COM STAMPA 6 luglio

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The ShorTS international festival opens Wednesday 6th July with the second, conclusive part of SweeTS4Kids, the section dedicated to shorts for a younger audience, from 18:00 at Cinema Ariston. 20:00 will see the continuation of the homage to Andrea Segre, the documentary maker par excellence who, with narrative coherence and geopolitical depth, analyses journeys/processes in which Italy’s past, as well as the pasts of other countries, crumbles into an uncertain future. The documentaries screened will be Mare chiuso, which won two such prestigious awards as the Premio Vittorio De seta and the Globo d’Oro della Stampa Estera, and Il sangue verde, a 2010 documentary about the furious protests of immigrants in Rosarno, Calabria, which laid bare the degrading conditions and the injustice in which thousands of African day-labourers live every day.

And there are still some places available for the Realmente liberi workshop with Andrea Segre, which takes place over two days: tomorrow – Thursday 7th July – and Friday 8th July. The workshop is about the narrators, workers and techniques involved in making “truthful cinema”; how, where and why it is ever more important to identify, follow and frame people, places and societies, alternating with inventive logic between realism and the other. In collaboration with Mediateca La Cappella Underground, it is open to up to 15 people. Obligatory registration via mail at laboratorio@maremetraggio.com.

The programme of ShorTS continues, still at Cinema Ariston, with Olmo Amato and Samuele Sestieri’s I racconti dell’orso as part of the Nuove Impronte section. It is set in a world abandoned by humans where a mechanical monk pursues a little red man. After crossing woods, dead cities and desolate landscapes, the amusing pair reach the peak of a magic hill. The discovery of an old teddy bear in a bad way after all this time leads to them reconciling their differences. They thus join forces, in the hope of being able to give life to this inanimate plaything and escape the emptiness that surrounds them.

From 21:30 in Piazza Verdi will be the screening of another 12 shorts in competition for the Maremetraggio section, including Il Principe by local boy Davide Salucci. This Triestine, animated short is about a prince who, as in every fairytale, has the difficult task of saving the Princess and killing the dragon. But our hero soon finds himself faced with an unsolvable paradox that primarily concerns himself.

 

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COM STAMPA 5 luglio

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ShorTS International Film Festival continues in Trieste, between the Cinema Ariston and Piazza Verdi. Tuesday 5th July will see the launch of the second edition of the lucky SweeTS4Kids section which, in 2015, went down a storm with the children. This will be the first of two evenings where 101 children will vote for the best short from amongst those selected for them by our 12 year old Artistic Director, Tommaso Gergori, from 18:00 at Cinema Ariston.

This will be followed at 20:00 by a screening of two further Andrea Segre documentaries: A sud di Lampedusa and Come il peso dell’acqua, still at Cinema Ariston. The former looks at the lorries that cross the Ténéré desert; the travel agencies from Agadez, in the north of Niger, that organize the passengers; but above all the repatriations carried out by Libya under European pressure. It tells the story of the hidden side of an emigration of which we often see only the final step: when they disembark on the island of Lampedusa. The latter looks at how, for over ten years, we have concentrated all of our economic, political and military forces on closing the Mediterranean border. There are some who have done it more prudently, and others who have done it more harshly. But, in any event, the goal was only ever to “reduce the number of landings”, to close and contain. It is a development that has decimated our ability to listen and understand the motives and choices of those who make the journey. The film, by paying attention to the stories of three women and the observations of two great civilian narrators, seeks to change this development.

At 21:30 we move over to Piazza Verdi for Triestine local Laura Samani’s La santa che dorme, which has just returned from its debut at Cannes. Born in 1989, after a thesis on the TV series Twin Peaks, the following summer, from the critics studio, Laura decided to turn to action. She shot her first shot, which allowed her to be selected as one of the six students taken onto the directing course at the Experimental Film Centre in Rome, class of 2015. La santa che dorme was shot in the Valli del Natisone, was produced by the Experimental Film Centre in Rome and was selected as part of the Cinéfondation programme at the Cannes Film Festival. The director, with this work shot completely in Slovene dialect (and shown with Italian subtitles), has written a screenplay which talks about growth and education, a timeless fairy tale in a community which protects its rich cultural heritage. This will be followed by a selection of shorts in competition for the Maremetraggio section.

