SMETTERE CON IL PORNO IN TRE MOSSE (Italian Edition)
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Figlio di re Kimu? MartinQuot Member Join Date: EdwardVem Member Join Date: Thomasduse Member Join Date: What will his girlfriend think of his decision? Con la videocamera alla mano, Noelia vaga incontrando diverse donne e presentandoci in diretta il suo strano gioco: With video camera in hand, Noelia wanders around meeting various women and presents to us her strange game: Il tono quasi infantile non inganni: Instead, the challenge, for adults and children alike, is to find new ways of coexistence.
Helsinki Metropolia University of Applied Sciences. Tra telefonate senza risposta e feste a base di improbabili liquori polacchi, il percorso prende una piega diversa.
Between unanswered telephone calls and parties centred around improbable Polish liquors, the path takes a different turn. Is Olkiluoto Sindrome the celebration of the unexpected? Eye Film Institute Netherlands. Una videocamera fissa sistematicamente lo riprende, facendo gli stessi movimenti ottici nei medesimi momenti.
A fixed videocamera takes footage of him doing the same eye movements in the same moments. Through the unsynchronised and staggered audio and visuals on nine screens, one realises the instinctive perception and childlike ritualism of a religious service, where unity dominates individual elements, making them indistinguishable. She spends her days making a fur hat and winter coat because her dream is to leave for the north, towards the snowy countries that she imagines only through old souvenirs, looked at through the thick lenses of her broken glasses under the whir of the ceiling fan.
He delays her regularly because she soon forgets the urgency of her idea and is easily settled. Oslo cm , El contrapunteo cubano del querer y el poder cm doc , Cassette 1 cm , Romper el hielo: Si ride amaramente, con un occhio — impossibile da chiudere — sulla tele-apatia nostrana. But beyond the screen, who is truly happy? Romanian cinematography - the most important and celebrated of the decade - is finding ways to break away from the old model. Cecili Falmeri is a perfect example: There are bitter laughs with one eye - that is impossible to close - on our tele-apathy.
Shot with a budget of zero, it transforms a dog and a wild horse into the protagonists of an epic story of freedom. Drawing on western and adventure films, it intensifies their feature: The result is enigmatic and strongly poetic, with a blow in the final scenes that will soften the heart of even the most ardent animal hater. Come nel cortometraggio del belga Toon Aerts, in cui Misha, Yumiko e Chinatsu, tre criminali, si ritrovano con una refurtiva fatta di provette fosforescenti aspettando indicazioni dal loro boss.
Mostri e motoseghe sono gli effetti collaterali della droga perfetta, ma sono anche un piacere per gli occhi, nei curati effetti speciali e nel rapido e folle incedere della vicenda. Monsters and chainsaws are the collateral effects of the perfect drug, but there is also a feast for the eyes in their special effects and the fast and crazed pace of the story. Perfect Drug cm , Dialing the Devil cm The screenplay is studied in detail and everything seems to be going well Di notte, viene tentato dalla spiritica figlia del proprietario, innamorata perdutamente di lui.
Spaventato, fugge, ma da chi scappa? At night, he is tempted by the spiritualist daughter of the owner, who is hopelessly in love with him. Frightened, he runs away. But who is he running from? A sea of blood fills the austere black and white in which Joe Hsieh —inspired by Japanese cinema — plunges his story of guilt and impossible redemption. A dream-like melodrama, where the unconscious, and above all the sex, is full of horror. Un susseguirsi di close-up e di dettagli mostra allo spettatore le reazioni, le emozioni, i visi speranzosi e contriti di questa folla. E la giustizia internazionale?
A series of close ups and detailed shots show the reactions, emotions and the faces of hope and contrition in the crowd to the viewer. What does it decide? Romeo e Giulietta non vivono a Verona, ma lungo la linea che divide Turchia e Armenia. E il canto, mai come in questo film coraggioso e inclassificabile, diventa metafora del dolore e insieme della passione insaziabile, sullo sfondo di un metaforico deserto dei sentimenti. And to realise their dream of love, two young people defy control and power. The drama of separation is elevated in a unique mix of opera and musical, with echoes of western and native recitals.
And song, especially in this courageous film, becomes a metaphor for pain against and together with insatiable passion a backdrop of a metaphorical desert of feelings. Ma questa quasi perfezione le fa paura, la rende svogliata. Da questo piccolo incidente di percorso nasce la voglia di dare una svolta alla sua esistenza. But this almost-perfection scares her, it makes her listless. From this small hiccup comes a turning point.
Actress Monia Chokri, directs her first short with an all-female cast. Pian piano, emerge una diga: Viewers follow the action through the immediacy of the handheld camera lens and lose themselves in contemplation of what it captures: Slowly, a dam emerges — it is the Morris Reservoir, California, a space that has been used for years, most notably in the Cold War, for military testing. The result is an alienating contemplation of the structure, where games of perspective contrast with reality.
