareBusiness Centre16-16a Baldwins GardensEC1N 7RJ London (UK) T: +44 20 7831 7252 www.dogwoofsales.com

Duea FilmPiazza Cola di Rienzo, 69 00192 Rome (Italy)T. +39 06 321 4851F. +39 06 321 5108

Eagle PicturesLungotevere Michelangelo, 9a00192 Rome (Italy)T. +39 06 326 9101F. +39 06 320 7366www.eaglepictures.com

Ealing Metro InternationalEaling Studios - Ealing GreenW5 5EP London (UK)T. +44 208 584 6708F. +44 208 758 8658www.ealingmetro.com

Ecuador para Largo Calle Carrión E9-17 y Plaza,Edificio Plaza 500, Dpto. 5DQuito (Ecuador)T. +593 2255 4052www.ecuadorparalargo.com

Edko Films Limited 1212 Tower II Admiralty Centre18 Harcourt Road,Central Hong KongT. +852 2528 8046 F: +852 2529 5339

El Pampero CineLaprida 1641 Deptd DBuenos Aires (Argentina)T. +54 11 4822 5477

Elle Driver66, rue de Miromesnil75008 Paris (France)T. +33 1 5643 4870F. +33 1 4561 4608www.elledriver.fr

Epithète Films12, rue de Silly92100 Boulogne (France)T. +33 1 4186 9200F. +33 1 4825 1766

COMPANIES DIRECTORY

316 COMPANIES DIRECTORY

Maia Cinema 68 rue Rene Boulanger75010 Paris (France)T. +33 1 4203 4962F. +33 1 4203 4358

ma.ja.deMarienplatz 104103 Leipzig (Germany)T. +49 341 983 9696F. +49 341 215 6639www.majade.de

Manchester Films6, avenue Mathurin Moreau75019 Paris (France)T. +33 1 7544 9961F. +33 9 5688 9526

Martha Production Via Goffredo Mameli, 51 00153 Rome (Italy)T. +39 06 5834 5669F. +39 06 9171 0975www.marthaproduction.com

Medusa Filmvia Aurelia Antica, 422/424 00165 Rome (Italy)T. +39 06 663 901F. +39 06 663 90450www.medusa.it

Memento Films International9 cité Paradis 75010 Paris (France)T. +33 1 5334 9020www.memento-films.com

Motlys ASSagveien, 180459 Oslo (Norway)T. +47 2280 8370

Moxie Firecracker Films232 3rd Street, B402b11215 Brooklyn NY (United States)T. +1 718 230 5111F. +1 718 230 5999www.moxiefirecracker.com

NBC Universal Global Networks ItaliaVia Po, 1200198 Rome (Italy)T. +39 06 852 091F. +39 06 8520 9499 www.studiouniversal.it

NBCU International TV Studio Carnival FilmsOxford House76 Oxford Street W1D 1BS London (UK)T. +44 20 7307 6600 F. +44 20 7307 6666www.nbcuni.co.uk

Neue Road MoviesMünzstr.1510178 Berlin (Germany)T. +49 30 814 529 350F. +49 30 814 529 375www.neueroadmovies.com

Nomad Film DistributionVia Costantino, 10800145 Rome (Italy)T./F. +39 06 644 202 76www.nomadfilm.it

Noodles Production38, rue Dunois75647 Paris (France)T. +33 1 4493 2310F. +33 1 4493 2311www.noodlesproduction.com

Pandora FilmBalthasarstr. 79-8150670 Köln (Germany)T. +49 221 973 320F. +49 221 973 329www.pandorafilm.com

PaperBark Films PO Box 706NSW 2070 Lindfield (Australia)F. +612 9449 5866www.paperbarkfilms.com

Paramount Pictures5555 Melrose Avenue 90038 Hollywood CA (United States)www.paramount.com

Pathé Distribution2, rue Lamennais75008 Paris (France) T. +33 1 7172 3305F. +33 1 7172 3310www.patheinternational.com

PBS International10 Guest St.02135 Boston MA (United States)T. +1 617 208 0760F. +1 617 208 0783www.pbsinternational.com

Polifemo Via Palumbo, 1 00195 Rome (Italy)T. +39 06 4544 3841 F. +39 06 4544 3841www.polifemosrl.it

