“La felicità è un sistema complesso” di Gianni Zanasi – Conferenza stampa

Mastandrea show

Domenica mattina, alla Conferenza stampa del Torino Film Festival era presente quasi l’intero cast de La felicità è un sistema complesso, tanto che non sono bastati i posti a sedere dietro il tavolo. A parte il regista Gianni Zanasi e la montatrice e produttrice Rita Rognoni, infatti, abbiamo assistito agli interventi di Valerio Mastandrea, Giuseppe Battiston, Hadas Yaron, Teco Celio, Filippo De Carli e Camilla Martini.

Continua la lettura di “La felicità è un sistema complesso” di Gianni Zanasi – Conferenza stampa

Lo scambio (Nameless Authority) by Salvo Cuccia

Article by: Lorenzo Trombi

Translation by: Martina Taricco

Torino, November 23, 2015 – Lo Scambio, directed by Salvo Cuccia, is one of the four Italian movies which run in the main section of the 33rd Torino Film Festival.

The story is inspired by real events. The director wrote it after several meetings with Magistrate Alfonso Sabella, where the two had the chance to touch the subject of a mafia homicide in which three young boys were killed: two of them were, without any doubt, not tied to organized crime.

The first estranging element is that characters in this story do not have a name: this choice contributes to amplify the ambiguity of the plot. The whole sequence of events starts in media res with a series of crossfades of people walking in a normal city market. The music is deafening. Here, all of a sudden, two strangers appear on the scene and kill two young boys.

In the next scene the action moves on to a police station, where something does not completely persuade the audience. Although the badge of people who work in such place is shown many times, there are some elements, scattered all along the movie, which give to the public the feeling of not really being in a law seat. In a narrative climax, played on the edge of uncertainty and of the untold, is instilled the doubt that who serves the law might, actually, be a ruthless mafia boss. The proof of this comes shortly after, in a scene where a presumed chief of police, one of the protagonists, is shown, years before, while being questioned himself.

On a scenographical level, there is an interesting contrast between very austere house interiors and the exteriors of an extremely degraded Palermo. The interiors where a hypothetical Janus Bifrons moves, that is to say the chief of police who actually is a mafia boss, are rational and tied. It is however behind this formalism and this aseptic cure that a strong anguish feeling is hidden. The pitch is reached when the boss’ wife hangs herself as she can not live secluded in her own house, hunted by her demons.
Every character has its double; their psychologies are all shifty and cryptic: anyone could be anyone else. This choice made by the director is intended to focus the audience attention on the core of the events rather than on the personalities of the characters or on relational dynamics.
Everything in the movie is made essential; the story is apparently narrated in an impersonal way. The credo that is in force in this film is not siding with anyone.
These atmospheres enhance the feeling of indefiniteness and uncertainty in which a significant thematic crux is unraveled: what if the mafia has got the wrong person?

The chief of police questions a helpless surveyor who had the bad luck of being in the wrong place at the wrong time. The man is eventually killed, an eye-opening event which shows us how the mafia can sometimes get off track when deciding who has to be killed. By this stage of the film, as confirmed by the title, it seems very likely that there was a mistake and the man was mixed up with somebody else.
The several changes of the focus really strike the eye and add to the feeling of anxiety and oppression experienced by the characters in the film.
The decision to film a gunfight without actually showing it but presenting it to the audience in a fixed camera shot and through the gunshot sound is spot on.
Similarly, in a beating scene we don’t see people fighting but it is possible to understand what is happening thanks to the noise we hear and the shadows on the walls.
Cuccia’s notable work is structured as a moral story where all events are connected in a cause-effect relationship. He depicts a dry and cold story where everything is based on retaliation.

 

“Lo scambio” (“Nameless Authority”) di Salvo Cuccia

Lo scambio, film diretto da Salvo Cuccia, è uno dei quattro film italiani presenti nella sezione Film in concorso del 33° Torino Film Festival.

Il soggetto prende spunto da una storia vera. Il regista lo ha scritto dopo diversi incontri con il magistrato Alfonso Sabella, durante i quali questi ha parlato di un omicidio di mafia in cui erano morti tre ragazzi, due dei quali sicuramente non avevano niente a che fare con la criminalità.