He wants to wants to organise a face-to-face meeting, but to do so he must overcome many monsters, and not just those in the video game he plays. Highlighted by Filmmaker magazine as one of the of the top twenty-five indie writers of the year, Emily Carmichael has managed to give depth and feelings to 8-bit characters of 80s gaming that have until now been consigned to vintage history. RPG OKC is an adventure story that is the frame for an entire generation that has been brought up on a diet of bulky joysticks and consoles and that today loves to delude itself with Facebook dating - a short circuit in which it is easy to be trapped.
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Il cambio di habitat li lascia disorientati e la videocamera, a volte abbandonata a se stessa, ne testimonia il vagare per la stanza. A cavallo tra documentario e cinema sperimentale, per il regista giapponese Hirofumi Nakamoto si tratta di un film di fantascienza nato e interpretato dagli animali stessi. The change of habitat leaves them disorientated and the video camera, sometimes left to record remotely, is evidence of their wandering around the room.
Straddling the line between a documentary and experimental cinema, for its Japanese director, Hirofumi Nakamoto, it is a science fiction film that has come from and stars the animals themselves. For them, deep space is an unknown hotel room while viewers are in awe of their size and their movements on the screen, it is a fantasy film borne out of animal instincts.
He has always loved women, but as goddesses out of his reach. A documentary on a corner of real and imaginary life, one which has rarely been told from such a human point of view. It is to the credit of the directing duo Mattia Coletti and Carlo Migotto that they were able to listen without invading on their protagonist, instead respecting him in his grace and ingenuity.
La finzione si sostituisce al documentario per permettere ai due di incontrarsi di nuovo. Fiction replaces documentary to allow the two to meet again. A poetic and intimate work with a single backdrop that was wanted - together with 17 other shorts from emerging talents - by the artist Olafur Eliasson to bring Little Sun into the world, a solar lamp designed for countries with poor power supplies. Razvan Oprea, Madalina Constantin. Ma forse non basta. Protagonista premiata a Clermont-Ferrand; cameo di Firmine Richard nel ruolo della psicologa. The initial impassivity of the interpreter could crack as he slowly understands the isolation of the victim.
Inspired by the true story of an interpreter, Jedlicki and Badea focus on the contrast between the coldness of the procedure and the empathy that develops towards the victim. The protagonist won at Clermont-Ferrand, while there is also a cameo appearance by Firmine Richard as the pyschologist. Things, however, start to take a turn for the worse, and the spiral of events drags the protagonists towards a tragicomic ending.
Resiste la nonna, che racconta di sfratti imminenti, insofferente alla politica delle parole che restano un fatto soltanto in potenza. Raffael si aggrappa alla vita, domandando con tenacia della madre lontana. Doc e finzione si sfiorano: The grandmother, who tells of imminent evictions, intolerant of politics full of empty words, hangs on.
Raffael clings on to life, wondering about his absent mother, hanging on in a dead-end job, selling cigarettes on the street after school. Documentary and fiction meet: Cosa decidiamo di conservare?
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Only in appearance, for in Swahili there is no exact term for this concept. Instead, there is a word borrowed from foreigners, while in Swahili it remains indistinguishable. What do we decide to conserve? Is the contemporary world capable of making such a choice and judging itself from the right distance? Will we see the image that is being searched for? What counts, perhaps, is the vision of a path towards the search for an image.
Les Voiles du partage condensa in otto minuti un action movie completo, sporco e degradato, misogino e cattivo, regalando risate e allo stesso tempo costruendo un credibile personaggio icona in tono minore. He will prove himself with his fists, but he will demonstrate, too, that he has a heart.
Les Voiles du partage condense into eight minutes a complete action movey that is dirty and degrading and mysogynistic, giving us laughs and at the same time building a credible iconic character in a minor key. Un cortometraggio che ci racconta una storia europea, spesso nota, purtroppo, sotto altre vesti meno allegre. The whaled women have arrived, and finding a place for them in society will not be easy. A 2D animation produced in Sweden by duo Ewa Einhorn and Jeuno Je Kim, it immerses the viewer in a barely politically correct, sarcastic comedy that also reflects on the value of immigration and diversity.
It is a short film that tells a little known European story unfortunately told often under a less happy guise. Here, instead, the humour and the intelligence is thought-provoking. The summer day passes slowly, and Tony suggests to Roberto the extravagant idea of a musical tour for Australian high schools. The preposterous proposal hangs in the air, like in the following scenes that the director, James Vaughn class of inlays knowingly like vignettes in a screenplay apparently without rhyme or reason, but that restores sense to abstract relationships, suspended and fragmented.
Eppure il cuore guarda ancora indietro, alle scorribande, le frenesie amorose, le crisi da banco di scuola, gli amici. Anche il Milano Film Festival diventa adulto con una marea di ansie nel cuore. E abbiamo fatto un ragionamento. Da qui nasce 18 Anni: The mind is subjected to a being bombarded with ideas on maturity, adulthood and rites of passage, the things that can be done and the things that can no longer be done.
Nevertheless, the heart still looks back, to crazy adventures, puppy love, problems at school and friends. The Milano Film Festival is also becoming an adult with its heart filled with anguish. Behind it, hundreds of young authors discovered, on whom we have placed our stakes, wagering on an edition, a screening at night, a workshop.
