Download here the press review.
There is an extraordinary patch of storminess, within an artistic manifestation, which is extremely difficult to describe in words.
I am of course referring to when a ship- metaphorically speaking- arrives safely to shore, arriving in calm waters, warm and peaceful, minds and bodies that have all made it through the tension.
The atmosphere at Castello San Giusto, on the evening of Saturday 8th, ornamented with the soft lighting and evocative location, is something memorable, a collective congeniality coloured in red and yellow, many beautiful female presences and, on the skyline, a scintillating city tinted in a soft reddish-purple glow.
The awards were carried out quickly, like they rarely are on these occasions when we are all together, wrapping everything up in the knowledge that there were 101 things to get through, from one moment to the next…. Chiara Valenti Omero, the Festivals’ president, has a grin plastered onto her face, in this time of celebration that gives credit to ones tireless and unceasing hard work, her human generosity and her innate taste in Images.
Federica Naveri is indispensable as general organizer, her undeniable sweetness and capacity for befriending everyone are extremely special qualities.
Always on the go – a perpetual machine when it comes to getting things done and keeping up with meetings- our very own Vicky Rusalen is in a race with Francesco Paolo Cappellotto for her inventive and solid participation.
Francesco, tall young and gentlemanly, holds in his hands the image of the SHORTS INTERNATIONAL FILM FESTIVAL: creative hands that always know precisely in which direction to move, through the complex web of ideas.
Raffaella Canci individually, knows the dynamics of cinema for little ones and for adults, she cares sweetly and brings her contribution to the appraised SweeTS4kids section.
Cinematic images obviously always need sturdy press releases: Federica Marchesich is always your girl when you need her, it is when she works promptly at her personal computer, it is in her discreet competency when it comes to Cinema and dynamic connections.
Not forgetting Francesco Ruzzier, who other than being the selective eye for all of the short films present at the festival in the Maremetraggio section, is also an inquisitive and cordial young man.
It is with great pleasure, naturally, that we remember the bubbly and dynamic Paola Uxa, in charge of productions, volunteers and workshops: a smiling, kind, friendly face every evening. It’s a given that film is a universal language, we are all equally aware that only the highest and most accurate level of translation can allow a full global understanding of what is seen….
We don’t know if they do in fact take tea at 5 each afternoon, but without a doubt Victoria Ellison and David Mc Connell are 100% English; they are our high level translators and adopted Triestini.
Beatrice Fiorentino – proud mum of the great little talent Tommaso Gregori – probably still has the many NUOVE IMPRONTE sequences fogging up her vision. The film projections at the Cinema Ariston are welcomed by a large and punctual public turnout.
A Festival doesn’t just live in cinematic art and poetry: in fact it would all go to waste if there were no skilled technical hands with the ability to juggle wires and cables. In this case these people respond to the names of Pietro Crosilla and Luca Luisa, masters of the stage, cool in the face of a storm and amidst unexpected waters.
Always elegant and beautiful, Zita Fusco brings a touch of feminine magic to the final evening at San Giusto.
The highest level photography by the trio formed by our dear Martina Parenzan, the young and fast Luciana Faino, of Argentinean origin, and Jorge Muchut….
L’ARMATA DEGLI SCARTI VIVENTI, another section dedicated to youngsters, was made possible thanks to the work of Francesco Filippi and, newly, Raffaella Canci, who are busy in promoting a growing artistic initiative.
At the Teatro Miela, under the attentive eye of Paolo Venier in the projection room, while the volunteers who seem to be getting younger; cause yours truly to notice in horror his first white hairs….
When all is said and done, the festival, of light, colour and great guests, from the journalist Rula Jebreal, alluring like a model and rich in exotic fascination, to the director Alessandro D’Alatri, to the evolving young actress Daphne Scoccia…. moving on to the handsome musician Pivio, the seven-note ‘tight rope walker’.
Have we finished? Of course not, and errors or omissions can be counted solely on your indulgence.
While the spotlight has gone out, and all we have is the enormous moon- as the visual park fades like a halogen lamp, our final thoughts go out to luck: for being part of a society that shares, that respects freedom and opinion, where images from all over the world come to us, in-tact, on a big silver platter.
See you next year.
