Merry Christmas to all of you from ShorTS International Film Festival!
The event, to be held in Trieste July 2 – 10, 2021, opens submissions to its 22nd edition and announces prizes for a total value of 10.000,00 euro
Submissions to the 22nd edition of ShorTS International Film Festival, the well-established film event organised by Associazione Maremetraggio and scheduled from July 2 to 10, 2021 in Trieste, are now open.
After a challenging 2020 edition, held completely online last July, with excellent results both in terms of visibility and audience numbers which cannot be disregarded, ShorTS IFF has decided to totally rethink its structure while confirming its competitive key sections dedicated to short films such as Maremetraggio, Shorter Kids’n’Teens e ShorTS Virtual Reality. For its 2021 edition the festival also confirms the Last Chance section for short films of any genre which have been produced after January 2020 and with a maximum length of 10 minutes (including titles), which have not been awarded any prize yet. A maximum of 10 films will be included in the Maremetraggio section.
The long-established competitive section Maremetraggio is reserved to short films which have already been awarded at one or more international film festivals during 2020. The 5.000,00 Euro (fivethousand euro) prize for the Best Short Film has been confirmed and a new cash prize (3.000,00 Euro) to the Best Italian Short Film has been added.
The Shorter Kids’n’Teens section is dedicated to short films of any genre for the very young. Also this year, the section is going to be divided into two age groups, with two separate selection comittees and two juries formed by the youngsters themselves: the Kids section, dedicated to shorts for children aged 6 to 10, and the Teens launched for teenagers aged 11 to 15.
Lastly, ShorTS Virtual Reality the section entirely dedicated to short films produced in virtual reality, is back. The 2.000,00 Euro cash prize for Best Virtual Reality Short has been confirmed.
The deadline for submissions is on or before February 28, 2021.
Arrivata alla sua quarta edizione, la 24Hours ShorTS Comics Marathon ha dovuto far fronte quest’anno a tante limitazioni, come d’altra parte tutti gli eventi pubblici del 2020. Ma non ci siamo fermati, anzi, abbiamo realmente sfruttato il detto “di necessità virtù”. Al grido di “si può fare” abbiamo ricalibrato l’organizzazione logistica approdando anche sul web. Oltre a un piccolo ma inarrestabile avamposto formatosi fisicamente negli spazi della Casa del Cinema di Trieste, abbiamo radunato aspiranti fumettisti da tutta Italia che, collegati dalle mura di casa propria, hanno partecipato a questa Maratona 2.0.
E dobbiamo dirlo: ne è proprio valsa la pena! Ve ne renderete conto anche voi sfogliando il presente volume. Qui c’è il frutto di quelle 24 ore passate tra carta, tablet e webcam, il modo in cui i partecipanti hanno interpretato la consegna di quest’anno, il What If?, cosa sarebbe successo se un elemento della trama di un film fosse stato alterato.
Mario Alberti, Vittoria VicMac Macioci, Giulio Macaione e Giancarlo Soldi i quattro giudici che hanno supportato i ragazzi, decretando prima la cinquina dei loro lavori preferiti (più una menzione speciale) e poi il vincitore finale, che quest’anno ci ha regalato una copertina inedita creata ad hoc.
Potete scaricare i fumetti in formato
I cortometraggi ESOF al Teatrino “Franco e Franca Basaglia”
e lo spettacolo in realtà virtuale “Segnale d’allarme” con Elio Germano al Teatro Miela
Giovedì 3 settembre appuntamento al Teatrino di San Giovanni con la proiezione dei cortometraggi di Science&Society, una selezione di opere brevi incentrata sui temi di scienza e società, tra robot, viaggi nel tempo e tecnologia, in collaborazione con ESOF2020. Domenica 6 settembre al Teatro Miela sarà la volta dello spettacolo in realtà virtuale “Segnale d’allarme”, un appassionante monologo con protagonista l’attore Elio Germano
Doppio appuntamento tra cinema e realtà virtuale nel capoluogo giuliano. Alle ore 20:30 di giovedì 3 settembre presso il Teatrino “Franco e Franca Basaglia” verranno proiettati i cortometraggi di Science&Society, la sezione competitiva che ha debuttato nel mese di luglio nell’ambito di ShorTS International Film Festival: una selezione dedicata a corti provenienti da tutto il mondo realizzata in collaborazione con ESOF2020 Trieste (EuroScience Open Forum), la più importante manifestazione europea focalizzata sul dibattito tra scienza, tecnologia, società e politica, in programma a Trieste dal 2 al 6 settembre 2020.