Ahead of us, the panorama of a grey world, where they tell us that a festival is no longer a game, whilst the resources dry up, becoming more and more valuable. Wondering how to properly celebrate this passage to adulthood, we decided not to fall into the strap of sterile auto-celebrations, which we really do not pull off well.
We began to reason. They are, to all effects, playmates, even though only for one summer, who we meet again today as authors of a proudly mature cinema. Some come from boxes of secrets relegated to a corner in the archive, in the dust and opening them again has been revealing, almost an epiphany. A motive of pride for the Milano Film Festival, which confirms how, over the long distance, investing in short films has borne its fruits. La seconda sezione si chiama, con orgoglio, The Platinum Collection: Un come eravamo con un pizzico di nostalgia per dire ancora: These films have never been screened before in Milan, and where the public can set to looking for the distinctive elements of the style of this or that filmmaker.
The second section is proudly called The Platinum Collection: The principle is the same: The way we were with a hint of nostalgia to still say: Come regista ha diretto tre lungometraggi e svariati corti. Era nel concorso corti del MFF nel con Nunta lui oli. He has also directed three feature-length films and various shorts. He was in the Milan Film Festival short film competition in with Nunta lui oli. Nella sezione Incontri italiani ha presentato i suoi film Murgia e Aiuto! Orde barbare al Pratello. In the section Incontri italiani, he presented his films Murgia and Aiuto!
He was a judge in the feature-length competition in The Milan Film Festival has had three of his films in competition: Ha girato tre lungometraggi. He has made three feature-length films, and in he was a member of the jury for the short film competition at the Milan Film Festival.
Dalla fotografia alla performance, ha costruito un percorso personale irriverente, smaccatamente queer ma con un fondo politico. Tra corti, video musicali, filmati per il web e altri materiali, non si contano le sue realizzazioni. From photography to performance, he has built a personal journey that is clearly queer but with a political basis. From short films, music videos, films for the web and other materials, it is impossible to count his achievements.
Beniamini del MFF, sono anche musicisti e inventori. They are tireless researchers on everything ranging from animation to documentary research. The darlings of the Milan Film Festival, they are also musicians and inventors. Entrambe le volte in cui ha partecipato al concorso corti del MFF, nel con Carlitopolis e nel con Capucine, ha vinto il premio del pubblico. His esteemed career in television and advertising has allowed him to develop a unique taste for the tricks and magic of video, which make themselves clear in unpredictable and surreal works.
Both times he has participated in the short film competition at the Milan International Film Festival — in with Carlitopolis and in with Capucine — he has won the Audience Award. One of these, Protoparticulas was in competition in the Milan Film Festival in Il loro Domenica 6 Aprile, Their Domenica 6 Aprile, Passa brillantemente dalla fiction alla sperimentazione visiva.
He moves brilliantly from fiction to visual experimentation. He has directed a feature-length film, The Invader, and he has often been the headliner at shows around the world. He was on the jury for the Festival. Prisons, parte di una trilogia. Prisons, part of a trilogy. After Glue in , a small work in hundreds of international film festivals, he arrived at the Milan Film Festival in with his second work, Unmade Beds.
His short, Come a Cassano — in competition at the Milan Film Festival in — has become festival cult, receiving a prize in , too. La sua memorabile discesa in di Lauberhornrennen im sommer era in concorso al MFF nel His memorable Lauberhornrennen in sommer was in competition at the Milan Film Festival in She has made two feature-length films. With his Coma Film production house, he has made many shorts — both online and for festivals — becoming well-known for his no holds barred sarcasm and his ability to photograph with humour an Italy full of contradictions.
He has been in competition with Il pianeta perfetto and Qualcosa di mai visto. He has made two feature-length films, and some documentaries and shorts. Comment briser les consciences? The lives of illegal immigrants and of those who are in the waiting room of History, the violence of rafles and of bureaucracy. The revolution of a filmmaker who attempts to unhinge the conformity of vision, categories and habits that have now become settled, acquired certainties, considering work in the field only as the starting point of a continuing dialogue, an exploration that returns on several occasions to the filmed material in order to explore its crevices, identify new openings and try and subvert the established order.
Ce ne puoi raccontare la genesi? Forme sperimentali che diano spazio a voci inascoltate, a gesti ignorati dai media dominanti. Ci sono silenzi magnifici che si possono intendere come tali, altri che fanno un enorme rumore, che urlano per essere ascoltati. Come fossero parole mute, parole mai consegnate al destinatario, che arrivano dal passato e attendono di emergere, di raggiungere la superficie, trovare un posto nello spazio e nel tempo.
Come figure abitate da rabbia sorda, gioia meravigliosa, sentimenti di euforia, disperazione profonda, arrivino a sciogliere la propria rabbia e trovino il modo di rendersi visibili, di farsi udire. Can you tell us something about its genesis? It was a question of finding a title that could reflect the meaning of my work and at the same time refer to the workshop with young Milanese filmmakers which I will conclude during the festival.