CINEMA HOSTS THE SHORT FILMS AWARDED AT THE SHORTS INTERNATIONAL FILM FESTIVAL
The 12th July at the Ex Dogana will see a short film marathon promoted by the Fabrique du Cinèma
On Wednesday 12th July the Fabrique du Cinéma is bringing the ShorTS International Film Festival to the Ex Dogana Cinema, in Rome, the event that each year acknowledges and presents to Trieste the best short films from around the world, dedicating an evening to the works of the winners of the 18th season, that finished just a few days ago.
The film review Salotto Cinema, proposed for the Roman Summer from the freepress magazine dedicated to new Italian cinema, is expecting a marathon of short films tomorrow, six in all, a mix of Italian and foreign, that will be projected from 9pm: MEJE by Damjan Kozole (EstEnergy Award for the best short film), Kaboom by Romain Daudet Jahan (Makinarium Award for the best animation and visual effects), Djinn Tonic by Domenico Guidetti (Studio Universal Award for the best Italian short) A Girl Like You by Gianluca Mangiasciutti and Massimo Loi (Oltre il Muro Award for the best Italian short), Candie Boy by Arianna Del Grosso (Trieste Caffè Award for the best short as voted for by the public) Lo Steinway by Massimo Ottoni (AMC Award for best Italian editing).
Framing the new Salotto di Cinema evening is as always the Condominio San Lorenzo, the new co-living and sociality experiment promoted by Ex-Dogana. A place open every day with free entry that includes a 3000 square metre terraced courtyard, a cocktail bar, a cinema room, an exhibition room, a library and games area, with billiards, ping pong and table games.
The EstEnergy award for best short film goes to
Meje by Damjan Kozole for the capacity to create a contemporary drama that touches millions of people, and re-establishes scope in an extraordinary synthesis that above all invests in in mis-en-scene.
The Makinarium Award for the best animation and visual effects goes to Kaboom by Romain Daudet Jahan.
For the explosiveness of the idea and the incredible visual and chromatic impact of the images. For its capacity to transport the viewer into an artificial, yet familiar, ironic and playful micro-world.
The Studio Universal Award for the best Italian short goes to Djinn Tonic by Domenico Guidetti for its capacity to concentrate into one interior setting and in just a few minutes, a comic visionary story full of twists that, thanks to the cleverness of the interpretation, we see the socially dramatic reality of youth unemployment.
The Premiere Film Award for the un-distributed short is assigned ex aequo to both Samedi Cinema by Mamadou Dia and Siyah Çember by Hasan Can Dağlı.
A story of desire and friendship. The film is a passionate journey in which, thanks to education, the two young protagonists find a way to win the chance to make their dream come true. But it is in this moment that their relationship is put to the test when one of them will have to choose between making his dream come true alone or sharing in disappointment. A profound story which has already been acknowledged at the last Mostra del Cinema in Venice and in Toronto, Prem1ere Film will be proud to distribute this all around Italy.
Can the beauty of the human body be used and transformed into something terrible? The short film Siyah Çember seems to pose this question through a chilling and masterfully directed story. The splendid location and the cold colours that remind many of a thriller/horror masterpiece such as Hostel di Eli Roth, makes it a brief film that would merit being developed into a feature length film. Prem1ere Film has transformed a short film into a long film in the past and we wish Siyah Çember luck in following in the footsteps of that project (Ice Scream, ndr).
The Oltre il Muro Award for the best Italian short film goes to A Girl Like You by Gianluca Mangiasciutti and Massimo Loi for a captivating screenplay, that confronts the theme of loneliness, of the growth and the fear of a teenager in the search for her freedom, through balanced dialogue, suspended places on the verge between the real and the mystical, and a recitation of the two protagonists.
The Trieste Caffè Award to the best short voted for by the public goes to Candie Boy by Arianna Del Grosso.
The Premio AMC to the best Italian editing goes to Lo Steinway by Massimo Ottoni by Massimo Ottoni. Animation is often a courageous choice, particularly in this case where it is used to recount the harsh and concrete reality of the trenches. But when it is made in such a clever way, like Lo Steinway, it can thrill and cause one to reflect at the same time. Judging the editing of an animated film is not always easy, but here Centoducti and Ottini’s profound knowledge of the cinematic language is evident.