Protagonist Pictures4th floor, Waverley House7-12 Noel StreetW1F 8GQ London (UK)T. +44 207 734 900www.protagonistpictures.com


Harold Trompetero Producciones Calle 25 C No. 3 – 80 P. 1 Bogotá (Colombia)T. +571 341 6211 F. +571 334 4607

Haut et Court38, rue des Martyrs75009 Paris (France)T. +33 1 5531 2727www.hautetcourt.com

HBO1100 Ave. of the AmericasSuite 151010036 New York NY (United States)T. +1 212 512 1000F. +1 212 512 5698www.hbo.com

Heyday Films5 Denmark StreetWC2H 8LP London (UK)T. +44 207 836 6333F. +44 207 836 6444

Highland Film Group9200 Sunset Blvd, Suite 60090069 West Hollywood CA (United States)T. +1 310 271 8400www.highlandfilmgroup.com

Icon Entertainment International17 Gresse StreetW1T 1QL London (UK)T. +44 207 927 69 35www.icon-entertainment.co.uk

IM Global8322 Beverly Blvd.90048 Los Angeles CA (United States)T. +1 310 777 3590F. +1 323 657 5354www.imglobalfilm.com

Indeed FilmsTorhoutsesteenweg 35 #0038400 Oostende (Belgium)T. +32 486 463 770www.indeedfilms.be

Indigo Film Via Torino, 135 00184 Rome (Italy)T./F. +39 06 7707 9042www.indigofilm.it

Iris Film Viale Appio Claudio, 20800174 Rome (Italy) T. +39 06 7158 6286 www.irisfilm.it

Jean Vigo Italia Via del Colosseo, 2/ A 00184 Rome (Italy)T. +39 06 678 0003F. +39 06 693 80600www.jeanvigoitalia.it

Jigsaw Productions601 West 26th Street, Suite 176210001 New York NY (United States)T. +1 212 352 3010F. +1 212 352 3020www.jigsawprods.com

Killer Films18 E.16th St. - 4th floor10003 New York NY (United States)T. +1 212 473 3950www.killerfilms.com

KIM Ki-duk Film4F 1426-6, Bakseok-dong, Ilsan-guGoyang-si, Kyunki-do (South Korea)

La Petite Reine 20, rue de Saint-Pétersbourg75008 Paris (France)T. +33 1 4490 7390F. +33 1 4490 7399

Latido FilmsC/Veneras 9, 3º28013 Madrid (Spain)T. +34 91 548 8877F. +34 91 548 8878 www.latidofilms.com

Left Field VenturesAvenue Louis Lepoutre, 971050 Bruxelles (Belgium)T. +32 2345 4505F. +32 2343 6992www.leftfieldventures.com

Les Films du Lendemain17 quai des Grands Augustins75006 Paris (France)T. +33 1 5542 1479F. +33 1 5542 1477

LIC ChinaThe Gymnasium, Beijing OlympicSports Centre1 An’ding Road, Chaoyang District100029 Beijing (China)T. +86 10 8202 2266F. +86 8208 3588www.lic-bcbc.com

Living Cinema 001 Ltd169 Balls Pond RoadN1 4BG London (UK)

Lucky Red Via Antonio Chinotto, 1600195 Rome (Italy)T. +39 06 375 944F. +39 06 3735 2310www.luckyred.it

COMPANIES DIRECTORY


Thelma Films3, rue du Bois de Boulogne75116 Paris (France)T. +33 1 4505 1030

Triple Threat TV 84 West Park Place, 4th Floor06901 Stamford CT (United States) T. +1 203 682 6100F. +1 203 355 1804www.triplethreattv.com

Tornasol FilmsC/ Veneras, 9 - Planta 728013 Madrid (Spain)

TV Planet260 Crandon BlvdSuite 32 # 11433149 Key Biscayne FL (United States)T. +1 305 365 0060www.tvplanet.com

Universal Pictures International ItalyVia Po, 1200198 Rome (Italy)T. +39 06 852 691F. +39 06 852 69250www.cinema.universalpictures.it

Vega’s ProjectP.zza Duca Francesco Borgongini, 7a00165 Rome (Italy)T. +39 06 3937 9803F. +39 06 3938 0817www.vegasproject.it