Gli 8 cortometraggi in programma sono incentrati sui temi di scienza e società, ed evidenziano la capacità dell’uomo di riuscire ad andare oltre l’essere “solo” un uomo, di trascendere la propria dimensione e superare i propri limiti. Robot, viaggi nel tempo, tecnologia e ovviamente Terra, Spazio e pianeti lontani riempiono le immagini dello schermo, provando a trascinare anche lo spettatore da un’altra parte.
Domenica 6 settembre alle ore 20:00 presso il Teatro Miela di Trieste sarà la volta dello spettacolo in VR “Segnale d’allarme”, uno dei primi esperimenti mondiali di teatro in realtà virtuale con protagonista l’attore Elio Germano, autore anche della regia insieme a Omar Rashid. L’evento al Teatro Miela si svolgerà in collaborazione con Mittelfest: la data presso lo stabile del capoluogo giuliano sarà infatti un’anticipazione degli spettacoli che si terranno lunedì 7 settembre durante lo storico Festival teatrale di Cividale del Friuli.
Agli spettatori verranno forniti visori e cuffie per una visione a 360 gradi dello spettacolo: un’autentica esperienza immersiva, attraverso cui rivivere la pièce teatrale dalla prima fila immergendosi completamente nell’opera, fino a confondere immaginario e reale. Tratto dal “Mein Kampf” di Adolf Hitler, “Segnale d’allarme” è la trasposizione in realtà virtuale di “La mia Battaglia”, opera teatrale scritta da Chiara Lagani e portata in scena da Elio Germano stesso: un film in realtà virtuale che parla alla e della nostra epoca, durante il quale lo spettatore assiste a un monologo coinvolgente che è al contempo un crescendo e una caduta verso il grottesco.
È possibile prenotarsi ai due eventi attraverso EventBrite
Proiezione corti Science&Society 3/09
Segnale d’allarme/La mia battaglia VR 6/09
L’ultima seduta era un famoso racconto di Agatha Christie, ed era fenomenale perchè per la prima volta la grande autrice abbandona il genere thrilling a favore del puro horror di sapore gotico. Per capirci l’ ultima sedia era quella di una finale seduta spiritica, dopo la quale un gruppo di appassionati si sarebbe diviso.
Ultimo a parer nostro, è sinonimo di qualcosa che finisce, a volte inesorabilmente; International ShorTS Festival invece va avanti, e quest’anno ha vinto una sfida molto importante. Niente pubblico dal vivo, niente surriscaldamenti emotivi da vivere pelle su pelle, eppure l’astronave di cui parlavamo giorni fa è felicemente approdata alla sua stazione siderale finale. Tante cose belle sono successe, alcune ve le racconteremo adesso, e ci cospargiamo in anticipo il capo di cenere per inevitabili omissioni o dimenticanze.
È stata l’ edizione che ha visto il consenso morale di ben tre cortometraggi italiani, ognuno premiato con un diverso riconoscimento.
IL PRIMO GIORNO DI MATILDE di Rosario Capozzolo, ha evidentemente convinto e commosso per quel ritratto a tratti straziante di una bambina e di un padre, reso con efficacia drammaturgica, vincendo il premio per il miglior film italiano.
La medesima calibratura emotiva, nel diverso pianeta del cinema di animazione, è stata ottenuta da Veronica Spedicati con il suo IL NOSTRO TEMPO (miglior montaggio italiano).
A proposito del lavoro sul montaggio, va menzionato il lavoro del triestino Andrea Andolina con il suo A COLLOQUIO CON ROSSELLA.
Il pubblico ha invece premiato la struggente storia d’amore stigmatizzata da LOST AND FOUND della coppia Goldsmith e Slabe.
La giuria ha invece premiato una storia di stremo fisico e di sussulto psicologico: SHE RUNS di Qiu Yang; forse la prospettiva attuale dei giovani registi internazionali è rivolta verso lo studio d’ambiente e l’analisi di come i soggetti umani affrontano dei vissuti davvero complicati.