They manage the materials as if it were a film with real actors: skilfully describing the space and the relationships between the two armies using long shots and camera movements; transmitting the conflicting emotions of the soldiers in their very first plans and transporting the viewer into a dreamlike state using musical sequences.
Finally the combining of the two different techniques, stop motion and animated design, is masterful and without a continuous solution. Reinstating, in an evocative manner the separation of the main characters’ ‘real’ from their imaginary and contributing to making this short film even more individual within its genre.
The Mercurius Prize for the best Junghian themed short was assigned to Death in a Day by Lin Wang for her great human sensibility and psychological intuition, also for her high cinematic courage.
Death in a Day presents the deceptive power of the cinematic story. The film is full of fresh and surprising images and the editing produces anticipation, ambiguity and mystery. In this way, Death in a Day uses processes of psychological reflection and intuition thanks to which many of us are able to respond to what is on the screen. We don’t react to stimuli, but we find catapults on the interior of the scene along with the characters. We are made responsible for the fact that there is always something more than we can see, both in time and space. The director Lin Wang seems to have a natural sensibility for the choice of places, context and of the ‘crucial moments’ that change lives forever. In this way Death in a Day invites us to delve into a hermetic vision.
The antique Greek god Hermes (Mercury to the Romans) was the ferryman of souls towards the underworld, the guide through the profound dimensions of life. In this way like the boy was guided by nature, by the flowing river and the vision of his father (on the trajectory between life and death), the viewer is guided into a dimension where the opposites of life and death are reconciled in a moment of epiphany. For this special take achieved in a short film, we have awarded Death in a Day with our first ever Mercurius Prize.
NUOVE IMPRONTE SECTION
The Hera Comm Award for the best film has been jointly awarded to Orecchie by Alessandro Aronadio for its courage in abating a popular cinematic genre like comedy with a personal and innovative look that launches a challenge to new horizons. It has also been awarded to Babylonia Mon Amour by Pierpaolo Verdecchi for the exploration that opens the horizons of documentarian language and for its approach in recounting the real with a filtered look into authorship.
The Bakel Award for the best film as voted for by the public goes to Babylonia Mon Amour by Pierpaolo Verdecchi.
The ANAC Award for the best screenplay goes to Luca Infascelli, Carlo Salsa, Greta Scicchitano and Roberto De Paolis writers of the film Cuori Puri directed by Roberto De Paolis for developing, with the base of a true story, a cinematic story built up with characters, social conflicts and individual passions that they subtract to the banalization of the dominant televised narrative and maintain a realistic trend that never panders to predictable and discounted fictional schemes, particularly those referring to urban peripheries.
The AGICI Award for the best production of an animated feature film goes to Costanza Coldagelli and the Matrioska production for Orecchie by Alessandro Aronadio. A generational dramedy told using an innovative language displaying the Italian panorama that confronts our principal genres- comedy- in no way discounted, bringing life to a little metropolitan cult. The production pointed to young talents such as the director and principal actors, intelligently supporting them with artistic cast members and experienced technicians. A production that can also be distinguished for a streamlined and independent financial construction, but in solid settings thanks to Biennale College Cinema.
The AGICI Award for the best documentarian feature film production goes to Daniele Ietri Pitton and the La Fournaise production for Sagre Balere by Alessandro Stevanon. The production involved 6 film Commissions and Regional funds in the support of this project that displays a rarely recounted aspect of culture, but one that is important and transversal in a society that forgets its convivial roots, music, food…. A manifesto of an ‘Italian life’ that after having conquered the national public has all the cards to reach out to an international public.
The SNCCI Award for the best film voted for by the jury of the Sindacato Nazionale Critici Cinematografici goes to Upwelling La Risalita delle Acque Profonde by Silvia Jop and Pietro Pasquetti for the originality of the vital and utopian look, on social life and politics, through a clever way of recounting the big and little resistances on thought and dominant acts. This is all thanks to the central role of the editing and sound used as creative practices. A film that is over whelming in its complex and affectionate testimony.
The SweeTS4Kids Award for the best short goes to Einstein-Rosen by Olga Osorio.