Vertov. Real CinemaDerbenevskaya ulitsa, 14, Bld.3115114 Moscow (Russia)T. +7 495 699 4617F. +7 495 699 4617 www.vertov.ru

Walt Disney Studios Motion Pictures 500 South Buena Vista St.91521-1271 Burbank CA (United States)T. +1 818 560 6291F. +1 818 567 6303www.disney.com

Warrior Poets407 Broome St #7B10013 New York NY (United States)T. +1 212 219 7617

Wavelength Pictures24 Alexandra Grove. Apt 4N4 2LF London (UK)T. +44 7968 772 792www.wavelengthpictures.co.uk

Wild Bunch99, rue de la Verrerie75004 Paris (France)T. +33 1 5301 5032F. +33 1 5301 5049www.wildbunch.biz


Quickfire Films3rd Floor3-4a Little Portland StreetW1W 7JB London (UK)T. +44 20 7291 1686F. +44 20 7291 1680www.quickfirefilms.com

Rai CinemaPiazza Adriana, 12 00195 Rome (Italy)T. +39 06 684 701F. +39 06 687 1518www.raicinema.it

Rainbow Via le Brecce60025 Loreto (Italy)T. +39 071 7506 7500F. +39 071 7506 7555www.rbw.it

Red Box Films2nd floor, 33-34 Rathbone PlaceW1T IJN London (UK)T. +44 207 323 9933F. +44 207 323 9030www.redboxfilms.co.uk

Revolution Films 9a Dallington StreetEC1V 0BQ London (UK) T. +44 20 7566 0700 F. +44 20 7566 0701 www.revolution-films.com

Rezo Films29, rue du Faubourg Poissonnière 75009 Paris (France)T./F. +33 1 4246 4630www.rezofilms.com

Roissy Films 137, rue du Faubourg St Honoré75008 Paris (France)T. +33 1 5383 0337F. +33 1 5383 0370www.roissyfilms.com

Roissy Films58, rue Pierre Charron75008 Paris (France)T. +33 1 5383 0303F. +33 1 4289 2693www.roissyfilms.com

Sacher DistribuzioneVia della Piramide Cestia, 100153 Rome (Italy)T. +39 06 574 5353F. +39 06 574 0483www.sacherfilm.eu

Saietta Film Via Marina Porto, 27 73039 Tricase (Italy)T./F. +39 08 3354 2890

SC Films International 3a Lower James St.W1F 9EH London (UK)T. +44 207 287 1900www.scfilmsinternational.com

SND Groupe M689, avenue Charles-de-Gaulle92575 Neuilly sur Seine (France)T. +33 1 4192 6666F. +33 1 4192 7907www.snd-films.com

Studio Kalleinen & Kochta-KalleinenVartiosaari00840 Helsinki (Finland)T. +358 45 275 6463

Studio Universal Via Po, 1200198 Rome (Italy)T. +39 06 852 091F. +39 06 8520 9499www.studiouniversal.it

Submarine Entertainment525 Broadway Suite 60110012 New York NY (United States)T. +1 212 625 1410F. +1 212 625 9931www.submarine.com

Summit Entertainment 1630 Stewart Str., # 12090404 Santa Monica CA (United States)T. +1 310 309 8400F. +1 310 828 4132www.summit-ent.com

The Bureau 18 Phipp St.EC2A 4NU London (UK)T. +44 207 033 0555F. +44 207 033 9383www.thebureau.co.uk

The Film Collaborative137 N. Larchmont Blvd., #60690004 Los Angeles CA (United States)www.filmcollaborative.org

The Little Film Company12930 Ventura Boulevard #82291604 Studio City CA (United States) T. +1 818 762 6999 F. +1 818 301 2186

The Match FactoryBalthasarstr. 79-8150670 Köln (Germany)T. +49 221 539 7090F. +49 221 539 70910www.the-match-factory.com