Continua la lettura di “Lo scambio” (“Nameless Authority”) di Salvo Cuccia

“Symptoma” di Angelos Frantzis

Dopo Into the Woods del 2010, Symptoma è il nuovo lavoro del regista greco Angelos Frantzis. A chi si avvicinasse solo adesso al cinema greco, questo film potrebbe risultare straniante, un groviglio in cui si disperdono onirismo e deliri concettuali. Il cinema greco contemporaneo è la meticolosa fusione di elementi fantastici, surrealistici e, a tratti, esoterici ma riesce raramente a plasmarli nella maniera corretta.

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“Luce Mia” di Lucio Viglierchio – Conferenza stampa

Memoriale di una malattia

Un film bergmaniano. Così è stato presentato ai giornalisti Luce mia, il film di Lucio Viglierchio, nato da un’idea di Viglierchio e Sabrina Caggiano che ne è anche la protagonista. L’ultimo lavoro del regista torinese nasce da una collaborazione con la Rai e grazie ai fondi ricevuti dal Piemonte Doc Film Fund.

Luce mia è anche un progetto transmediale, in quanto esistono un blog in cui sono raccontate le storie di Lucio e Sabrina (www.lucemia.it/film) e una piattaforma web che raccoglie testimonianze di medici, referti, diagnosi, analisi e risultati del percorso medico di Lucio: un luogo virtuale in cui si possono trovare informazioni scientifiche sulla leucemia e ricevere risposte alle domande più frequenti (www.lucemia.it/webdoc).  Luce mia è quindi un esempio di cinema immersivo che approfondisce la sconosciuta realtà ospedaliera all’interno di quei reparti caratterizzati dall’isolamento.

Continua la lettura di “Luce Mia” di Lucio Viglierchio – Conferenza stampa

Burnt by John Wells

Article by: Elisa Cocco

Translation by: Rita Pasci

After reaching success and having been awarded with two Michelin stars, the famous chef of a Paris restaurant, Adam Jones (played by Bradley Cooper), destroys his career with his addiction to drugs and women.
After a period of redemption, spent opening a million oysters, he decides to go back to London, determined to open the best restaurant in the world and to gain the much desired third Michelin star. In order to achieve this, however, he needs a group of experts and so he assembles the best team possible: financer Tony (Daniel Bruhl), his friend Max (Riccardo Scamarcio), his old French workmate Michel (Omar SY) and most of all, his colleague Helene (Sienna Miller), one of the best chefs on the British market.
Adam’s desire of redemption, the cooperation of his team and Helene’s love will bring him to conquer the sought-after third Michelin star.
Bradley Cooper is supported by a great cast: in addition to the above-mentioned actors, Uma Thurman plays the role of Simone Forth, the most important food reviewer in London; Emma Thompson is Dr. Hilda Rosshilde, a well-known psychiatrist; while Matthew Rhys plays the role of Montgomery Reece, a top celebrity chef well-known all around Europe, who has already owned three Michelin stars.
Burnt, directed by John Wells, tells a story about love for food and cooking, but it also focuses on the importance of second chances.
A witty, funny film. But, above all, a film that can make one’s mouth water.

  • “He is a two star Michelin chef, to get even one Michelin star you have to be like Luke Skywalker, and if you manage to get three… you are Yoda”.
  • “What if he is Darth Vader?”

 

“Burnt” (“Burnt – Il sapore del successo”) di John Wells

Il noto chef del ristorante parigino Adam Jones (interpretato da Bradley Cooper) dopo aver raggiunto il successo ed essere stato premiato con due stelle Michelin, distrugge la sua carriera entrando nel tunnel delle droghe e del sesso.

Dopo un periodo di redenzione passato a sgusciare un milione di ostriche, decide di tornare a Londra determinato ad aprire il miglior ristorante del mondo e a guadagnare la tanto ambita terza stella Michelin. Per riuscirci ha però bisogno di un gruppo di esperti e raggruppa il miglior team possibile: il finanziatore Tony (Daniel Bruhl), l’amico Max (Riccardo Scamarcio), un vecchio compagno francese Michel (Omar SY) e la collega Helene (Sienna Miller), una delle migliori chef sul mercato inglese.