The first question I ask myself when I work is how to identify new cinematic forms that can meet the questions that we all ask ourselves on our relationship with the world. Experimental forms that give space to unheard voices, to gestures ignored by the dominant media. Silence is not always silent.
There are magnificent silences that can be understood as such, others that make a huge noise, which scream out to be heard. As though they were silent words, words never delivered to the addressee, that arrive from the past and wait to emerge, to reach the surface, to find a place in space and time. How figures inhabited by a voiceless rage, marvellous joy, feelings of euphoria and deep despair can unravel their anger and find the way of becoming visible, of being heard. Attention is the required attitude of the filmmaker. Oggi vige una separazione netta tra estetico e politico.
Le discipline vengono considerate autonome: Today there is a clear separation between aesthetic and political. Disciplines are considered autonomous: An ideological position according to which the most popular elements of society do not have the right to citizenship in modernity, or at least in the successful interpretation of modernity. Moreover we can do what we want with experience. In Godard, for example, it is clear that the relationship of the individual with the city or of the individual with other individuals in the city, is a political relationship.
Sono cresciuto tra gli immigrati algerini di seconda generazione, la prima nata in Francia. Non fanno parte della mia formazione. Mi interessa mostrare come le politiche sulla migrazione poggino su uno stato di eccezione temporaneo. There is no way the two things can be separated. The cinema is not the way to produce the absolute work of art in the style of Wagner, but a way to put different domains into relationship: And the camera is a means to paraphrase, define and construct a relationship between the self and the world.
It is work that concerns the present, time, space and identity. It is a constant movement that not necessarily has its origin in a biographical element, but it is nevertheless an intimate work. I work on elements that come from my personal story and from my childhood, but I do not think that my work simply comes from the fact that when I was young I had the experience of the first protests in the suburbs of Lyon where I grew up. It was there that I was confronted, for the first time, indirectly, to racial, political and territorial differences, with discrimination.
My parents had given me a template of thought that guided me and I was sensitive to injustice, but these are not conditions that determine work and subsequent choices, at the most, they nourish it. Anders accused Marxism and Western philosophy of never having carried out the Copernican revolution, he denounced the metaphysical vanity of the human being, the idea of a man-sun around which the whole world rotates. Deleuze introduced the idea that politics is nourished by philosophy: I am interested in showing how policies on immigration are based on a temporary state of exception. A space suspended between the exception and the rule.
This is the territory on which I have worked. I have done so because the immigration policies of the past 25 years or so in Europe have represented a laboratory where to experiment and prefigure policies of the restriction of the funda-. E questo espone una drammatica contraddizione. Rimettendo in discussione la natura democratica delle nazioni europee. E del modo in cui si costruiscono e si reggono. I migranti vengono a soddisfare un bisogno del mercato. Gli immigrati non sono solo quelli di cui favoleggiava Nicolas Sarkozy.
Ho iniziato a far cinema nel , non era passato molto tempo dalla rielezione di Chirac, dalla vittoria contro Le Pen al secondo turno , ndr. Grazie a lui sono tornati ampiamente in auge i valori della destra degli anni Trenta. La Francia in questo non si discosta da tutti gli altri paesi occidentali: This exposes a dramatic contradiction. All the concepts bandied about in the European constitutions, all the founding values of the Enlightenment — liberty, equality — are suspended when it comes to immigrants — challenging the democratic nature of the European nations.
Immigration is a good indicator of the state of Western democracies and of the way in which they are built up and continue to exist. It is of course a subject that is greatly discussed in the media, trivializing it. Immigration is an indicator of many elements: Europe needs that type of illegal, lowcost labour. Immigrants come to satisfy a market need. Therefore looking at the question from close hand, allows connecting several issues and exposes many of the contradictions of liberalism. The immigrants are not only the ones Nicolas Sarkozy told stories about.
Nicolas Sarkozy is very present in your work. He embodies a very precise idea of the State. I started making films in , not long after Chirac had been re-elected and his victory against Le Pen in the second round of the elections , Ed. Sarkozy was the Minister of the Interior. To get himself noticed, at a time when clearly he wanted to flatter the right, Sarkozy produced a very harsh law on the question of immigration in and, as the years went by, he returned to the subject with new measures, always characterized by a lack of openness. Sarkozy is a talented actor, excellent at making even the ideas of the far right presentable.
Thanks to him, the values of the right of the s have come back into fashion. The policies are the same, only the language and the climate have changed, and the immigration question is no longer exploited for election purposes. The right spoke of nothing else. This did not always turn out to be the right strategy.
In his last election campaign, the one he lost against Hollande, Sarkozy made great use of the immigration question, but it did not help him. The only real change brought about by Hollande has been to bring up the problem of the presence of children in the detention centres; we can perhaps say that he has inaugurated more humane policies, but it is still very hard to obtain asylum and each application is examined on an individual basis. In this, France is no different from all the other Western countries; the parties that say they are left-wing are no longer left-wing.