COMPANIES DIRECTORY


323FILM INDEX BY COUNTRY

FILM INDEX BY COUNTRY

322 FILM INDEX BY COUNTRY

Hysteria (with United Kingdom) 60

NetherlandsPeople in White (with Finland)138

NorwayFå meg på, for faen! 154Babycall (with Germany, Sweden) 48

PolandFemme du cinquième, La (with France, United Kingdom) 56

RussiaPatria o muerte 136

South KoreaPoongsan 70

SpainCuento chino, Un 50

SwedenBabycall (with Germany, Norway) 48

SwitzerlandVoyez comme ils dansent (with Canada, France) 74

United KingdomBritish Guide to Showing Off, The 210Canterbury Tale, A 237Deep Blue Sea, The 212Fallen Idol, The 229Foster 190Hard Day’s Night, A 233Hue and Cry 235Ladykillers, The 227Last of England, The 237Matter Of Life And Death, A 235My Beautiful Laundrette 233My Son The Fanatic 229Page Eight 214Persuasion 231Project Nim 150Pumpkin Eater, The 227Sunday Bloody Sunday 231Trishna 216

Tyrannosaur 218Weekend 220Wild Bill 222Femme du cinquième, La (with France, Poland) 56

Hysteria (with Luxembourg) 60

United StatesAdventures of Tintin The Secret of the Unicorn, The 96Bobby Fischer Against the World 142Breakfast at Tiffany’s 255Catching Hell 116Comic- Con Episode IV A Fan’s Hope 118David 182Days of Heaven 45Dragonslayer 124From the Sky Down 128Girl Model 130How to Die in Oregon 134Hugo Cabret 98Insidious 113Jesus Henry Christ 194Like Crazy 84Lion King 3D, The 206Magic Valley 64Too Big to Fail 90Twilight Saga - Breaking Dawn Part 1, The 94Circumstance (with Iran, France, Lebanon) 152

VenezuelaDudamel El sonido de los niños 207

ArgentinaOstende 160

AustraliaEye of the Storm, The 54Few Best Men, A 78

BelgiumHasta la vista 192Little Glory 200Nordzee Texas 204Mon pire cauchemar (with France) 86

Nuit blanche (with France, Luxembourg) 158

CanadaAmy George 178Voyez comme ils dansent (with France, Switzerland) 74

ChinaDead Men Talking 122Zui Ai 76

ColombiaLocos 156

EcuadorEn el nombre de la hija 188

FinlandPeople in White (with Netherlands) 138

FranceBrindille, La 180Diable dans la peau, Le 186Kids Stories 196Lady, The 82No et moi 202Nouvelle guerre des boutons, La 110Vie meilleure, Une 72Circumstance (with United States,Iran, Lebanon) 152

Femme du cinquième, La (with Poland, United Kingdom) 56

Mon pire cauchemar (with Belgium) 86

Nuit blanche (with Belgium, Luxembourg) 158

Pina (with Germany) 103Voyez comme ils dansent (with Canada, Switzerland) 746

GermanyHotel Lux 58Babycall (with Norway, Sweden) 48

Death of a Superhero (with Ireland) 184

Pina (with France) 103

IranCircumstance (with United States, France, Lebanon) 152

IrelandDeath of a Superhero (with Germany) 184

Italy11 metri 108148 Stefano - Mostri dell’inerzia 109African Women - In viaggio per il Nobel della Pace 140Amore liquido 263Angelo di Alfredo, L’ 264Antonio + Silvana = 2 268Appartamento ad Atene 264Basilischi, I 246Cannibali, I 243Casa dei bambini, La 268Casco in volo 268Case chiuse 144Cuore grande delle ragazze, Il 52Dark Side of the Sun, The 120Diversamente Giovane 146Dramma della gelosia - Tutti i particolari in cronaca 250Esterno sera 264Et in terra pax 265Franca la prima 126Francesco 247Grande guerra, La 245Grazia e furore 132Ho visto cose 269Hollywood Bruciata - Ritratto di Nicholas Ray 148Illazione, L’ 104In arte Lilia Silvi 269

Industriale, L’ 80Interno giorno 265Io non sono io. Romeo, Giulietta e gli altri 172Io sono il teatro: Arnoldo Foà raccontato da Foà 269Killer Plastic-o. Tu ti faresti entrare? 270Kryptonite nella borsa, La 62Meravigliosa avventura di Antonio Franconi, La 107Mio domani, Il 66Mostri, I 245Nell’anno del Signore 247Noi di Settembre 105Paese delle spose infelici, Il 68Pane e cioccolata 247Papà di Giovanna, Il 246Passione di Laura, La 106Piero Guccione, verso l’infinito 270Posto, Il 246Pranzo di Natale, Il 270Primi della lista, I 111Pummarò 247Renato Carosone: un Americano a Napoli 271Rotaie 242Scandalo segreto 250Sergio Rubini, un attore-regista 171Silver Case 265Someday This Pain Will Be Useful to You 88Strada verso casa, La 266Terra negli occhi, La 266Tormenti - Film disegnato 112Totò 3D - Il più comico spettacolo del mondo 92Tre fratelli 246Via di mio padre, La 266Viaggio nel bullismo 271Volto della Medusa, Il 271