Continua la lettura di “Burnt” (“Burnt – Il sapore del successo”) di John Wells

The Seventh Seal by Ingmar Bergman

Article by: Valentina Di Noi

Translation by: Cristiana Caffiero

“And when the Lamb had opened the seventh seal, there was silence in heaven about the space of half an hour and I saw seven angels standing in the presence of God and there were given to them seven trumpets.” This is the opening of The Seventh Seal, an enchanting black and white movie directed by Ingmar Bergman in 1957.

The Knight Antonius Block (Max Von Sydow) and his squire Jons (Gunnar Björnstrand) go ashore to a beach. They are both exhausted from such a long trip: they came back from the Crusade in the Holy Land. Anyway they’re safe and they managed to come back to Scandinavia, their homeland. However just there in that beach there’s the Death (Bengt Ekrot) who’s waiting for Block in order to take him away with her. Block challenges the Death to play chess with him in order to stall. In fact he wants to find some answers to some doubts about his faith, that is not so strong as it was before taking part in so many battles in Holy Land.

The game starts: Block has the white army while the Death has the black one. Anyway while they’re playing Block’s trip goes on. In a middle aged Scandinavia tortured by the plague the Knight and his squire keep on travelling and they meet a family of actors (Bibi Andersson and Nils Poppe) with their child and other characters. The Seventh Seal is one of the most important movie in the history of cinema since it’s not just a movie but it’s also something about the major doubts the whole humanity has: does God exist? Is there anything after death? Here some selected majestic dialogues from the movie:

“You haven’t replied to my question. Do you know who watches over her? The angels? God? Satan? or Nothing?I tell you the truth Nothing-

(Jon, the squire, has a materialistic view of life.)

“Are you going to tell us about your secrets?
I have no secrets to tell you.
Then you don’t know anything.
I don’t need to know anything”

(the Death confesses she doesn’t have a purpose of her own. She just operates.)
“I want to know, no faith, no simple hypothesis, I want something for sure, I want God to give me his hand, to disclose his secret face to me and talk to me”

(Antonius Block’s thoughts while he’s looking to concrete answers to his existential doubts.)
The character of The Death is very interesting: she’s always resolute, always ready to disorientate the audience with her absence of soul in her words.
The character of the squire, who’s always ready to give you his materialistic view of life. If you say something wrong or absurd he’s ready to chill you. There are some pleasant times with the family of actors. They help the audience to feel part of the tragedy. Anyway they actually represent hope: they’re some kind of holy family and they’re meant to help the film audience to overcome the horror who has played the Death herself.
The seventh film is one of that film everybody should see at least once in a lifetime!

 

“Sexx” di Davide Ferrario – Conferenza Stampa

Cosa vediamo quando guardiamo? Che rapporto si stabilisce tra l’osservatore e la cosa guardata?

Affollata la Conferenza stampa odierna per il film Sexxx, inserito nella sezione Festa Mobile / Palcoscenico. Presenti il regista Davide Ferrario, il coreografo Matteo Levaggi, il direttore della fotografia Fabrizio Vacca e Paolo Manera, direttore della Film Commission Torino Piemonte.

Il regista ha raccontato di aver visto il balletto Sexxx di Levaggi per una casualità, e per la curiosità suscitata dal titolo. Positivamente affascinato dallo spettacolo, ha voluto subito far sapere al coreografo che sarebbe stato disposto a filmarlo.

Continua la lettura di “Sexx” di Davide Ferrario – Conferenza Stampa

Strange Days by Kathryn Bigelow

Article by: Matteo Merlano                                                                                       Translation by: Lorenzo Matarazzo

  • Los Angeles, December 31 1999, at the dawn of the new millennium tensions and chaos rule a militarized city, slave to a new drug which is powerful and unstoppable: Deck, i.e. other persons’ experiences recorded on mini-disc and directly wired to the brain of the user. Lenny Nero (Ralph Fiennes) is the biggest “experiences’” dealer around, but when he receives a clip containing a Deck fix showing the truth about the homicide of rapper Jeriko One, leader of the rising afroamerican rebellion, his life takes a dangerous turn.