Un festival, si sa è un automobile da corsa che funziona solo se i freni sono ben oliati, e se le marce rispondono ai comandi. Perché ciò si concretizzi è necessario il lavoro di tante persone: Chiara Valenti Omero, direttrice della nostra manifestazione, non si è arresa alla situazione stagnante dell’arte in questi duri mesi, ed i risultati sono stati notevoli ugualmente. Francesco Ruzzier, che in tanti avete visto nella clip di presentazione dei film, ha come sempre curato nel dettaglio una scelta sensibile ed omnicomprensiva. Insostituibile il lavoro grafico e descrittivo di Francesco Paolo Cappellotto, responsabile in termini di layout del catalogo e organizzatore del 24H Comics Marathon. Sempre gentili, accorte, disponibili, e precise le tante presenze femminili dello staff; da Giulia Resi a Vittoria Rusalen, passando per Elisa Rossetto e Deborah Macchiavelli, ogni aspetto dell’ ufficio stampa e dell’organizzazione generale è stato curato con pregevole scrupolosità. Last but not least hanno sempre avuto un sorriso per tutti, e questo riguarda anche Daniela Pick-Tamaro ed Ilaria di Milla, la cui radiosa presenza ha contribuito al pieno risultato globale. In questo festival dalla natura virtuale non possiamo dimenticare Francesco Bonerba, Anna De Marco e Manuela Marchesan; ragguardevole supporto tecnico visivo è stato fornito da Laura Gorlato, mentre il cinema per le frange più giovani ha conosciuto l’attenta collaborazione di Manuela Morana. Compagine straniera del festival, ma in realtà completamente assorbita dal carattere tutto italiano a livello di colori ed umori, la coppia di fotografi Muchut e Faino e Joana Fresu De Azevedo. Ovviamente non tutti erano presenti a livello fisico e quindi a maggior ragione rappresentano il corpus interno del festival. Naturalmente da citare la sezione Nuove Impronte a cura di Beatrice Fiorentino; la selezione da lei curata, ci offre sempre la possibile di trovare delle autentiche perle. Ne citiamo quindi il vincitore: FAITH di Valentina Pedicini.
Un noto settimanale di programmi radiotelevisivi palesava in copertina, qualche settimana fa uno spettatore solo in un’enorme sala cinematografica; disperatamente solo sulla sua poltroncina di velluto rosso in compagnia di una mega porzione di popcorn.
Speriamo che non sia così il nostro futuro, e che si ritorni quanto prima al gesto ed al sublime connaturato moto dell’abbraccio.
Il cinema serve anche a questo ed a una bella sensazione non si chiede altro che ci torni a trovare.
Appuntamento al prossimo anno.
Stan Lee, unforgotten deity of Marvel Comics, whose not inconsiderable merit was to bring us characters such as Spiderman and The Fantastic Four, said that the real reader of comics is a distillation of child and adult.
We mention comics as they are important in people’s lives, and the International ShorTS Festival also takes this into account with its events aimed at the younger generation.
Belonging to the world of healthier fantasy, that which makes us stay with our eyes open, is also Simone Massi, old school yet young cartoonist who we’ve got to know better thanks to an unmissable streamed event.
As the city is drenched by repeated rainfall, here we have the Maremetraggio section, to be explored voraciously.
Who knows whether the pair of filmmakers Chin and Zacharevic have met the Italian band Nuova Dissonanza; the soundtrack to their film REWILD appears as an open tribute to that dodecaphonic ensemble who also worked with Ennio Morricone. A film with a social idiom, a strong warning against deforestation, it takes us to Sumatra and its green paradise wounded by humans.
A social environment with degradation at its margins, prostitution and characters from court records, everything seems to converge into an unattractive side of life in LA BELLEZZA IMPERFETTA by Davide Vigore.
Yet the protagonist, no longer young and with his incredibly interesting face, regains his innocence thanks to a meeting that is to change his life, with a splendid girl at the centre of the intrigue.
PORTRAITIST by Cyrus Neshvad is from Luxembourg and is above all a sad pictorial fairy tale where the flowers and trees drawn become a bridge between a man and his family.