JapanKokurikozaka Kara 198

LebanonCircumstance (with United States,Iran, France) 152

LuxembourgNuit blanche (with France, Belgium) 158

FILM INDEX BY SECTION

325FILM INDEX BY SECTION

DIRECTORS’ INDEX

324 DIRECTORS’ INDEX

OFFICIAL SELECTION

COMPETITIONBabycall 48Cuento chino, Un 50Cuore grande delle ragazze, Il 52Eye of the Storm, The 54Femme du cinquième, La 56Hotel Lux 58Hysteria 60Kryptonite nella borsa, La 62Magic Valley 64Mio domani, Il 66Paese delle spose infelici, Il 68Poongsan 70Vie meilleure, Une 72Voyez comme ils dansent 74Zui Ai 76

OUT OF COMPETITIONFew Best Men, A 78Industriale, L’ 80Lady, The 82Like Crazy 84Mon pire cauchemar 86Someday This Pain Will Be Useful to You 88Too Big to Fail 90Totò 3D - Il più comico spettacolo del mondo 92

OFFICIAL SELECTIONALICE NELLA CITTÀAdventures of Tintin: The Secret of the Unicorn, The 96Hugo Cabret 98Twilight Saga - Breaking Dawn Part 1, The 94

SPETTACOLO | SPECIAL EVENTS11 metri 108148 Stefano - Mostri dell’inerzia 109Days of Heaven 45Nouvelle guerre des boutons, La 110Primi della lista, I 111Illazione, L’ 104Insidious 113Meravigliosa avventura di Antonio Franconi, La 107Noi di Settembre 105Passione di Laura, La 106Pina 103Tormenti - Film disegnato 112

EXTRA

COMPETITIONCatching Hell 116Comic- Con Episode IV A Fan’s Hope 118Dark Side of the Sun, The 120Dead Men Talking 122Dragonslayer 124Franca la prima 126From the Sky Down 128

Girl Model 130Grazia e furore 132How to Die in Oregon 134Patria o muerte 136People in White 138

OUT OF COMPETITIONAfrican Women - In viaggio per il Nobel della Pace 140Bobby Fischer Against the World 142Case chiuse 144Circumstance 152Diversamente Giovane 146Få meg på, for faen! 154Hollywood Bruciata - Ritratto di Nicholas Ray 148Io non sono io. Romeo, Giulietta e gli altri 172Locos 156Maxxi/CortoArteCircuito 162Nuit blanche 158Ostende 160Project Nim 150Sergio Rubini, un attore-regista 171

ALICE NELLA CITTÀ

COMPETITIONAmy George 178Brindille, La 180David 182Death of a Superhero 184Diable dans la peau, Le 186En el nombre de la hija 188Foster 190Hasta la vista 192Jesus Henry Christ 194Kids Stories 196Kokurikozaka Kara 198Little Glory 200No et moi 202Nordzee Texas 204

OUT OF COMPETITIONDudamel El sonido de los niños 206Lion King 3D, The 207

FOCUS

SHOWCASEBritish Guide to Showing Off, The 210Deep Blue Sea, The 212Page Eight 214Trishna 216Tyrannosaur 218Weekend 220Wild Bill 222

PUNKS AND PATRIOTSCanterbury Tale, A 237Fallen Idol, The 229Hard Day’s Night, A 233Hue and Cry 235Ladykillers, The 227

Last of England, The 237Matter Of Life And Death, A 235My Beautiful Laundrette 233My Son The Fanatic 229Persuasion 231Pumpkin Eater, The 227Sunday Bloody Sunday 231

150th ANNIVERSARY OF THE UNIFICATION OF ITALY - A JOURNEY THROUGH ITALIAN IDENTITYBasilischi, I 246Cannibali, I 243Francesco 247Grande guerra, La 245Mostri, I 245Nell’anno del Signore 247Pane e cioccolata 247Papà di Giovanna, Il 246Posto, Il 246Pummarò 247Rotaie 242Tre fratelli 246