    Set only four years after the moment of shooting, Strange Days predicted the future in a rather disturbing way. Kathryn Bigelow was the first woman director who cleared the Action genre through the customs of male-only directions (masterpieces such as Point Break and Near Dark are works of hers) and gives us the image of a Los Angeles which is nocturnal, violent and full of tensions and contradictions (a big part of the credit goes to the script from James Cameron, Bigelow’s ex-husband) where the characters wander like ghosts searching for Life, not theirs, but other people’s, the one which is “transferred” in the brain like a file from a Usb drive. No one is safe in this world and to escape sadness everyone is willing to do anything. A movie filled with a 90s’ atmosphere, from the aesthetic choices (fast montage and a photography reminiscent of the one used in videoclips) to the Hip Hop, Techno and Post-Punk countercultures, up to the human side, where in a society which lacks direction the only salvation is true love, when it is absolute and romantic. Great soundtrack: Tricky, Deep Forest, Peter Gabriel and Skunk Anansie, to name a few.
    Perfect cast with Fiennes, at ease and troubled at the same time in this scenario, a Juliette Lewis who is more beautiful and reckless than ever and Angela Basset, who carries on the role of tough women so dear to Cameron (Sigourney Weaver in Aliens and Linda Hamilton in Terminator), as well as a disturbing Vincent D’Onofrio, playing a corrupted and psychopathic policeman.

    It is unbelievable how much of the vision from Bigelow and Cameron came true. At the time of production racial tensions had reached their peak because of the police killing of Rodney King in 1992. Today they have emerged again for the same reason in many places around the United States. A militarized L.A. sadly reminds of the big European cities of these weeks. After the 13 November tragedy in Paris and after other similar events, Strange Days appears extremely contemporary. A must see which helps to understand the dark, crazy and “strange” days that we are living in now, year of the Lord 2015.

 

“Strange Days” di Kathryn Bigelow

Los Angeles, 31 dicembre 1999. All’alba del nuovo Millennio le tensioni e il caos regnano in una città militarizzata e schiava di una nuova droga, potente e inarrestabile, “deck”, capace di trasmettere esperienze altrui registrate su mini-disc e collegate direttamente al cervello dei fruitori. Lenny Nero (Ralph Fiennes) è il maggiore spacciatore di “esperienze” in circolazione, ma quando riceve una clip che contiene un deck con la verità sull’omicidio del rapper Jeriko One, leader della nascente rivolta afroamericana, la sua vita prende una piega pericolosa.

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“La decima vittima” di Elio Petri

La decima vittima sarà una satira del mondo attuale, una trasposizione allegorica di aspirazioni di inquietudini dell’oggi dove verranno fustigati certi costumi, la ferocia dei rapporti individuali e collettivi, l’arrivismo sociale dei tempi moderni”   E’ con queste parole che Elio Petri presenta il suo film nel 1964.

La decima vittima, che viene proiettato nella retrospettiva “Cose che verranno”, è tratto dal racconto La settima vittima di Robert Sheckley, edito in Italia nell’antologia Le meraviglie del possibile. E’ sceneggiato tra gli altri da Ennio Flaiano e Tonino Guerra ed è magistralmente interpretato da Marcello Mastroianni e da Ursula Andress. Forse è uno dei pochi film italiani di fantascienza degni di nota: un insieme di commedia e dramma, azione e satira, di surrealismo e pop art. D’altra parte, sono evidenti anche le parentele con la tradizione della commedia italiana. 

La narrazione è fortemente surreale. Siamo in un ipotetico futuro in cui è stato creato il Ministero della Grande Caccia, un organo che controlla l’inseguimento e la lotta tra due antagonisti, un cacciatore e una vittima i quali fanno a gara a chi toglie per primo la vita all’altro. Ricompensa per  il cacciatore che uccide la propria decima vittima è una consistente somma di denaro e la vincita del titolo di decathlon. Una delle sequenze più surreali e avvincenti del film è quella della sfida tra Caroline (Ursula Andress) e Marcello.

Scelta perfetta degli sceneggiatori e del regista è quella di ambientare la sequenza finale a Roma, nel Tempio di Venere. Le rovine dell’antichità diventano il teatro di una vicenda ambientata in un futuro prossimo, per dimostrare che la violenza e il piacere provocato da essa appartengono a tutte le epoche. Questo è un forte spunto di riflessione che il film, con toni leggeri, cerca di sollevare, denunciando il sistema capitalistico nel quale viviamo. Gli uomini sono oggetti facilmente rimpiazzabili da altri, e uccidersi vicendevolmente è un atto legittimo e necessario per la convivenza pacifica. C’è un nemico predestinato, e deve necessariamente essere eliminato. 