This year the Prospettiva Award goes to Daphne Scoccia for her magnificent interpretation in Fiore by Claudio Giovannesi; for her adhesion to the character, the maudit charisma and the scenic presence demonstrated right from the start in this debut into the world of film.
The Conferma Award goes to Claudio Giovannesi, for his knowledge of the authorial scene demonstrating his artistic talent, but also having signalled a fundamental trend reversal on the Italian cinematic scene. The special mention from the Migrarti project goes to “Le Afriche Della Nostre Pianure”, acknowledgements withdrawn by Alberto Cicala and Paolo Luigi De Cesare.
When a festival finds its way onto your busy schedule, the risk is missing something, very often little luminous stars which we then regret not to have let shine. The outdoor temperature is deadly, there isn’t even that sweet breeze from the sea to save us from this attack of heat.
An afternoon dedicated to an in depth analysis in these times of intrinsic un-attention.
The panel, UNA BUONA DOSE DI FOLLIA (CINEMA E ALTRI RIMEDI), on the stage of the Teatro Miela is full circle of speakers coordinated by the notable journalist Rula Jebreal; a touching occasion of reflection and confrontation making us proud of the film L’ACCADEMIA DELLA FOLLIA by Anush Hamzehian, a non-banal vision that would be great when extended to as many viewers as possible.
Over here signs of rain have chosen the worst moment to pierce through the heat and phosphorescent elixir, but the artistic helm stays strong and steady in the hands of the organizers, and so we have Cinema!
After the usual greeting and vote of thanks, the projections take place in Piazza Verdi, despite the many coloured umbrellas.
Friendships between men and animals from those who used to admire naturalistic pioneers such as Jack London.. AKITA by the British Cummings and Hickman duo is short with some surprises, from surreal tastes, marked by a largely realistic press photograph.
So here we are to contemplate a gallery of characters requiring the work of an optician; in the suggestive animation SORE EYES FOR INFINITY by Elli Vuorinen captures, with sympathetic imagination, the attention of the little ones in the crowd, notably the most important judges.
What goes on behind our backs? For endless seconds the screen presents a green and motionless flatland, but a moment on and an interminable army of refugees and migrants emerge into our presence….
Succeeded by the beautiful and significant short Slovenian film MEJE by Damjan Kozole.
We don’t merely learn about discoveries of visually nominal platforms from the Discovery Channel, especially on the theme of animals; LOVE by Rèka Bucsi is a curious and entertaining split animation where lots of little phosphorescent eyed animals and funny crows tell us about their feelings.
I see Naples and I see death, said the poet, and this city is certainly an infinite resource, especially when it comes to that strange intrinsic mysticism of superstition that is only a drink consumable in the Vomero or Bettole valleys, just a stone’s throw away from the sea.
PARUSIA NAPOLETANA by Rosa Maietta is a feminine view on superstition, and those ‘sopra maradona’ effigies reminding us of an exultant season of times past.
Something ancestral exists, like a strange pagan and peasant celebration, between the dark images of the film ASCENSÃO by Pedro Peralta: in their raw pride they present something of the best cinema of Buñuel.
With the easiest fruition comes the animated remake of Little Red Riding Hood, by Ario Aaffarzadegan, an anti-conformist hand to interpret a universally popular fable.
There isn’t always the need to have a flesh and bone character to create a story, as proved by the film maker Mir Ezwan with his short film RM10.
In this case wandering through what is most likely an oriental metropolis, glittering with nocturnal signs, is nothing less than a bank note; this indispensable object of daily life begins its journey with a woman paying for food, next ending up in the hands of a mother and her child, and under the constant neon lights of a wasteful civilization, eventually returns to its original detainer.
Can one laugh in the face of old age, or at least propose a less conventional reading of it?
COLOMBI by our very own Luca Ferri doesn’t refer to well known simpletons but to a couple of old spouses who show us good deeds, glories, resignations and illness.
Articulated by a female narrative voice, is the 20 minute long story which in black and white, recalls the provocations of the Ciprì and Maresco couple in certain brutal instances.
The Italian writer instead puts his camera between prison bars, to tell the story of painful solitude and waiting that quietly renounces speech, his message is clear and unequivocal.
Applause erupts from the heart of the crowd.
From a marionette style yet un-dusted world comes the little protagonist of the short Slovenian film SLOVO by Leon Vidmar.