EXHIBITIONSBreakfast at Tiffany’s 255Dramma della gelosia - Tutti i particolari in cronaca 250Scandalo segreto 250

A FESTIVAL AROUND THE CITY

SHOWCASE OF YOUNG ITALIAN FILMMAKERS Amore liquido 263Angelo di Alfredo, L’ 264Appartamento ad Atene 264Esterno sera 264Et in terra pax 265Interno giorno 265Silver Case 265Strada verso casa, La 266Terra negli occhi, La 266Via di mio padre, La 266

OFF DOCAntonio + Silvana = 2 268Casa dei bambini, La 268Casco in volo 268Ho visto cose 269In arte Lilia Silvi 269Io sono il teatro: Arnoldo Foà raccontato da Foà 269Killer Plastic-o. Tu ti faresti entrare? 270Piero Guccione, verso l’infinito 270Pranzo di Natale, Il 270Renato Carosone: un Americano a Napoli 271Viaggio nel bullismo 271Volto della Medusa, Il 271

Adducchio, Gaia 266Aleandri, Simone 268Allers, Roger 206Arvelo, Alberto 207Avati, Pupi 52, 246Barratier, Christophe 110Benstock, Jes 210Besson, Luc 82Borensztein, Sebastián 50Botrugno, Matteo 265Breitman, Zabou 202Brusati, Franco 247Camerini, Mario 242Cartolano, Maurizio 109Cattaneo, Marco Luca 263Cavani, Liliana 243, 247Changwei, Gu 76Citarella, Laura 160Citran, Roberto 271Clayton, Jack 227Coluccini, Daniele 265Condon, Bill 94Considine, Paddy 218Cotroneo, Ivan 62Crichton, Charles 235Damato, Cosimo Damiano 269Davies, Terence 212De Lillo, Antonietta 270Defurne, Bavo 204Del Grosso, Francesco 108Dipaola, Ruggero 264Doremus, Drake 84Edwards, Blake 255Elliot, Stephan 78Enthoven, Geoffrey 192Faenza, Roberto 88Fendelman, Joel 182Ferraretto, Gianni 271Filippella, Christian 265FitzGibbon, Ian 184Fletcher, Dexter 222Fontaine, Anne 86Frears, Stephen 233Gallo, Donato 271Gandolfo, Vanni 268Garbus, Liz 142Gibney, Alex 116Greco, Gianluca 171, 268Guggenheim, Davis 128Guzzanti, Sabina 126Haigh, Andrew 220Hanson, Curtis 90

Hare, David 214Haussmann, Leander 58Hermida P., Tania 188Hintermann, Carlo Shalom 120Jaihong, Juhn 70Jardin, Frédéric 158Jarman, Derek 237Johnson, Roan 111Kahn, Cédric 72Kalleinen, Tellervo 138Keshavarz, Maryam 152Kochta-Kalleinen, Oliver 138Lannoo, Vincent 200Lee, Dennis 194Lester, Richard 233Lewis, Yonah 178Luttazzi, Lelio 104Mackendrick, Alexander 227Magni, Luigi 247Malick, Terrence 45Manskiy, Vitaly 136Marra, Fabio 264Marsh, James 150Martinerie, Gilles 186Mattoli, Mario 92Mezzapesa, Pippo 68Michell, Roger 231Miller, Claude 74Millet, Emmanuelle 180Minkoff, Rob 206Miyazaki, Goro 198Monicelli, Mario 245Montaldo, Giuliano 80Newell, Robin 122Newman Jonathan 190Nifosì, Nunzio Massimo 270Olmi, Ermanno 246Onorati, Luca 268Pacilli, Chiara 269Patterson, Tristan 124Pawlikowski, Pawel 56Perotti, Luigi Maria 266Petrucci, Paolo 106Pistolini, Stefano 270Placido, Michele 247Powell, Michael 235, 237Prasad, Udayan 229Pressburger, Emeric 235, 237Redmon, David 130Reed, Carol 229Richardson, Peter 134Risi, Dino 245