Bookings for the weekend are open. You can visit the city of Trieste and its cinematic locations through the Esterno/Giorno and Esterno/Notte walks on Friday 8th and Saturday 9th July. Together with film critic Nicola Falcinella we will retrace, with themed walks, the locations and stories from many big-screen works filmed in Trieste which, due to the characteristic light of its setting by the sea, the beauty of its historic buildings, its surrounding nature and its position close to the border between Eastern and Western Europe, has long been much appreciated by directors the world over; from Mauro Bolognini to Luchino Visconti, from Francis Ford Coppola – who chose the old Central Fish Market as the location for some scenes in The Godfather Part II – to Cristina Comencini, from Anthony Minghella – who used Porto Vecchio for some scenes in The English Patient, to Giuseppe Tornatore.

Participation open to a maximum of 40 people, who must each provide a personal contribution of €5. Booking is obligatory for all the walks and remains open until 12:00 on the day before the walk takes place by phone on +39 339 4535962 or by mail at esternogiornots@gmail.com. Walks will be postponed in the event of bad weather.

 

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Diario di Bordo – Day 3

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Sunday 03 luglio – Day 03

Reality and dreams. Two distant planets that sometimes collide. In this particular instance, it’s called fate.

ShorTS International Film Festival 2016 provides the opportunity to get to know both these existential shores, through a long and intense journey.

An unforgiving wind has seen us move once again to the Teatro Miela for a long evening of screenings.

The night opens with the short Divento Vento, from the workshop organized by Mestieri del Cinema, a gluttonous opportunity for young people to get to know the internal structures of cinema.

We laugh sincerely when faced with the two brothers who, having decided to raise two chicks, flaunt their vegetarianism and vehemently confront their parents, sometimes violently. This all takes place in Michael Lennox’s Boogaloo and Graham, which harnesses an ecological gag to recount the light and dark sides of family life.

Just as entertaining in its caustic mockery of inter-racial problems is the Sarmad Masud’s English short Two Dosas, where a young man with Indian roots becomes aware of his strong bond to the West and therefore also how emotional bonds with foreigners can assume sarcastic implications. The two young adults sat before us makes us double over with sincere laughter, hinting at a great success.

Coming from Brazil, the next short is a tale about the phonetic: Pedro Paulo De Andrade’s O melhor som do mundo.

Almost a children’s version of Gene Hackman in Francis Ford Coppola’s The Conversation, the young protagonist dedicates his body and soul to completely personal research project.

Simply extraordinary is the young female protagonist of Ena Sendijarevic’s Fernweh, which flings us into the internal struggles of a foster family. It is a work of many unexpressed nuances, all of which are advantageous.

Here we are now laughing affectionately at the unfolding sequence of events affecting Pia, a red-haired animated creation intent on discovering the engagements and disengagements of the journey of existence: A Single Life, directed by the trio of Job, Joris & Marieke.

When we play, anything is possible! Christian Sulser’s Scrabble provides you with clear proof of this, where the metaphor of the game works together with others that are of a much more profound significance.

It may seem to be a drama with grim undertones, but be careful not to undervalue to subtle narrative course marked out by Jaime Valdueza in Burned, which also showcases exquisitely directed actors.

Next comes the comeback of the weathervane protagonist of Jan Snoekx’s Voltaire who, after am explosive experience, totally changes his life and his attitudes in what is almost a quantum leap in the category of noble animals.

Mark Kunerth’s The Girlfriend Experience is another tale of accidental online happenings, where the search for a female presence doesn’t have the desired effect. Entertainment is assured!

Something that will never fail to repeat itself is how the female perspective, in cinematographic terms, always has surprises in store for us and enables innovative visions and new directions. Finnish director Isabella Karhu amply demonstrates this in Pojat where, amongst other things, the storytelling is totally attuned to the masculine world.

In a conclusion that’s surreal to the point of almost being mysterious, Mihai Grecu’s fascinating methods in The Reflection of Power make the subject matter seem to have been almost chucked about in the editing machine in what is a captivate and illogical journey of images.

The temperature drops noticeably upon leaving the theatre and finally we can walk through the cool air reflecting on what we have already seen and what we are yet to see!

Next stop: Monday night.

Riccardo Visintin

Diario di bordo Day 02

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What a passionate lot Europeans are! The football tournament represents a phenomenon that is difficult to escape from, and there’s no point in denying the adrenaline that brings everyone together as one.