There is also a nice grandfather, reminiscent of Geppetto from Pinocchio, and a little allegorical event of Ithacan and Aquatic humour.
An intoxicating conclusion, like drinking a Mohito – one with well chopped leaves- comes the feline circus act in METUBE2- AUGUST SINGS CARMINA BURANA by Daniel Moshel, that transports an entire European piazza to a high-tech disco…. Simply priceless.
As our great little responsible of SWEET 4 KIDS Tommaso Gregori leaves for Boston (Bon Voyage!), our English intern Victoria Ellison watches the screen and is a discrete and sweet presence.
They are two great friends of our festival, who we will without doubt enumerate in the next and final Board Diary.
See you on Saturday at the Castello di San Giusto, for the long awaited award ceremony.
At ShorTS on the morning of Friday 7th July Pivio will hold his musical masterclass, Suonare Il Cinema, entry is only permitted to those who have signed up. The lessons will take place at the Mediateca in via Roma. The press will be available upon request.
At 9pm we will set off from Piazza Verdi on the first of our cinematic walks: an evening outing taking us to the rive, Molo, historical caffe’s and streets: The Trieste of directors at night time, a journey along the sea and around the city discovering how the cinema of yesterday and today has recounted the obscurities and the stories of Triestine nights. Booking is compulsory. You can book by calling +39 339 4535962 or by emailing email@example.com
From 9 30pm, as always in Piazza Verdi the projections of the Maremettraggio section will begin:
Akita by Alastair Cummings, John Hickman (GB, 2016, 9’). A down on his luck labourer finds a friend in a seemingly abandoned dog.
Sore Eyes for Infinity by Elli Vuorinen (FIN, 2016, 12’). An optician’s workday is filled up by a line of extraordinary customers. One by one, she witnesses them using the optical equipment in suspicious ways.
Meje by Damjan Kozole (SLO, 2016, 10’). A nice day in a nice landscape. A crowd of refugees and migrants accompanied by police officers make their way from the Shengen area between Slovenia and Croatia toward the refugee camp in Brežice.
Love by Réka Bucsi (H–F, 2016, 14’). Love is a short film illustrating affection in three separate parts, through an impact in a distant solar system. The pulsing planet helps the inhabitants to connect in various ways.
Parusia napoletana by Rosa Maietta (I, 2016, 10’). Parusia, from the greek parousía, means ‘presence’ and generally indicates the presence of the divine, or of the ideal essence in a materialistic world. What could possibly happen in Naples in the Spagnoli quarters on the one day Naples plays.
Ascensão by Pedro Peralta (P, 2016, 18’). At dawn a group of peasants tries to rescue the body of a young man from a well.
Red by Ario Aaffarzadegan (IR, 2015, 2’). An alternative short story about Little Red Riding Hood.
RM10 by Emir Ezwan (MAL, 2015, 12’). The nocturnal adventures of a bank note.
Colombi by Luca Ferri (I, 2016, 20’). A couple in love spend a century together, as trends, objects, and films slowly drift into horror. They will age with the exclusion of the outside world, darkening and shutting up their house and withdrawing into them-selves, leafing through old encyclopaedias.
Semiliberi by Matteo Gentiloni (I, 2015, 10’). Alessandra is a loner, she doesn’t connect with anybody. One day she realizes that a plan thought up by female cell mates to succumb to house arrests could be just the opportunity she needs to escape from her loneliness.
Slovo by Leon Vidmar (SLO, 2016, 6’). Lovro sits in his bathtub. Looking sad, he stares at droplets dripping from the tap. Suddenly, the day he first went fishing with his grandpa springs his imagination into life….
Metube 2 – August sings Carmina Burana by Daniel Moshel (A, 2016, 5’). Elfie and her nerdy son August successfully proved themselves on their home webcam in MeTube 1. The odd pair venture onto the street to present the biggest, boldest, and sexiest operatic flash mob the internet has ever seen!
At 5pm at the Teatro Miela the projection and round table for the Mercurius Prize will take place: on the big screen we will see SPIRITS OF THE ROCKS by Peter Ammann (CH, 2002, 78’), a film which is very special to the Junghian society: The Bushmen lead us to the Spirits of the Rocks, rocks that conjure up the primordial man inside of us, which- externally at least- has long been repressed and maybe even destroyed.