Rizzo, Heidi 132Rosi, Francesco 246Rossellini, Tommaso 265Rossetti, Paolo 271Rossi Prudente, Barbara 264Rossi, Samuele 266Sabin, Ashley 130Santolini, Paolo 172Scarpelli, Filiberto 112Schepisi, Fred 54Schlesinger, John 231Scialotti, Stefano 140Scola, Ettore 250Scorsese, Martin 98Siegfried 196Sletaune, Pål 48Soldi, Filippo 144Spada, Marina 66Spagnoli, Marco 146Spielberg, Steven 96Spurlock, Morgan 118Systad Jacobsen, Jannicke 154Tedesco, Maurizio 269Thomas, Calvin 178Trompetero, Harold 156Turco, Marco 268Veneruso, Stefano 105Verdesca, Mimmo 269Verdone, Luca 107Vitti, Monica 250Wan, James 113Wenders, Wim 103Wertmüller, Lina 246Wexler, Tanya 60Winterbottom, Michael 216Zinn, Jaffe 64Zippel, Francesco 148

Lion King 3D, TheRoger Allers, Rob Minkoff 206Little GloryVincent Lannoo 200LocosHarold Trompetero 156Magic ValleyJaffe Zinn 64Matter Of Life And Death, AMichael Powell, Emeric Pressburger 235Maxxi/CortoArteCircuitoAA. VV. 162Meravigliosa avventuradi Antonio Franconi, LaLuca Verdone 107Mio domani, IlMarina Spada 66Mon pire cauchemarAnne Fontaine 86Mostri, IDino Risi 245My Beautiful LaundretteStephen Frears 233My Son The FanaticUdayan Prasad 229Nell’anno del SignoreLuigi Magni 247No et moiZabou Breitman 202Noi di SettembreStefano Veneruso 105Nordzee TexasBavo Defurne 204Nouvelle guerre des boutons, LaChristophe Barratier 110Nuit blancheFrédéric Jardin 158OstendeLaura Citarella 160Paese delle spose infelici, IlPippo Mezzapesa 68Page EightDavid Hare 214Pane e cioccolataFranco Brusati 247Papà di Giovanna, IlPupi Avati 246Passione di Laura, LaPaolo Petrucci 106Patria o muerteVitaly Manskiy 136People in WhiteTellervo Kalleinen, Oliver Kochta-Kalleinen 138

PersuasionRoger Michell 231Piero Guccione, verso l’infinitoNunzio Massimo Nifosì 270PinaWim Wenders 103PoongsanJuhn Jaihong 70Posto, IlErmanno Olmi 246Pranzo di Natale, IlAntonietta De Lillo 270Primi della lista, IRoan Johnson 111Project NimJames Marsh 150PummaròMichele Placido 247Pumpkin Eater, TheJack Clayton 227Renato Carosone: un Americanoa NapoliPaolo Rossetti 271RotaieMario Camerini 242Scandalo segretoMonica Vitti 250Sergio Rubini, un attore-registaGianluca Greco 171Silver CaseChristian Filippella 265Someday This Pain Will Be Useful to YouRoberto Faenza 88Strada verso casa, LaSamuele Rossi 266Sunday Bloody SundayJohn Schlesinger 231Terra negli occhi, LaGaia Adducchio 266Too Big to FailCurtis Hanson 90Tormenti - Film disegnatoFiliberto Scarpelli 112Totò 3D - Il più comico spettacolo del mondoMario Mattoli 92Tre fratelliFrancesco Rosi 246TrishnaMichael Winterbottom 216Twilight Saga - Breaking Dawn Part 1, TheBill Condon 94

TyrannosaurPaddy Considine 218Via di mio padre, LaLuigi Maria Perotti 266Viaggio nel bullismoRoberto Citran, Gianni Ferraretto 271Vie meilleure, UneCédric Kahn 72Volto della Medusa, IlDonata Gallo 271Voyez comme ils dansentClaude Miller 74WeekendAndrew Haigh 220Wild BillDexter Fletcher 222Zui AiGu Changwei 76