Italy and Germany are the subjects of the night’s suspense, and so here we are relocated in Teatro Miela, where in any event we weren’t lacking for spectators.

The cinematographic dances opened with an Italian production, Giacomo Caceffo’s Pillole dal future, this year’s Premio Mattador representative and a telling example of how one can make a small rhapsody of images in a dialectic context.

We say that time is a rather eccentric variable which doesn’t fail to deeply impact the destinies of each and every one of us; all it takes is a fraction of a second offset from the rest and our existential house of cards folds in on itself.

This concept was entertainingly explored in Fran X. Rodríguez’s Ladrones de tiempo, which was both a lot of fun and very well structured.

The victim of an atrocious destiny brought upon her by her son, a woman in a supermarket finds nothing better than asking for a little affection from another customer who looks tragically similar to the son she has lost.

We are almost moved, but there is a sarcastic final surprise that follows in Iñaki Sánchez Arrieta’s El abrazo.

Present in the theatre is the young Canadian director Sam Luk who, in spite of his tender age, seems to already possess a flawless understanding of the infinite rivulets of the sentimental river. You Are My Present, which he both wrote and directed, is poetic and suggestive, constantly chasing emotions between the present, the past and the future.

We now take an about turn into a suburban military context thanks to the American director Moon Molson who, in his The Bravest, The Boldest, constructs a climate of constant existential tension by reflecting interpersonal relationships and the risky nature of destiny.

A film that truly wrong-foots you, albeit in a good way, is Jacob Frey’s animated short The Present, in which a PlayStation-obsessed, introverted teenager is gifted a three-legged puppy by his parents. The teen’s initial diffidence is transformed into pure affection, even in light of the disconcerting reality that’s staring him in the face; an original and poetic way of talking about diversity.

¿Señor o señorito? From the pair of Piernas and Ruiz turns the dogma of the job interviews we’re used to seeing and often even accepting on its head. Here it is the turn of the other half of humanity, that is to say the feminine half, to be the bosses, in what becomes a vortex of verbal tastes.

The vicissitudes of a young stutterer and his attempts to leave his mark on the outside world form the basis of a short that is anything but banal: Benjamin Cleary’s Stutterer. Coming from England, it stands out with an extraordinary acting effort from the protagonist.

Tropical greens and the almost shocking blues of an uncontaminated sea provide the backdrop for Nicolas Polixene’s Papé; it takes place in the Caribbean and is almost an archaic ritual about memory as a palpable entity which re-invokes the feelings of moments both eternal and ephemeral.

De Smet is a piquant allegory for family, even in its most dysfunctional form; obviously a lack of emotional links can have unexpected consequences. Laughter is guaranteed here.

Burning like an ice cube that’s found its way under your shirt, La Graine from young Belgian director, Barney Frydman, tells the story of two young hooligans who are seemingly irreconcilable with regards to their cruelty and disenchantment with the world. Their existence is, however, turned upside down by the innocence of a new-born baby.

After having had our fill of strong emotions, it was not displeasing to abandon ourselves to the sarcastic and irreverent images of Seron and Fortunat-Rossi’s L’Ours noir. Have you ever dreamed of abandoning everything for a redeeming bath in a natural paradise. Whether it’s in the Dolomites or the mountains of Pennsylvania, what’s important is not relying on one’s own touristic advice! Sincere hilarity for the public watching on, but note also the social significance of the short in question.

Whilst the city is still caught up in the “Night of Sales”, and exudes therefore a sense of glamour, we taste the wind which greets us upon leaving the Teatro Miela, and we provide you with the next date for your diaries: the evening of Sunday July 3rd will see the continuation of the initiatives provided by the 2016 ShorTS International Film Festival.

Riccardo Visintin

COM STAMPA 04.07.16

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The week begins with ShorTS, Monday 4th July at 20:00, carrying on with the homage to Andrea Segre at Cinema Ariston. Come un uomo sulla terra, , a 2009 documentary in which the voices of African migrants talk for the first time on film about the way in which Libya is controlling migration fluxes from Africa, on behalf of and financed by Italy and Europe.