To follow will be the panel UNA BUONA DOSE DI FOLLIA – CINEMA E ALTRI RIMEDI with: Murray Stein, Peter Ammann, Chiara Tozzi, Peppe dall’Acqua, Claudio Misculin. The meeting will be held by the journalist Rula Jebreal.
Immediately afterward will be the projection of L’ACCADEMIA DELLA FOLLIA by Anush Hamzehian (F, 2015, 52’): L’Accademia della Follia is a theatre company created in the 70’s within the walls of the ex-psychiatric hospital in Trieste. The actors are people affected by psychological problems. The documentary is an account of the company and its principal actors.
At 6 30pm at the Cinema Ariston we will see a selection of the best British short films which have been put forth by the Encounters film festival in Bristol at SHORTS GOES BRITISH; 10 films that have been chosen from the most recent British productions.
At 9 30pm we will see the final film in the Nuove Impronte line-up: BABYLONIA MON AMOUR by Pierpaolo Verdecchi (I-E, 2017, 72’). The documentary follows the story of a group of Senegalese people who, for financial reasons, end up going to live in a European suburb in crisis. Their lives are a joke: someone recycles metal, others repair fishing nets, and others are drug-traffickers.
Music, extraordinary and indispensible that- not just in art- represents a type of moral compensation for the eyesores and abuses that we impose on daily life.
Great music comes to the SHORTS INTERNATIONAL FILM FESTIVAL with the presence of the prestigious Pivio, the excellent cinematic composer and more generally, representative figure of the Italian artistic scene.
Pivio will be the coordinator of a master-class called SUONARE IL CINEMA, much anticipated event for this festival season. The first special event of the evening is kicked off by Pivio – in collaboration with Marcello Saurino – and the short film IT’S FINE, ANYWAY. Aesthetically very aggressive, bombarding us with perpetual Dolby surround music, which we see in the secret fight scene with lashings of blood and strong, stunning visual sensations.
Valentina Carnelutti, young appraised actress who has already had several meetings with the festival, interprets IL SILENZIO, directed by Parnoosh Samadi and Ali Assari. The film is contextualized by verbal non-communication, using different languages, to confront the terrible theme of incumbent death. This is a sliver of excellent cinema.
Going back to Italian territory with the sympathetic and ironic FINCHE’ C’E’ VITA C’E’ SPERANZA, made up of healthy but modern sarcasm about the economic crisis, and a young couple, in dire economic straights particularly when it comes to wedding costs. The final is grotesque.
Halloween is the celebration dear to the hearts of all those who love fantasy, horror and scary settings that appeal to the macabre tastes of those children who never grew up. This time it is a young girl who alters the cards on the table, in THE WITCHING HOUR by the film maker Riley Geis.
ESTATE by Ronny Trocker takes its inspiration from a photo by Juan Medina introducing us to an event that has little to do with a post card, and is instead about escape and freedom. Unsettling and vivid. Infancy and roses, infancy and thorns…. infancy transcending into adolescence, a fantastic world to protect. All this displayed in one unique minute in BIROUN AZ IN by Keivan Mohseni.
Here, the intention is to contemplate, like looking at a strange outlandish aquarium, the female world at the centre of TILDA, by Katja Benrath. About a feminine world made up of dolls, strange modesties, shame and funny moments recounted with disarming ease.
When the audience explodes into laughter, at certain parts, it’s as if the chairs and the objects, the whole city square, everything, is taking part in a collective moment of playfulness. Dieter Primis achieves this with his grandiose GUANTANAMO BABY, illustrating the torments of a baby who is continuously mollycoddled by his mum and grandma.
ALZHEIMERS: A LOVE STORY is however a completely different taste of cinema, a touching story of gay love that transcends the pains of arthritis, illness and death. More than just one person in the audience is watery eyed, proof that the Schimmel – Petruzzelli writing duo tugged at the right heart strings and achieved the desired reaction.
Present this evening is the young director Morgan Gruer, who recounts with comprehensible pride the genesis of his short film REFLECTIONS, two minutes of stylized elegance.