Ho deciso che avrei fatto film quando avevo 18 anni, ma per ragioni diverse non ci sono riuscito fino al Io non ho mai studiato cinema, ho visto molti film, ho letto molto, ma non ho mai frequentato una scuola. E oggi con i mezzi tecnici di cui disponiamo ci troviamo nella stessa condizione dello scrittore. Io poi sono abituato alla riflessione solitaria sulle idee, ho scritto, ho fatto della scultura, sempre da solo.
Ma i soggetti, le situazioni che interessano a me non consentono ingressi in gruppo: Sei un cineasta abituato a tornare e ritornare. You mentioned the imperative of attention for the filmmaker. Is this your favourite condition when you work on your own, as you do? I decided when I was 18 that I would make films, but for a number of reasons I did not succeed until For twenty years the cinema was in incubation inside me, for twenty years I did not think of anything else, every single day. I knew that one day I would succeed, I did not know how, but I was certain of it.
In the end, when at last I made it, I realized that, contrary to what you think, it is not the technical crew that makes cinema, the cinema is a gesture that corresponds to an inner need; the camera becomes the way to come into contact with the world and with oneself. It is something very personal. Developing technical skills, I understood that you can even make a film with a mobile phone or with a small digital camera, which is something that emancipated me and made me freer.
In France there is the habit of creating cumbersome production structures, of following pre-established paths you have to make three shorts before a feature, for example , but these are formal and arid ways of thinking. Nor have I followed the standard path of being an assistant director first of all. I did not do this because I did not want my desire for the cinema to fade, I have kept it intact, I have not sullied it. When I started, I did it intimately and personally, the cinema has become the means that I found to be what I am, not a trade. Working on my own has allowed me to experiment with my relationship with the other, to concentrate on the subject of my work and has given me self-confidence.
At first, the feeling that guided me was anger, then came joy and love, but always brimming over with energy, so I needed to be alone. Today, with the technical means at our disposal, we are in the same condition as a writer. You can work on your own, make a feature film, from the beginning to the end, on your own. I am used to reflecting in solitude on ideas: I wrote, I did sculpture, always on my own.
This does not mean that you refuse collaboration, mine is not autism. The stories and the situations that interest me do not allow making group entrances: One man with a camera is ideal. Quando sono partito per Madrid non avevo nessuna intenzione di fare un film. Volevo vedere quello che succedeva. Dopo le sollevazioni nel mondo arabo molti si chiedevano se Madrid sarebbe stata la prima rivoluzione europea del XXI secolo e io volevo esserci. Le richieste dei festival sono arrivate quasi subito, a partire dalla Mostra di Venezia.
Mi sono ritrovato allora a prendere impegni che non avrei dovuto prendere e mi sono trovato a presentare una versione che non mi convinceva. Per i suoi lavori ha ricevuto riconoscimenti in diversi festival: From the very beginning, Vers Madrid was a film of total improvisation. When I left for Madrid, I had no intention of making a film. I wanted to see what was happening. After the uprisings in the Arab world, many people were wondering whether Madrid would have been the first European revolution of the 21st century and I wanted to be there.
Once I arrived, I started filming. Requests from festivals came pouring in, almost immediately, starting with the Venice Film Festival. So I found myself with obligations which I should not have taken on and I had to present a version which I was not fully convinced of.
Vers Madrid is very different from Les Eclats which took 5 years to edit. Vers Madrid is an improvised form, made in a state of urgency, a Newsreel — the collective form of cinema created by Robert Kramer — a short form, a counter- narration on current affairs which wants to relate a movement that is still happening. The form is modest and short, we can say that the film is made up of autonomous scenes: We can say that I worked in the same way as the media, but touching on the present you can reach History, when History has not yet been made. Seize the time from the film by Antonello Branca on the Black Panthers and the title that Sylvain George has chosen for the workshop with the young Milanese filmmakers, Ed.
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Sylvain George, after studying philosophy, produced some experimental films, on the theme of immigration and socials movements. His films won several prizes: The outbursts My mouth, my revolt, my name won the prize of the best international film at the Torino Film festival and Vers Madrid - The Burning Bright! Un quartiere di Parigi si ribella rivolta spontaneamente contro arresti ed espulsioni di massa. Against mass expulsions and arrests, a district of Paris revolts spontaneously. And the echo of despair and anger has no equal other than the injustice that strikes people day after day.
Historic Gestus, which refers to the finest popular struggles, the more tenuous, the weakest: Orgia di vertigini delle commemorazioni. Giovani migranti iracheni, afgani, iraniani vagano per le strade tra mense popolari e accampamenti di fortuna. Un movimento di emancipazione nasce, profondamente malinconico ed elegiaco: Young Iraqi, Afghanian, Iranian migrants roam the streets among soup kitchens and improvised camps. Leaving, they put in crisis the order of things and the bourgeois society. An emancipation movement occurs, deeply melancholic, elegiac: Descrizione, nel buio, di una notte politica.
Description, in the dark, of a political night. Gli uomini si levano dalla terra, la vita riprende il suo corso. Men out of the ground, life takes its usual course. Sovereignty of certain actions A machine to destroy the existence Family, health, solidarity They call for the people to thwart these machinations and mobilize.