Staying at Cinema Ariston, at 21:30 the next film in the Nuove Impronte section, Cristian Cappucci’s feature film debut I talk otherwise, will be screened. I talk otherwise is a road movie in which we traverse Europe by from the perspective of the Danube. Shot across 8 countries and in 9 tongues, from West to East, from Capitalism to Communism, from the Black forest to the Black Sea, it is the story of the cultural fractures and contradictions of the land traversed by the great river. From its sources in Germany, passing through Austria and numerous countries from the former Eastern Bloc – Slovakia, Hungary, Croatia, Serbia, Bulgaria and Romania – and ultimately flowing into the Black Sea in a journey from the past to the future of Europe.

Our famous open-air big screen in Piazza Verdi, next to the splendid theatre, will screen twelve of the shorts in competition for the Maremetraggio section from 21:30.
In Todo lo demás, Laura and Miguel discover the limits of their love. Before the Bomb talks about Elsa, a young, ten-year-old girl, who takes control of the situation when local social services organize a visit that could separate her from her brother. 112, a tale about Christmas inspired by a true story. Yùl et le serpent, in which thirteen-year-old Yùl and his big brother Dino go to conclude an affair with Mike, a criminal accompanied by his Argentine Mastiff. When things start to go wrong, a mysterious serpent appears. This is followed by the Canadian short My Younger Older Sister, which tells the story of a girl who suffers a crisis at her 19th birthday party when she realises that she’s about to surpass the age her older sister was when she died at the age of 18. Then comes The Haircut, set in 1976: Amy is amongst the first class of female cadets accepted into military academy; finding it difficult to survive her first day, she combats sexism, self-doubt and struggles to prove that she has what it takes to make it.
Hoe Ky Niels Werd talks about the search for one’s own identity and the right to be yourself; it talks about gender, hormones and other similarly complicated concepts. In Beach Flags, Vida finds herself face to face with an unexpected problem.
5 segundos tells the story of Carlo, who has prepared a surprise for his wife because he wants to apologise for an argument they had a few days ago.
In the short Rabie chetwy, Nour, a student who lives alone with her father and suffers a crisis with the sudden onset of puberty. She becomes a woman, but she can’t tell her father. We then move to Iraq with The Iraqi Superman, in which a boy makes an ingenious piece of equipment in order to save his father from the prison in Abo Ghraib. What he finds upon entering however is very different from what he had been expecting, revealing the maltreatment and torture the prisoners suffer. The evening closes with the Spanish short Disco Inferno, where a hell minion is on a mission to save her boss, the Devil, who is however not ready to return to his daily routine.

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COM STAMPA 03-07-16

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A great Sunday of cinema with ShorTS International Film Festival in Trieste July 3rd. We begin at 20:00 at Cinema Ariston with Andrea Segre’s I sogni del lago. The film tells the story of a contemporary Kazakhstan that is living through a euphoric period of development that Italy no longer even remembers and whose growth is intrinsically linked to the Italian economy. The images of the great Eurasian Steppe, with its infinite and ordered swathes of post-soviet land, are intertwined in both the film the mentality of its creator with images of 1960s Italy found in both the ENI archives and in the personal memories of Andrea Segre’s mother and father who, being in their twenties in the 1960s, lived through the euphoria of this growth.

Following this at 21:30, still at Cinema Ariston, will be Nazareno M. Nicoletti’s Moj brate, a documentary in which Stefano Gabrini retraces the footsteps (through Rome, Bosnia and Canada) and experiences of one of his closest friends, the anthropologist, actor and clown Alberto Musacchio, who committed suicide in 2001.

In Piazza Verdi at 21:30 the short film Divento vento will be shown. This short is the result of a series of workshops, Mestieri di Cinema 2015, where attendees from various fields were able to put the knowledge they acquired into practice. This will be followed by eleven shorts in competition for the Maremetraggio section: Boogaloo and graham by Michael Lennox, Two dosas by Sarmad Masud, O melhor som do mundo by Pedro Paulo de Andrade, Fernweh by Ena Sendijarevic, A single life by Job, Joris & Marieke, Scrabble by Cristian Sulser, Burned by Jaime Valdueza, Voltaire by Jan Snoekx, The girlfriend experience by Mark Kunerth, Pojat by Isabella Karhu and The reflection of power by Mihai Grecu.

ShorTS, for its 17th edition, also proposes the Alice lost and found workshop (Alice nera 2016) Through the Shadow Mirror, which focuses on female acting. It will take place at Punto Enel 7th, 8th and 9th July from 10:00 to 13:00 and from 14:30 to 17:30. Registration is already open and an artistic portfolio must be sent.