Immediately afterwards, is the truly disturbing fan-scientific story of mannequins and inanimate bodies conceived by Dimitry Korabelnikov in THE MILE, an authentic nightmare on the road.
One of the most passionate cinematic moments of the evening comes from MON DERNIER ÉTÉ, a story of negated infancy and stolen sexuality, seen through the eyes of an acerbic pair of children. Poetry in its purest form, at the hand of Paul Claude Demers.
Concluding with the pyrotechnic fire, dazzling us with light and colour, created by Roman Daudet Kjahan in his KABOON; an explosion that will damage your eyes.
It is now past midnight and around us an assortment of youth are clinking their glasses full of coloured liquid.
See you on Thursday evening.
Thursday 6th July we’re once again talking about the cinema of protagonists: In the Mediateca, Massimo D’Anolfi and Martina Parenti are taking the second of the two days of workshops, Osservando La Materia. The workshop will take place between 10am and 1pm and from 3pm to 6pm and access is only available upon signing up. The press will be made available upon request.
In Piazza Verdi at 9 30pm the special event MINDEKI by Kristóf Deák (H, 2016, 25’) will be projected. Winner of the Oscar for the best short film 2017. Zsofi is having difficulties fitting into her new school. Singing in the school’s famous choir is her only consolation. But the choir director may not be the inspirational teacher everyone thinks she is….
To follow, the shorts in the line-up for the Maremetraggio section are:
Timecode by Junjo Giménez (E, 2016, 15’). Luna and Diego are parking lot security guards. Diego does the night shift and Luna the day.
A Girl Like You by Massimo Loi, Gianluca Mangiasciutti (I, 2016, 15’). Aurora and Alba are inseparable friends who are very different from each other. One lives in compliance with the rules, the other is independent and tries to look mature for her age. One day Alba convinces Aurora to leave for a secret and mysterious journey.
Die Brücke über den Fluss by Jadwiga Kowal Skach (CH 2016, 6’). A man on a bridge separated from the love of his life. Wanting to be with her one last time, he decides to go and seek her out.
Munitionnettes by Lara Cochetel (F, 2016, 2’). After receiving an official letter announcing the death of their husbands on the battle field, the women workers in a munitions factory decide to create their kind of revolution….
Death in a day by Lin Wang (USA, 2016, 14’). Evan is a young Chinese buy who, after visiting his comatose father, witnesses his mother’s struggle and must come to terms with the impending death falling upon the family.
False Flag by Asier Urbieta (E, 2016, 11’). Adem Lethani has been tortured and is tied up in an abandoned garage; he tries to break the ropes binding his hand when a jeep enters the garage and someone switches the light on….
Gionatan con la G by Gianluca Santoni (I, 2016, 15’). Gionatan is 9 years old, and has the eyes of an adult. He is In the hospital waiting room while his mother is receiving medical attention. He overhears his mother lying about wounds. Sweets in his hand and a terrible idea in his head, Gionatan decides to run away.
Bowl of Cherries by Hadi Moussally (F, 2016, 3’). Bonni Miller’ vertical portrait.
Mutants by Alexandre Dostie (CDN, 2016, 17’). In the Summer of 1996, life throws Keven Guénette a curveball…. and it strikes. Guided by his paraplegic baseball coach, kevin experiences mutation, sex and love.
Curse of the Flesh by Leslie Lavielle , Yannick Le Coeur (F, 2016, 17’). Invisible men upon a pirate ship land on an exotic island, where they hope to find a stone that will free them from their invisibility.
Nest by Chris Brake (GB, 2016, 3’). The story of an unconvential marriage; the husband is human but his wife has the head of a bird. When their relationship gets stuck in a rut, the husband decides that the only way to get close to his wife again is to become more bird-like himself.
283 frogs by Genadzi Buto (BY, 2016, 1’). What can happen when you flip quickly through 283 photos of squashed frogs?
At the Cinema Ariston at 7pm L’omaggio a D’Anolfi e Parenti brings forth SPIRA MIRABILIS (I, 2016, 121’). Earth: the statue of the dome of Milan. Water: a Japanese singer/scientiststudying a small immortal Medusa. Air: a pair of musicians who create metal instruments and sculptures. Fire: a sacred woman and a spiritual leader, and their little Lakota community. Heavens: Marina Vlady accompanies us on a journey whilst narrating L’immortale of Borges.