After refusing the three hotel nights given by the law and after finding refuge in a house in the neighbourhood, the families are once again evicted by the CRS, for the second time in a day, this time by order of the city hall. Two people were sent to the hospital. Della giovinezza come migrazione, e delle migrazioni come la primavera che arriva puntualmente ogni anno. Algerian teenagers survive in a hangar at Ceuta, waiting to reach Europe.
Yes, Gentlemen, Ladies, there goes a certain idea of youth. Youth as migration and migration as the spring that comes with every new year. Spring or the sexual awakening as would say Pasolini, art of meeting and gypsy heart, and that cast Europe and the established order to what they are: You will never ever escape them! Like the 30, families who have placed their last hope in this Decree, she waits, waits and waits In the meantime, we discover a petrified face, that of a French society at state of war Parole del vicino e del lontano, di ieri e di oggi; il soffio del vento, i movimenti del sole al tramonto, i riflessi rosso sangue.
Un cinegiornale che mostra alcune vedute, scene e momenti della lotta di classe e rivoluzione di Madrid nel e Una corrente, trans nazionale e trans storica, che ha riportato in auge concetti e idee che sembravano dimenticati: Alla Puerta del Sol il passato e il futuro si incontrano nel presente, dove sono realizzati e costantemente reinventati. Le nazioni europee e il mondo si sono rivolti alla Puerta del Sol di Madrid come i fiori al sole.
A newsreels which present some views, scenes, moments of the class struggle and the revolution in Madrid in and A deep movement, trans-border and trans- historical, which come from afar, and reactive and work these ideas and concepts that were thought forgotten: Place Puerta del Sol, past and future meet in the present, where they are produced and constantly reinvented.
To Madrid, Place Puerta del Sol, the countries of Europe and the world had turned like the flowers to the sun. Come sassofonista spazia da improvvisazione, composizione, feedback e amplificazione. Free, jazz and noise! As a saxophonist, he ranges from improvisation and composition to feedback and amplification.
With Archie Shepp and very few others, John Butcher is one of those mediums who pick up these secret signals to interpret and pass them on. Nuove forme di vita. New forms of life. Occupy Wall Street, No. On several occasions we have attempted to make a consistent outline from works that are the result of a continuous repositioning of genres and cinematic forms. The idea is to interpret our Outsiders as a discourse, or the notes in a margin of a discourse, of finding common denominators, trajectories that go beyond the qualities of the individual films, which can be more or less perfect, more or less mature.
The very concept of outsider implies extraneousness to the core, an eccentricity that has made us reflect on at. Ed ecco che troviamo storie di figure ai margini, il senso di esclusione, la lontananza da casa: Di nuovo, al crocevia dei nostri sentieri, troviamo tre storie di musica e musicisti: So we find stories of figures on the sidelines, the sense of exclusion, being far from home: Then there are those, like the characters in Lunarcy!
Distance can also be of a chronological nature: A historical perspective is also possible by surveying the classics: In the present, as in the past, nothing can be more intangible than a border in the middle of a forest, marking distances which in nature do not exist: Once again, at the crossroads of our paths, we find three stories of music and musicians: Differently, Finding the Funk reconstructs, in only an apparently traditional way, the impassioned story, lights and shadows, of a genre which changed the way of listening to pop music.
Nor could there not be cases where the cultural distance of the observer illuminates a place with an unexpected view: Rent a Family Inc. Lara Casirati e Alessandro Uccelli. Even more so in Museum Hours, a very European film by the American Jem Cohen, the themes of cultural and historical distance converge, almost as though art really were a therapy against alienation, reducing the gap thanks to the universality of codes; besides, the eight European authors involved in Hopper vu par… play precisely with the codes of American painting.
In its way, the already cult movie Upstream Color tells of alienation and emotions, of drugs used as elements that alter and connect, on overcoming physical barriers, and of the borders of gender and species , in a kaleidoscopic and almost delirious crescendo. Rent a Family, Inc. Parade, on the other hand, takes on the distance of a past that is no longer within reach, and with the attempt by the main character, who is paralyzed, to find a family dimension again with his pupils.
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Both, in their own way, are films of ghosts and impossible families, the sense of desperate vitality is the same. There are no robberies, but joyrides on two wheels to spread panic in the crowded rush hour streets. The search for this sense of membership becomes the prize for those who are forced to invent a goal. Poi lo scioglimento, nuovi percorsi umani e musicali.
Testimonianze intime ed aneddoti familiari si mescolano al racconto epico di una band che ha fatto storia, forse senza saperlo. Un percorso illustrato, tra gli altri, da Henry Rollins e Jello Biafra. Se non il primo gruppo punk, indubbiamente i primi black punk della storia. Then the band broke up, to take new human and musical paths.
Until the rediscovery of a demo which became a cult, thanks to searches by collectors and sharing it on the web by the young generations. Highly personal accounts and family anecdotes are mixed with the epic story of a band that made history, perhaps without even realizing it.