Alice lost and found will be a three day dedication to the study of first-rate female cinema and the relationship between one’s perceived internal image and the image one portrays for the benefit of others will take place. By studying the emotional profile of the eponymous protagonist of Lewis Carroll’s Alice’s Adventures in Wonderland, Claudia Della Seta, director of La casa degli spiriti and artistic director of Afrodita Compagnia, and Stefano Viali, David di Donatello 2005 – in a project funded by NUOVOIMAIE – will bring to the fore the different expressive possibilities in acting with a first-rate study. At the end of a workshop, a video will be made and edited with the first-rate actresses seizing their inner Alice, delivered then to the actresses themselves.

 

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Info and complete programme at www.maremetraggio.com

Ufficio Stampa:

 

Daniela Sartogo (+39.342.8551242) – daniela.sartogo@gmail.com

Moira Cussigh (+39.328.6785049) – moira.cussigh@gmail.com

Diario di bordo – Day 01

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Friday 01 luglio – Day 01

You know those giant, multi-coloured jellyfish (of the non-stinging variety) that suddenly appear beside you; a silent, underwater presence?

The International ShorTS Film Festival possesses the same bewitching allure, and it ensnares you with its rich catalogue of visions and events.

It’s the press conference at Punto Enel, Monday 20th June 2016, and we are already in the fair climax of an event which never fails to surprise.

The outcome of Friday afternoon, with its Shorts 4 Sweets workshop led by filmmaker Francesco Filippi, was more than satisfying, with it allowing its young audience of 12 to 15 years to become an integral and active part of the Cinematographic World.

We will talk more at length about this in the coming days.

The inaugural evening in Piazza Verdi, on Friday, attracted a public resistant to the oppressive grip of the weather: in other words, it was very hot.

We have perhaps never given it much thought before, but the work of those we have come to call “humourists” is important, precious, and has a sort of added value that is well and truly established by Daniel Jewel in his work The Secret World of Foley.

The film also simultaneously provides an insight oozing with poetic beauty into the world of fisherman.

Pablo Vara’s short Cuenta con nosotros is a totally different proposition, in which he manages to poke fun at no lesser body than ISIS; a subject that may not appear to be particularly ripe for comedy, but which is exquisitely executed.

Much appreciated by the public were the wry, heady images of Margot Reumont’s Grouillons-nous: the small red world of a friendly bunch of fruit which, genuinely, read Marie Fraise, a version which is to them… befitting of the Marie Claire fashion magazine.

It seems as if those who wrote the work we’re going to talk about next are amongst the best in show. Certainly there was a need to have a good natured (or maybe not quite so good natured) crack at the fabric of the online jungle, where we know each other without knowing each other, and where surprises, even the most uproarious ones, wait to ambush us like a thief in the dark.

All of this is successfully achieved by Daniel Clements in Edit > Undo, which was greatly applauded.

Britain called next with Daisy Jacob’s The Bigger Picture, which talks about a job which is always delicately balanced between the cruel and the emotive through the representation of both senility and the meanness of certain behaviours.

There is a persistent sense of death and sulphur in this work, but there is also an excellent study of story-telling methods.

At last Italy comes to the screen thanks to Matteo Petrelli’s Punto di vista which, behind the chinking of glasses at a bar, hides a warning that diversity should be considered from all possible perspectives.

Simon Tillaas’ Den lille døden, however, is a whole other kettle of fish. It lifts the lid of a huge pot heavy with human relationships which push the limits of consent, with an absolutely extraordinary young protagonist completely at the mercy of the mechanisms of the adult world.

The general tone of the discussion was mellowed slightly by the following film: Juan Beiro’s Vainilla. Who can say what and how great an impact chatting, even casually, can have on the lives of each of us?

It is a work whose contents lead us to a wise final conclusion.

Extraordinary from a visual and staging perspective was Natalie Plaskura’s Faint.

We are faced with a work whose images conserve the cold poeticism of several stories from the North, by here everything fluctuates or, more accurately, the characters transform themselves before returning to their original forms. This is pure poetry.

Much has been written and seen about the military, and so props must go Roberto Collío who, through his Muerte blanca, recounts and incident of conflict and soldiers which unfolds under a silent cover of black and white.

The destiny of the protagonists is like short crust pastry between the great hands of Destiny.

We reach the home straight with Kevin Newbury’s American short Stag, in which the past once again knocks at our door and we can do no less than open it.