A truly bizarre story is told by LAY THEM STRAIGHT by Robert Deleskie.
A teenage girl has a decidedly ritualistic relationship with numbers which makes it difficult to distinguish between fantasy and reality. Effective dramatic tension carries the film towards an enigmatic finale.
SATURDAY’S APARTMENTS by Jeon Seungbae is structured as an ode to working together, in a strange apartment block inhabited by irritated animation puppets. Everything seems to go wrong but fairy tales, as we know, must inevitably end well…
THE STRANGE HOUSE IN THE MIST by Guilherme Daniel brings us to a strange house on the cliffs with a sinister atmosphere. The meeting between a penitent and his mysterious host are to provide the subject matter for psychological analysis.
This evening, summer is taking a break and we can expect a cool night after so much humidity.
Your collective attention is drawn to the exciting awards ceremony.
Some birthdays just have to be celebrated. Ringo Starr, the very likable Beatles drummer with prominent nose, a massive sort of international and popular icon, is 80 years old.
All best wishes to dear Richard Starkey, his real name, and thank you for the thousand thrills you’ve brought us, starting with the unforgettable, out-of-tune vocal rendition that goes by the name of Yellow Submarine.
Once again the Maremetraggio section awaits us, with its visual trains and its delightfully deconstructed tracks.
It opens with WE SOUND by David Carrizales. With a black and white animation film medium it explains to us that we are all noisy human particles, from early childhood to the end of our days.
“Solitude is a strange companion”, sang Antonello Venditti in a praiseworthy yet forgotten song from 1979, Stai con me. Something that’s all too familiar to the elderly protagonist of TERESA by Gabriele Ciances, in which a widower tries to get his wife back in an unusual move, with a touching dance scene. Loss as told from an original viewpoint.
THE LITTLE SOUL by Barbara Rupik, an animated short, tells of a soul’s journey. It relates emotionally to the visual teaching of Hieronymus Bosch and leaves the viewer with an unsettled feeling.
Played out in the confined visual space of a video call, THE TEST by Philipp Christopher has a decidedly cleverly devised surprise in store for the audience…
The agony of sport is shown to us by Qiu Yang in her SHE RUNS. The existential turmoil of a young girl struggling with pain and fatigue. Almost an unconventional backstage view, the hidden veil behind the applause and sequins.
We continue with RAIN RAIN RUN AWAY by Clémentine Carrié, reminiscent in parts of William Golding’s Lord of the Flies in which a society totally governed by children was swallowed up by its own rituals. This short, focusing on childhood, tells of a voluntary exile from the adult world in search of a new Eden to be built.
This evening’s screenings end with the film by Pham Thien An STAY AWAKE, BE READY which offers us a cross section of life in Saigon among various levels of humanity. An accident provides food for thought and the title of the film. With numerous references to the frenetic pace of modern life.
Even a deserted street can offer unusual angles, and an unforgettable Donna Summer sings on the radio the emotional Down Deep Inside, the theme from the soundtrack of the film The Deep from 1977 or thereabouts.
A wonderful song, as we celebrate with our eyes closed the summer and the sea, everything that restores vital and vibrant sensations.
The date is for Saturday evening.
Martian Chronicles is a great novel by Ray Bradbury which puts forward the possibility of aliens and humans living together in peace, in a sugar-sweet context where hugs and mutual understanding are deep-rooted values.
This year we’re all a bit extra-terrestrial, like the human occupants of an electronic wood which we’re learning to cultivate.
An afternoon masterclass dedicated to a very ambitious young man with already several successes under his belt – Saverio Costanzo, always a pleasure to listen to.
The Maremetraggio section is always full of surprises and reveals various parallel universes to us once we’re connected.
Starting with WHY SLUGS HAVE NO LEGS directed by Aline Hochli, an enjoyable animation short centred on the adventures of a group of slugs. On the one hand the professional trials of those not known for their fast pace, and on the other a tale intended for a young audience, a double and highly convincing narrative outcome.
The next work, by Rosario Capozzolo, is Italian – IL PRIMO GIORNO DI SCUOLA DI MATILDE. A father who appears to be suffering from mysterious remorse and anxiety assails his daughter with disproportionate advice in front of the school gates. The finale is dramatic and emotional.