327FILM INDEX

11 metriFrancesco Del Grosso 108148 Stefano - Mostri dell’inerziaMaurizio Cartolano 109Adventures of Tintin: The Secret of the Unicorn, TheSteven Spielberg 96African Women - In viaggio per il Nobel della PaceStefano Scialotti 140Amore liquidoMarco Luca Cattaneo 263Amy GeorgeYonah Lewis, Calvin Thomas 178Angelo di Alfredo, L’Fabio Marra 264Antonio + Silvana = 2Vanni Gandolfo, Simone Aleandri, Luca Onorati 268Appartamento ad AteneRuggero Dipaola 264BabycallPål Sletaune 48Basilischi, ILina Wertmüller 246Bobby Fischer Against the WorldLiz Garbus 142Breakfast at Tiffany’sBlake Edwards 255Brindille, LaEmmanuelle Millet 180British Guide to Showing Off, TheJes Benstock 210Cannibali, ILiliana Cavani 243Canterbury Tale, AMichael Powell, Emeric Pressburger 237Casa dei bambini, LaMarco Turco 268Casco in voloGianluca Greco 268Case chiuseFilippo Soldi 144Catching HellAlex Gibney 116CircumstanceMaryam Keshavarz 152Comic -Con Episode IV: A Fan’s HopeMorgan Spurlock 118Cuento chino, UnSebastián Borensztein 50Cuore grande delle ragazze, IlPupi Avati 52

Dark Side of the Sun, TheCarlo Shalom Hintermann 120DavidJoel Fendelman 182Days of HeavenTerrence Malick 45Dead Men TalkingRobin Newell 122Death of a SuperheroIan FitzGibbon 184Deep Blue Sea, TheTerence Davies 212Diable dans la peau, LeGilles Martinerie 186Diversamente GiovaneMarco Spagnoli 146DragonslayerTristan Patterson 124Dramma della gelosia - Tutti iparticolari in cronacaEttore Scola 250Dudamel: El sonido de los niñosAlberto Arvelo 207En el nombre de la hijaTania Hermida P. 188Esterno seraBarbara Rossi Prudente 264Et in terra paxMatteo Botrugno, Daniele Coluccini 265Eye of the Storm, TheFred Schepisi 54Få meg på, for faen!Jannicke Systad Jacobsen 154Fallen Idol, TheCarol Reed 229Femme du cinquième, LaPawel Pawlikowski 56Few Best Men, AStephan Elliott 78FosterJonathan Newman 190Franca la primaSabina Guzzanti 126FrancescoLiliana Cavani 247From the Sky DownDavis Guggenheim 128Girl ModelDavid Redmon, Ashley Sabin 130Grande guerra, LaMario Monicelli 245Grazia e furoreHeidi Rizzo 132

Hard Day’s Night, ARichard Lester 233Hasta la vistaGeoffrey Enthoven 192Ho visto coseChiara Pacilli, Maurizio Tedesco 269Hollywood Bruciata - Ritratto di Nicholas RayFrancesco Zippel 148Hotel LuxLeander Haussmann 58How to Die in OregonPeter Richardson 134Hue and CryCharles Crichton 235Hugo CabretMartin Scorsese 98HysteriaTanya Wexler 60Illazione, L’Lelio Luttazzi 104In arte Lilia SilviMimmo Verdesca 269Industriale, L’Giuliano Montaldo 80InsidiousJames Wan 113Interno giornoTommaso Rossellini 265Io non sono io. Romeo, Giulietta e gli altriPaolo Santolini 172Io sono il teatro: Arnoldo Foàraccontato da FoàCosimo Damiano Damato 269Jesus Henry ChristDennis Lee 194Kids StoriesSiegfried 196Killer Plastic-o. Tu ti faresti entrare?Stefano Pistolini 270Kokurikozaka KaraGoro Miyazaki 198Kryptonite nella borsa, LaIvan Cotroneo 62Lady, TheLuc Besson 82Ladykillers, TheAlexander Mackendrick 227Last of England, TheDerek Jarman 237Like CrazyDrake Doremus 84

FILM INDEX

326 FILM INDEX

graphic design Interno Otto - Romaprint by Tipografia Rumor - Vicenza

Printed on ecocompatible paper Revive Pure Natural.

Certificate: EU Flower, Ecolabel, Blauer Engel, NAPM

Printed in October 2011

OCTOBER 27 | NOVEMBER 4 2011 - Fondazione Cinema per ...

Documents

Transcript of OCTOBER 27 | NOVEMBER 4 2011 - Fondazione Cinema per ...