Ewa Gorzna’s Rearranged doesn’t need physical protagonists for its truly elegant exposition: the ambience and objects change, drift away and transmute themselves in a hypnotic lullaby with surreal connotations.

Midnight passes and still the heat hasn’t subsided, but we have hardly scratched the surface of our long cinematic journey, which will continue on Saturday night.

Riccardo Visintin

COM STAMPA 02-07-16

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Day two of the ShorTS festival. Saturday 2nd July’s events begin at 10:00 (and then again at 14:00) at Punto Enel with Short 4 Sweets, Francesco Filippi’s workshop dedicated to adolescents between the ages of 12 and 15. We then go on with the Premio Mattador which, at Palazzo Gopcevich at 11:00, will present the jury and finalists for their prize; and at 18:30 Francesco Filippi will present his book Fatti un Film! (joint editors), from which stems the workshop on how to use different multimedia devices such as phones and tablets to make films both long and short, at Libreria Ubik in Galleria Tergesteo.

The homage to Andrea Segre continues at Cinema Ariston at 20:00 with la Mal’ombra: the story of an industrial area built in a location which possesses one of the biggest and most important aquifer recharge basins in the province of Vicenza, near San Pietro, where for four years the locals have fought against the construction of a galvanisation plant from their permanent stronghold.

This is followed at 21:30 by screening of Antonello Faretta’s Montedoro for the Nuove Impronte section, in which a middle-aged American woman unexpectedly discovers her true origins only after the death of her parents. Deeply shocked, and in the midst of a serious identity crisis, she decides to travel in the hope of being able to re-embrace the birth mother she never knew. She brings herself to Montedoro, a small municipality in the south of Italy which she finds completely abandoned. Seven debut works compete in this section, and the best will be awarded prizes by the Nuove Impronte Jury: Diane Fleri, Federico Spoletti, Marco Amenta, Marina Marzotto and Thomas Trabacchi. The public will also designate their favourite film, which will receive the Bakel Public Award. New this year is our important collaboration with the Sindacato Nazionale Critici Cinematografici Italiani (National Association of Italian Film Critics): the SNCCI jury, made up of Adriano De Grandis, Nicola Falcinella and Giona A. Nazzaro, will make the decision on the best film in competition.

At 21:30 in Piazza Verdi, after the screening of Giacomo Caceffo’s Pillole dal futuro for Premio Mattador¸another eleven shorts in competition for the Maremetraggio section will be shown. The stand-out short is the Oscar-winning Stutterer by Benjamin Cleary (UK): a lonely, stuttering typographer, whose stutter is so bad he has to resort to sign language despite his profound thoughts and eloquent interior voice, is finding it increasingly difficult to immerse himself in normal, every-day social interactions. He meets a girl on Facebook and, eventually, the day arrives where he has to meet her in person. Three Spanish shorts follow: Ladrones de tiempo (by Fran X. Rodríguez), El abrazo (by Iñaki Sánchez Arrieta) and ¿Señor o señorito? (by Cristina Piernas and Victoria Ruiz). We then have two shorts from North America: the Canadian short You Are My Present by Sam Luk and the American short The Bravest, The Boldest by Moon Molson. These are followed by the German animated short The Present, by Jacob Frey, and the French short Papé, by Nicolas Polixene. We end with three Belgian shorts: De Smet by Wim Geudens, La Graine by Barney Frydman and L’Ours noir by Xavier Seron and Méryl Fortunat-Rossi. Free entry applies to all screenings. Info and complete programme available at www.maremetraggio.com.

 

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Ufficio Stampa:

 Daniela Sartogo (+39.342.8551242) – daniela.sartogo@gmail.com

Moira Cussigh (+39.328.6785049) – moira.cussigh@gmail.com

 

 

COM STAMPA – 1 luglio 2016

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Trieste – Friday 1st July marks the beginning of the 17th ShorTS International Film Festival, staged in collaboration with TriestEstate and with contributions from: Mibact; the Regional Office of Culture, Sport and Solidarity; the Regional Office of Productive Activities, cooperation and tourism; the CRTrieste Foundation and the Casali Foundation.