Henry Rollins and Jello Biafra, amongst others, illustrate the story.
Before the Bad Brains, there were the Death. If not the first punk group, without any doubt the first black punks in history. Lucid cm Mark Covino, Jeff Howlett: A Band Called Death His funeral gives rise to a bloody battle between Cossacks and sailors, which does not spare the innocent crowd, massacred on the steps of the city. The screening is accompanied by the Pomeriggi Musicali Orchestra, conducted by Alessandro Calcagnile with Rossella Spinosa at the piano.
Il tema del capitalismo e della corruzione sono lo sfondo per la vicenda profondamente umana di due sconosciuti che si ritrovano uniti a causa delle condizioni che governano oggi il mondo del lavoro. Lawrence River in Canada due to a mechanical failure: In the meantime, the captain blames the mechanic in order not to be fined, promising the crew to pay their arrears if they confirm his accusation. The theme of capitalism and corruption are the background for the deeply human story of two strangers who are united due to the conditions that govern the world of work today.
Una giovane cantante anima la festa in una delle piazze della Vucciria e tutti si divertono A young woman is singing to the crowds in one of the squares of the Vucciria neighbourhood and everyone is enjoying themselves The women of Palermo become the characters of the director; the puppets her inspiration, against the backdrop of a city that generates wonder and is full of beauty, history and tradition. Nontawat Numbenchapol incontra per caso il giovane soldato Aod che ha appena concluso il servizio militare e lo accompagna nel suo viaggio di ritorno a casa.
Nontawat Numbenchapol comes across young soldier Aod by chance, who had just completed his military service, and asks if he could accompany the soldier on his way home. A conversation between the filmmaker and the young soldier forms the backdrop to the often slowed down and distorted images as they travel through the countryside, where traces of the military conflict are visible. Cercando le connessioni tra i vari volti del genere, Finding the Funk fa una ricognizione puntuale di quasi mezzo secolo di storia del funk.
I protagonisti ci sono tutti: Before it returned in great form with its unmistakable groove, funk had been a revolution that indelibly changed contemporary sound. Looking for the connections between the various faces of the genre, Finding the Funk accurately surveys the almost half-century of the history of funk. All the names are there: In addition to anecdotes and behind-the-scenes, a choral photograph to the rhythm of an irresistible jam session.
Nipote del senatore T. His debut with The City and the Pillar, one of the first novels to deal explicitly with the subject of homosexuality, decreed his exclusion from the literary pages of the major daily newspapers. The grandson of the Senator T. Gore, he devoted himself to politics all his life, without ever being elected.
The United States of Amnesia doc Berlin Night Window; Sophie Fiennes: First Row Orchestra; Dominique Blanc: Rupture; Martin de Thurah: E la sua famiglia? La moglie non pretende di sapere. Di cosa parlano, una volta tornati a casa la sera? Quattro anni dopo The Inventions of Dr. Rappresentazione grottesca di rapporti disfunzionali in Oriente. With his company I Want to Cheer You Up, he finds temporary husbands for women, fathers who are gentler than in the original version, good friends for girls lacking confidence.
He contributes to staging whole celebrations, informal meetings and weddings where often only three people know about the trick. The client, the actor, paid by the day, and himself. What about his own family? His wife does not want to know. What do they talk about in the evening when they are at home? Four years after The Inventions of Dr. A grotesque representation of dysfunctional relations in the Far East. Ci sono astrofisici, storici e investigatori della NASA. There are astrophysicists, historians and NASA researchers. What was supposed to be a scientific documentary about the moon and what remains of the space missions that kept the world in suspense for so many years instead becomes an affectionate portrait of a handful of people who have dedicated their lives to our satellite.
Three Argentinean musicians in a zany road movie in search of being proven right or wrong, they will end up by realizing that there are unexpected affinities between peoples and traditions that are apparently irreconcilable. A musical documentary which follows the path of old-fashioned adventure, relying on old maps and a taste for deviation, through flash lessons of Finnish melodies and intimate conversations with the mythical singers of the tradition. Johann is a custodian at Kunsthistorisches Museum, where he spends his days listening to the secrets breaths and lives of the paintings.
Anne arrives from Montreal to be at the side of her cousin in a coma, but finds an antidote to her bewilderment in the museum. At the same time, the film builds an almost musical dimension suspended between real time and the time inside the works of art. Fino al , quando un grave infortunio gli ha fermato le gambe. Si inciampa, si cade, ci si fa male guardando Parade. But after a long crisis the athlete-dancer set out to look for a new form of movement.
There is not past in Parade. Making a choice that is ethical before aesthetic, Meyrou follows the physical and spiritual journey of Champion, starting from what appears to be an end, paralysis. Like the body of its protagonist, the film defines gravity on tiptoe, on the traces of the perfect acrobatics. There is tripping and falling and you can get hurt watching Parade. Then there is a twirl and the body takes flight, in this work with a high emotional charge on the mystical magic of balance. Alla sua seconda co-regia con Kambozia Partovi dopo il divieto ventennale di esercitare il mestiere da parte del regime iraniano, Panahi filma la sua riflessione sulla creazione, con una troupe di cinque persone, nella propria casa sul Mar Caspio, facendone quasi un surreale castello dei destini incrociati.