Film più che mai attuale, allegoria di una realtà e di una società tipica dei nostri giorni. Emblematica la leggerezza con la quale Marcello ride della (finta) morte di Caroline: “Lei ha perso perché non ha bevuto una doppia razione di tè Ming!”.

“Dead Slow Ahead” di Mauro Herce

Mauro Herce, di origine catalana, al suo debutto da regista ci propone Dead Slow Ahead, un lungometraggio che – è stato detto in sede di proiezione, con il regista presente – è stato “conteso” fino all’ultimo tra la sezione “Cose che verrano” per il suo carattere fantascientifico e la sezione Tffdoc che infine è riuscita ad aggiudicarselo. Continua la lettura di “Dead Slow Ahead” di Mauro Herce

“Luce mia” di Lucio Viglierchio

Luce mia è il film di Lucio Viglierchio presentato nella sezione Festa Mobile della 33° edizione del Torino Film Festival. Il regista racconta, con sguardo documentaristico, il periodo trascorso in ospedale a causa di una malattia: la leucemia mieloide acuta. Viglierchio punta l’attenzione sul dolore provocato dalle cure, sull’isolamento terapeutico e su come, estinto il morbo, la vita sia cambiata inevitabilmente. Ma di fronte alla nascita di una figlia, il regista capisce che bisogna seppellire i tristi ricordi del passato per ricercare un equilibrio che permetta di sentirsi ancora vivi.

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“Borsalino City” di Enrica Viola

Borsalino City, della sempre molto fornita sezione Festa Mobile, è un documentario diretto da Enrica Viola e prodotto dalla UNA Film. Il film ripercorre la storia della ditta Borsalino; fondata ad Alessandria nel 1857 da Giuseppe Borsalino, ottenne fama internazionale con il Grand Prix del 1900 tenutosi a Parigi. Pochi mesi dopo, Giuseppe – che aveva studiato l’arte del cappellaio in giro per il mondo – morì, lasciando la Borsalino in eredità al figlio Teresio Borsalino. È in questi anni che si creò una faida all’interno della famiglia, con la scissione del cugino di Teresio, Giovanni Battista Borsalino, il quale fondò una nuova ditta chiamata Borsalino Fu Lazzaro; da questa faida nacque l’idea che forse, il vero inventore del cappello Borsalino, non era stato Giuseppe, ma suo fratello Lazzaro (il padre di Giovanni Battista). Teresio lasciò la ditta di famiglia in mano al nipote Teresio Usuelli, durante il cui mandato si festeggiò il centenario della nascita della ditta Borsalino, nel 1957; sono i loro discendenti, tra cui Vittorio Vaccarino, che raccontano le faide, le imprese e i ricordi della loro impresa di famiglia.

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Borsalino City by Enrica Viola

Article by: Barbara Vacchetti

Translation by: Martina Taricco

Borsalino City, part of the always rich Festa Mobile section, is a documentary directed by Enrica Viola and produced by UNA Film. The movie retraces the history of the Borsalino company, which was founded in 1857 by Giuseppe Borsalino in Alessandria, a town located in the piedmontese countryside. The brand became internationally well-know thanks to the Grand Prix held in Paris in 1900. A few months later Giuseppe, who had learned the hat craftmanship around the world, died and the company was passed on to his son, Teresio Borsalino. After a family feud Teresio’s cousin, Giovanni Battista Borsalino, founded a new company called Borsalino Fu Lazzaro. As a consequence of the split, rumours followed that the true inventor of the Borsalino hat had not been Giuseppe while instead his brother Lazzaro (Giovanni Battista’s father). It was Teresio Usuelli, Teresio Borsalino’s nephew, who inherited the family company whose centenary was celebrated in 1957. In the movie, the family descendants tell and recall the feud, the business achievements and their history.
Nonetheless, the documentary focused the attention not only on the Alessandria firm as instead much more on the social rule played by hats from 19th Century until the first half of the 20th Century. In fact, for a hundred years, hats showed the social class people belongs to. Nobody would have gone out without a hat and this is proved by many photographs and video of that time. However, during the 60s wearing hats was not fashionable anymore so that many hat factories were forced to shut down or sell the company.
In particular, the Borsalino was considered as a source of wealth for the city of Alessandria because it employed many of its inhabitants. Thanks to many audio testimonies granted by some of the employee, we know that the company bell marked not only the working life but also the activities of the city. When Alessandria was bombed during the Second World War, the population did their utmost to save all the hats left in the factory and to help with its reconstruction.