At 9 30pm in the line-up for Nuove Impronte we will see ORECCHIE by Alessandro Aronadio (I, 2016, 90’): A man wakes up one morning with an annoying buzzing sound in his ears. A note on the fridge says, ‘Your friend Luigi has died’ P.S. I took the car’. The real problem is that he can’t actually remember who Luigi was. From intrusive nuns and sadistic doctors, Philipino hip-hop stars and dentist fiancés, comes a daytime tragecomedy about discovering the madness of the world on one of those days that changes your life forever.
A fiery red sunset on the Triestine horizon, a spectacle which is hard to forget; a poetic and magical yolk, while the magic of cinema is on display just a few steps away.
Piazza Verdi, crawling with people is nectar for the eyes, warming the hearts and the morale of the organizers of the event, who live through the emotions, palpitations, visual surprises, but who at the same time put in immense work and total dedication.
Italian images, in the opening for the MESTIERI DEL CINEMA event which presents SEPARATI, product of a collective, intelligent and ironic work, that doesn’t just talk about conjugal failures.
Amongst the performers is Lorenzo Acquaviva, along with other young harmonic talents.
The first short of the evening, ALIVE AND KICKING: THE SOCCER GRANNIES OF SOUTH AFRICA, should be in our opinion, projected in every school in the world. We are in fact talking about a docu-film about the incredible physical and moral resources of the old ladies of Limpopo, Africa, causing us to reflect on our identity and our rights and duties.
A resplendent message of universal fraternity, directed by Lara Ann De Wet.
Mare nostrum, as the Romans would have said, and through the aquatic currents of sea water we unravel the animated creation of Marles Van Der Wel with ZEEZUCHT.
As always as part of his narrative, the writer creates empathy by involving us in his little illustrated world.
Mysticism, transcendence, interior worlds that look like they’re made of steel but instead turn out to be blown glass.
THE SAD MONK by Diana Francovic takes the viewer into the world of a young religious man, tormented by his doubts, constantly in a battle between his faith and prosaic and pagan worldly temptations. Scintillating images, and a very topical issue.
We disentangle in a night time setting the dramatic creation of PATH by MD Abid Mallick, where a story of BRUTAL terrorism is narrated like a macabre constellation.
Stopping at just one, repenting minute of narration to point the finger at something that comes from the heart, overwhelming, perpetrated injustice; in this case they are animals when it comes to money, silent testimonies on human stupidity. This can all be seen in DUNYANIN OLUMU by Evrim Inci, and are still winning images.
The Italian director Dario Imbrogno chooses OSSA as his short film, refined and evocative, mirror games, one minute a horror and the next dull – romantic, and an amalgamation of very interesting animation.
Cinema, craving a muse… how much fatigue and how many assorted sequences must one go through before he can put his stamp on a work of art…. choosing the work of the amateur film maker, Johannes Bachmann who recounts many of these things in his short, DIE KUNST, MEINE FAMILIE UND ICH.
Extremely tormenting, like a black lake where you can’t find the shore, the winning narrative of Dario Samuele Leone in QUELLO CHE NON SI VEDE about work and self-denial, we can also count on a meta theatrical interpretation on the part of the protagonist.
THE OFFER by Winnfred Jong instead looks at an original encyclopaedia seller taking us into a domestic environment, and much like in the memorable theatrical text IL VISITATORE by Eric Emmannuel Schmitt, there could be a metaphysical surprise lurking behind the door….
P AINT by our very own Antonio Lusci is an aggressive labyrinth twisting and turning on the theme of artistic inspiration, on the neurosis and the polychrome tensions to which art can be subject.
The director and special effects specialist Sergio Stivaletti, re-produces the old glory of fantastic Italian cinema.
The story by the film-maker Jaume Quiles takes place in cold immobility. With PARADIS he exploits one of his peculiar illustrative fantasies.
Concluding with the teaching of great cinema in the spectacular LA VOCE by David Uloth, which is about music and vocal and phonetic transformations, in a story line by Howard Philips LoveCraft….
After a hypnotic journey, it is now midnight, the hour of witches and fantastical happenings!
See you on Wednesday evening.