Instead from Singapore we have a rough outline of childhood in ADAM directed by Shoki Lin. Once again a story of alienation, abandon and in this case with a tin of powdered milk guiding the narrative.
MONOLOGUE by the duo Landi, Mellony takes a stand on the issue of hearing impairment and illustrates to us how hearing imbalances can upset the lives of any individual.
Director Luca Zuberbühler presents us his EXIST, structured as a sophisticated theatrical metaphor of life and death. The death of a young workman may be a misadventure involving ghosts and among the ruins of a crumbling stage a story filled with pathos unfurls.
A COLLOQUIO CON ROSSELLA by a dear old friend of our festival, Andrea Andolina, features the voice of Ariella Reggio and well-known actors such as Sara Cechet Woodcock and Raffaele Sincovich.
A woman’s life told from an unusual perspective – her answering machine messages.
The latest news churned out by news reports is always marked by a now chronic pessimism, so that when images appear on the screen of some wonderful films scored by Ennio Morricone such as Mission or Once Upon A Time in the West we realise even to a greater extent how brighter emotional moments and positive thinking can only come from an enlightened artistic partnership.
A wonderful song by Bruce Spingsteen goes by the name of Girls in Their Summer Clothes. This too in our opinion is a major indication of renewal, given all the beauties from Trieste and elsewhere who bring colour to the streets and squares.
The date is for Friday evening.
The 21st ShorTS International Film Festival ended Sunday 12 July with the awards ceremony live from the studios of Telequattro in Trieste and streamed on MYmovies and on the official Facebook page. An extraordinary public success in this online version, with over 100 thousand viewings from all over Italy.
Extensive virtual participation from Lombardy, the region with most followers of the Festival online. In second place we find Friuli Venezia Giulia, followed by Veneto in third place. The shorts without Italian geo-localisation were seen from 13 different countries – alongside Italy, Algeria, Australia, Sweden, the UK, Honduras, Germany, the US, Nepal, Colombia, Argentina, Slovakia and Canada also took part virtually in the Trieste event.
This is the comment from director Chiara Valenti Omero and co-director Maurizio di Rienzo: “This online formula and visibility of the Festival, which came from a somewhat difficult decision yet one that was immediately seen to be necessary due to the world health crisis, in the end turned out to be a move we’re very pleased with thanks to the considerable increase in our audience. This is a result we want to reflect on in order to build the future of ShorTS as we believe we cannot step aside from this type of execution of screenings and interaction with the talents, to be placed alongside and correlated with the regained physical and tangible system of organising the Festival”.
The Trieste event has announced the 2020 winners in the various competition sections, confirming its commitment to seeking out new cinema scenarios.
Winners of the 21st ShorTS International Film Festival
(Jury: Assaf Machnes, Jukka-Pekka Laakso, Alessandra Pescetta)
EstEnergy-Gruppo Hera Award
Best short film:
She Runs by Qiu Yang (China, France 2019)
Reason: “The laboured breathing, psychological pressure and unspoken thoughts of a young athlete weigh down on the knees that want to stop running. The dilemma is whether to continue very reluctantly or disappoint the expectations of school and family. The acid tones of the splendid photography reflect the girl’s self-destructive thoughts and sublimate the tense and dramatic atmosphere.
With a subtle, poetic idiom, the director has succeeded in immersing viewers in a cross section of daily life with camera movements and frames that eliminate the superfluous and seem to bore right into the lead character, moving across her emotional state to reach the bone”.
Special mention to:
Exam by Sonia K. Hadad (Iran, 2019)
Reason: “A special mention goes to a a film that combines a small but relevant story, excellent direction, meticulous editing and really great performance by its lead actress. A story of a young girl trapped between repressing society and exploitation by a parent gives us an insight into her life and lives of too many people alike.”
Special mention to:
Stay Awake, be Ready by Pham Thien An (Vietnam, South Korea, USA, 2019)
Reason: “The special mention of the jury goes to Stay Awake, Be Ready for its original reflection of human condition. The film is both natural and staged, personal and alienated, zooming in by zooming out – following little pieces of life and its fragility. With this strange mix of contradictions, the film somehow manages to paint an effortless yet chaotic picture that leaves one thinking.”