He soon disappears, leaving her to question the writer. Is he the ghost of a forbidden character? Is he the ghost of her fears and weaknesses? In his second role as co-director with Kambozia Partovi after the twenty year ban on the craft by the Iranian regime, Panahi films his reflections on creation, along with a crew of five people, in his own home on the Caspian Sea making it almost a surreal castle of crossed destinies. The comedy of the characters of the craftsmen, a crazy group of aspiring actors who find their leader in Bottom, goes perfectly with the more explicitly mysterious and supernatural elements.
Accompagnamento dal vivo con musiche composte ed eseguite da Rossella Spinosa con la collaborazione degli artisti del Centro di Musica Contemporanea per la parte di musica elettronica. West visits the Soviet Union. In Moscow he is abducted by a gang of former aristocrats until the real Bolsheviks arrive to save him. An ironic comedy in which American cinema is parodied and exalted. It does not belong to any genre but is transversal to many with a freedom of experimentation which makes it one of the first examples of cinema on the cinema. In its tenacious rejection of naturalism it is the result of the historical moment when the avant-garde was still freely practised.
The screening is accompanied by music composed and performed by Rossella Spinosa with the collaboration of the artists of the Centro di Musica Contemporanea for the part of electronic music. Shane Carruth, regista one man band dirige, scrive script e colonna sonora, monta e recita nel film sperimenta un modo di narrare sbilanciato e controcorrente, in parte erede del Malick enigmatico e cosmologico. Un film- labirinto, vorticoso e ipersensoriale: In his second work, Shane Carruth directs a one-man band he directs, writes the script and soundtrack, edits and stars in the film and experiments with an unbalanced and non-conformist narrative, in part following on from Malick.
A whirling and hyper-sensory film-maze in which the more things connect to each other, the more doors open to reveal tresures, secret drawers and dead-ends. Davanti ai nostri occhi. In tutta la sua evidenza. Fonte The Bureau of Investigative Journalism. Come hanno fatto a sfuggirci? Does truth need a new definition?
For Jeremy Scahill, the author of Dirty Wars, the truth is before our very eyes. Perhaps it is precisely for this reason that for form chosen by the reporter together with the director Richard Rowley , to tell his truth — pursued for two years along the trail of blood that from Gardez, in Afghanistan, takes him to Somalia and Yemen — is that if the documentary. It is a truth that has a hard time of finding space in the American media and which finds none in Italian media victims of the raids using drones, and in Pakistan alone, including children.
Source The Bureau of Investigative Journalism. How did we miss them? A new chapter in the history of conflicts has been inaugurated, without clamour but not in secret, hidden before our very eyes: Cambia la geopolitica e vacillano le forme della sua rappresentazione. Quante versioni ufficiali sono pronte a incrinarsi? Un film che ha sedotto due maestri del documentario, Werner Herzog ed Errol Morris, saliti a bordo come produttori. Gli Infiltrators del film di Khaled Jarrar filmano con i mezzi di cui dispongono la propria quotidiana profanazione del mito.
Oppure vocazioni granitiche, fedi incrollabili e per questo considerate valida merce da esportazione. Per arrivare sino alla magia di un dialogo impossibile, a distanza, attraverso lo specchio della camera di Andy Wolff in The Captain and His Pirate. Sono su fronti opposti? Che cosa li divide? Vittima e carnefice si guardano negli occhi.
Geopolitics are changing and the forms of its representation are teetering. Can a film challenge certainties confirmed by the press, by common sense or by the accredited interpretation of history? How many official versions are ready to crack? There is another investigation in the selection of State T Error, another film that has chosen the technique if investigation to tell its story, that of a country, Indonesia which, 50 years after the massacres that took the lives of hundreds of thousands of opponents of the Suharto regime, still worships its assassins, fears them and lets them occupy key positions in the heart of the state and the life of ordinary people.
There is no historical reconstruction, no space for the victims, the centre of the world are the executioners, their shameless truth shown in a nauseating and revealing pantomime. The film seduced two maestros of the documentary, Werner Herzog and Errol Morris, who went onboard as producers. There are more truths hidden before our very eyes. Truths which want inviolable walls, like the one that divides Israel from the West Bank, a Golem constructed to defend the state and its citizens from the threat of terrorism. The Infiltrators in the film by Khaled Jarrar film their daily profanation of the myth using the means at their disposal.
Security cannot be guaranteed, life remains under the wall, the life that does not give up. Or vocations set in granite, unshakable faith and for this reason considered valid goods for export. The collateral damage of the penetration in Africa of the evangelical sects of the south of the United States, a tragic operation of cultural colonialism recounted by God Loves Uganda by Roger Ross Williams, is inestimable. The communication between the leader of the pirates and the captain of a ship held off the coast of Somalia is both poetry and history, psychology and geopolitics.
Are they on opposite sides?