The festival’s official inauguration will take place at 21:00 in Piazza Verdi, with festival president Chiara Valenti Omero and Zita Fusco saying some words before the Maremetraggio section begins. This is a section dedicated to short films: 94 shorts from both Italy and overseas, of which 35 are Italian premieres, have been picked out from the 1400+ shorts we received from all corners of the globe (26 countries including Turkey, France, USA, Spain, Kenya, Egypt, Lebanon, Iraq and, of course, Italy) to compete for the 5,000 euro Enel Prize for the Best Short Film, awarded by an international jury consisting of Elisa Fuksas (director), Alessandro Corsetti (Rai Cinema), Alessandra Priante (MIBACT), Paul Badoudjian (producer) and Cecilia Dazzi (actress), assembled to identify the crème de la crème of short films. As was the case last year, the public present in Piazza Verdi can rate the shorts they have seen, and the film with the highest rating at the end of the festival will be awarded the Trieste Caffè Prize. The shorts you can see on the big screen are: The Secret World of Foley by Daniel Jewel, Cuenta con nosotros by Pablo Vara, Grouillons-nous by Margot Reumont, Edit > Undo by Daniel Clements, The Bigger Picture by Daisy Jacobs, Punto di vista by Matteo Petrelli, Den lille døden by Simon Tillaas, Vainilla by Juan Beiro, Faint by Natalie Piaskura, Muerte blanca by Roberto Collío, Stag by Kevin Newbury and Rearranged by Ewa Górzna.

The inauguration will also see the awards ceremony for the It’ShorTS contest, for which lovers of cinema and design were called upon to create a graphical projection of a watchstrap. The victor, Beatrice Stasolla from the Liceo artistico Nordio di Trieste, will come up to the stage to receive her prize from Valentina Lesini and Giuseppe Taranto: her own IT’S WATCH watch with the strap she designed herself together with one from the Spring/Summer 2016 collection.

Cinema Ariston at 20:00 will host the beginning to a homage to the documentary maker, Andrea Segre, showing his Marghera canale nord. It is a story of the large, immovable Kawkab Motor Vessel, an Egyptian merchant ship gifted to the Marghera docks by an experienced ship owner, merchant sailors and human lives. This is followed at 21:30 by Fernando Cito Filomarino’s Antonia, the first of the films in competition for the Nuove Impronte section, which is dedicated to Italian debut works. The film tells the story of Antonia Pozzi, who was amongst the greatest poets of the 20th Century and who lived in Milan in the 1930s.

At 10:00 – and then at 14:00 – Punto enel will host the festival’s first special event, with Francesco Filippi’s workshop dedicated to adolescents between 12 and 15 years of age who will make, harnessing the tricks of shooting a film using a tablet of mobile phone taught at the workshop, an ideal trailer for the SweeTS4Kids section.

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ARIANNA

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Carlo Lavagna
Italia 2015, 4K, Dolby 5.1, 83’

Arianna ha diciannove anni ma ancora non ha avuto il suo primo ciclo mestruale. Gli ormoni che il suo ginecologo le ha prescritto non sembrano avere effetto sul suo sviluppo, a parte un leggero ingrossamento del seno che però le provoca fastidio. All’inizio dell’estate, i suoi genitori decidono di riprendere possesso del casale sul lago di Bolsena dove Arianna era cresciuta fino all’età di tre anni e in cui non era ancora tornata. Durante la permanenza nella casa, antiche memorie cominciano a riaffiorare, tanto che Arianna decide di rimanere anche quando i genitori devono rientrare in città.
I pomeriggi passano lenti e silenziosi, mentre Arianna comincia a indagare sul proprio corpo e sul proprio passato; l’incontro con la giovane cugina Celeste – così diversa e femminile rispetto a lei – e la perdita della verginità con un ragazzo della sua età, spingono Arianna a confrontarsi definitivamente con la vera natura della propria sessualità.

Sceneggiatura
Carlo Salsa, Carlo Lavagna, Chiara Barzini

Fotografia
Hélène Louvart

Montaggio
Lizabeth Gelber

Musica
Emanuele de Raymondi

Tecnico del suono
Ivano Mataldi

Costumi
Zazie Gnecchi Ruscone

Scenografia
Fabrizio D’Arpino

Cast
Ondina Quadri, Massimo Popolizio, Valentina Carnelutti, Corrado Sassi, Blu Yoshimi, Eduardo Valdarnini

Genere
Fiction

Produzione
Ring Film, Rai Cinema

Distribuzione
Istituto Luce Cinecittà