Best short film:
Il primo giorno di Matilde by Rosario Capozzolo (Italy, 2019)
Reason: “Given the high calibre of the shorts in competition the choice was not easy and demanded extensive discussion by the jury who were seen to be strongly engaged in selecting the winner. Nevertheless, the result at the end of voting was no surprise, with agreement by all jury members on the merits of the short which in fact has the ability to keep tensions high with a certain pathos and an understated, melancholic irony. It succeeded in tackling the delicate subject of the relationship between fathers and children, also subtly weaving in the issue of male identity crises.
To sum up, for the sensitivity and originality with which extremely profound subjects are depicted, the narrative technique which accompanies viewers in constant new perspectives, reassessing the characters as they are seen, and the dialogue which succeeds in being moving and raising a smile at the same time, right up to the finale, the AcegasApsAmga prize for the best Italian short goes to Il primo giorno di Matilde by Rosario Capozzolo.”
Prem1ere Film Award
Best short film film non distributed
Figurant by Jan Vejnar (France, Czech Republic, 2019)
Best Italian editing
Il nostro tempo by Veronica Spedicati (Italy, 2019)
Reason: “For the controlled and simple way it handles various levels of the narrative without indulging in gratification of form.”
Special mention to:
A colloquio con Rossella by Andrea Andolina (Italy, 2019)
Reason: “For the way in which, through a planned and formally accurate approach on the sequence level, it succeeds in skilfully handling the narrative, carefully manipulating time and space.”
Trieste Caffè Award
Best short film voted by the public
Lost & Found by Andrew Goldsmith, Bradley Slabe (Australia, 2018)
(IN COLLABORATION WITH ESOF 2020)
(Jury: Anna Menini, Paola Rodari e Erika Rossi)
Best short film
Absence of Light by Beatrice Aliné (Germany, 2019)
Reason: “Thanks to skilful editing and use of the found footage technique, where the narrative construction is left to the processing of the sounds and images alone, Absence of light shows us the world through the eyes of Science. We see the macroscopic and the microscopic in their immense diversity and also in their co-existence. Nature, society and science interact and question viewers, leaving each one to form their own responses.”
Special mention to:
Story by Jola Bańkowska (Poland, 2019)
Reason: “With great inventive ability and simple and appealing graphics, Story underlines the inhuman and occasionally violent use of digital technology, showing us with considerable irony that there is no longer any certainty between where the screen ends and where the real world begins.”
NUOVE IMPRONTE SECTION
(Jury: Fabio D’Innocenzo, Damiano D’Innocenzo, Elisabetta Olmi e Linda Caridi)
Nuove Impronte Award
Faith by Valentina Pedicini (Italy, 2019)
Reason: “For its piercing creativity and incredible focus, for having succeeded in narrating a dark story with glowing tenderness, promoting profound and passionate debate, the prize goes to Valentina Pedicini for Faith.”
Tony Driver by Ascanio Petrini, with Special Mention for “Tutto l’oro che c’è” by Andrea Caccia.
Reason: “The Premio Agici for Best Production goes to Dugong Films for Tony Driver by Ascanio Petrini, with Special Mention for Tutto l’oro che c’è by Andrea Caccia. As in every year, the aim of the prize is to find in the Nuove Impronte selection of ShorTS the film that has a well-structured production system that can add value to the subject and also launch a new directing talent on the international scene. Dugong is represented in the selection by two films, creative documentaries and both international co-productions with the support of regional, national and extra-national funds. Films for which the production practice has been excellent, with a preview at major European festivals and foreign sales assigned to top-level companies. Despite these difficult times, Tony Driver is screened in Italian cinemas, theatrical release with Wanted Cinema, from 26 June.”
Faith by Valentina Pedicini (Italy, 2019)
Reason: “Valentina Pedicini’s project and film stand out through the vividness of the style and the symbolic power of the situation and extreme vocations, in which the director moves around without judging her sharply observed subjects and without superimposing a theory on the strength of the facts and characters, which can inspire an interesting fiction film.”
(Jury: Paola Casella, Adriano De Grandis, Sergio Sozzo)
Best feature film voted by the jury of the Italian Film Critics Union
Los fantasmas by Sebastiàn Lojo (Guatemala, Argentine 2020)
Reason: “For the way in which Guatemala City weaves in and out of the images, giving us the palpable perception of an unresolved anxiety which moves among the shadows, corners and roofs of the capital. Ghosts that are as pulsating and persistent as ever in an urban blues which instead gradually reveals itself to be a spiritual of rising up, in a free finale that opens up the heart and vision beyond the night and the tarmac.”
Special mention to:
The Trouble with Nature by Illum Jacobi (Denmark, France 2020)
Reason: “For the ability to narrate with subtle irony the divide between Nature and Culture through the contrast between two symbolic figures: the philosopher Edmund Burke, frosty and obsessed with pursuing the Sublime, and his maid, a native of humble origins yet with the great ability to live in harmony with her surroundings. For the discreet and wise handling of highly topical issues – social and ethnic inequality between individuals and classes, the relationship between humans and the environment and also that between men and women, rational thinking and innate spirituality”.
Best film voted by the public
The Trouble with Nature by Illum Jacobi (Denmark, France 2020)
SHORTER KIDS’N’TEENS SECTION
Shorter Kids Award
Best short film
All in Good Time by Bonnie Dempsey (Ireland, 2018)
Shorter Teens Award
Best short film
Rain di Piotr Milczarek (Poland, 2019)
Cinema del Presente Award
Pretend you’re at the helm of an interstellar spaceship travelling along hitherto unknown sidereal paths.
Snapshots are seemingly the legacy of a life lived elsewhere with always that same sensation of having already been there, of having a sort of inner awareness that tells us “it’s already happened somewhere”.
Shorts International Film Festival is a ship too, sailing across oceans populated with emotive patterns and visions.
During these event-filled days there has been a series of moments of pure emotion, plausible also thanks to the technological medium.
Beatrice Fiorentino has, for example, curated with the customary care the section Nuove Impronte. The reports bring us encouraging details of the feedback from the films she selected.
We should mention IL GRANDE PASSO by Antonio Padovan, with an outstanding Giuseppe Battiston; but will give a report on all the feature films included in the days to come.
As always, wide open creative spaces for the younger generation, sweet and visionary young things who meet the world with great expectations. The event at the Teatro Miela involved videos by students from the Deledda-Fabiani college. An event held a few days ago, it should be remembered, entitled SCIENCE FOR SUBURBS.
Wednesday evening was specifically dedicated to works in the Maremetraggio section, an international vision always full of surprises.
Carolina Crescentini is a very beautiful and talented Italian actress who in time has gained in confidence. We see her starring in FULMINI E SAETTE, by Daniele Lince. The film is an enjoyable parody of Marvel Comics based on superheroes, in which Carolina plays the part of a heroine in tights who has much more success in public than in private.
In a brief video presentation of his work the Czech director Jan Vejnar appears as a nice young man with hipster beard, yet the subject matter of his short FIGURANT is hard-hitting and abrasive. Role changes and emotional upsets reminiscent of certain Fassbender-style stormy atmospheres.
We’ve already remarked how a female narrative vision records very different emotional harmonies and dissonances from the male dimension. VERONICA NON SA FUMARE by Chiara Marotta opts for adolescence as a descriptive foundation rich in nuances.
What passes through the mind of artists during their efforts? Strong emotions ingrained in such a sensitive spirit can also smash the glass vase of creativity, as in EGGSHELL by Case Jernigan.
European cinema, by that we mean far from Hollywood excesses and immune to the enticements of unbridled luxury and wealth, has always stored up film excellences. I’m thinking of a director like István Szabó, who in films such as Mephisto or 25 Fireman’s Street narrated the fringes of life, in pain and with sadly simple dreams. ANNA by Dekel Berenson, with its lead character, is a rightful part of this category. See it to believe it.
The evening finale is provided by Spanish cinema, presented by Lluís Margarit with his CALVARY whose title pokes fun effectively at hair loss and broken relationships.
Looking out of the window has become an unconscious mind mechanism. Children’s smiles, cats curled up in the sun and the sound of unknown footsteps in semi-deserted streets are still basically our links in the chain of life.
When all this is over and the deafening silence everyone is talking about is just a memory, we will try to understand whether this cleansing of the soul has made us better or just the same as before.
The date is for Thursday evening.