 

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But the most interesting and unique aspect of the documentary is, with no doubt, the strong relationship between the Borsalino hat and Hollywood. By hearing Robert Redford rich voice telling us about his visit at the factory and his desperate quest after the hat worn by Marcello Mastroianni in Federico Fellini’s 8 ½, the audience goes back over to the Hollywood golden age and finds out the importance that hats had during that period. What would happen to Casablanca if in the scene when Humphrey Bogart leaves Ingrid Bergman, both of them were wearing any hats?

FILE – NOVEMBER 23, 2012: The American romantic movie drama Casablanca celebrated its world premiere on November 26, 1942. Starring Humphrey Bogart and Ingrid Bergman the film was a solid success in its initial run, winning three Academy Awards, and its characters, dialogue, and music have become iconic. It now consistently ranks near the top of lists of the greatest films of all time. Please refer to the following profile on Getty Images Archival for further imagery: http://www.gettyimages.co.uk/Search/Search.aspx?EventId=113854183&EditorialProduct=Archival&esource=maplinARC_uki_12nov Humphrey Bogart (1899 - 1957) and Ingrid Bergman (1915 - 1982) star in the Warner Brothers film 'Casablanca', 1942. (Photo by Popperfoto/Getty Images)

And what would happen to the image of the gangster wearing a hat that was so fashionable both during the prohibitionism and in films noir? The hat was used to connote the character. It was not only a medium with which cover one’s face when the police arrived, the hat gave a mysterious look to the character and, consequently, made the actor look like a star. After all, the huge recourse to hats to depict the gangsters was due to Al Capone habit of always wear a hat himself. The Borsalino company was able to took advantage from the popular imagination to promote its product and identify itself all around the world, that turned out to be a winning move. It is enough to mention the movie played by Jean-Paul Belmondo e Alain Delon which is named after the best-known hat in the world: Borsalino.

La felicità è un sistema complesso by Gianni Zanasi

 

 

 

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Article by: Lara Vallino

Translation by: Martina Taricco

Enrico Giusti’s job is a very useful one: he gets acquainted with incompetent business executives, he listens to them, then becomes their friend, and eventually manages to take over the company they are not able to run. His ability is to make these people believe that it was their own decision. He is the best and the only one in his field, but guilt does not leave him alone: are all managers like locusts?

Continua la lettura di La felicità è un sistema complesso by Gianni Zanasi

“La felicità è un sistema complesso” di Gianni Zanasi

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Enrico Giusti fa un lavoro utile: avvicina incompetenti dirigenti d’azienda, li ascolta, ne diventa amico, e infine li convince a cedergli l’azienda che non sono in grado di dirigere. La sua bravura consiste nel far credere che sia stata una loro idea. È il migliore nel suo campo, ma un senso di colpa lo perseguita: saranno davvero tutti cavallette?

Continua la lettura di “La felicità è un sistema complesso” di Gianni Zanasi

“Rak ti khon kaen” (“Cemetery of Splendour”) di Apichatpong Weerasethakul

– Mi hanno detto che ha un’amante. Riesci a vedere dove la tiene nascosta?
– Riesco a vedere solo la sua vita passata.
– Focalizzati sul presente, per favore. Voglio saperlo.

Una moglie tradita siede al capezzale del marito in coma in compagnia di una giovane sensitiva la quale, come lo zio Boonmee, si ricorda le vite precedenti. Ci troviamo nel piccolo ospedale di un villaggio dell’entroterra thailandese. Lo stesso villaggio in cui è cresciuto il regista Apichatpong Weerasethakul (la madre era medico in una struttura molto simile) e in cui ritorna dopo aver vissuto e lavorato negli Stati Uniti.

Continua la lettura di “Rak ti khon kaen” (“Cemetery of Splendour”) di Apichatpong Weerasethakul

Mountain by Yaelle Kayam

Article by: Alessandro Arpa

Translation: Kim Turconi

According to biblical tradition, The Mount of Olives represents the place where God will bring the dead back to life on Judgment Day. Cliffs and rocks outline a landscape full of paths both winding and labyrinthine, each of them studded with an unknown number of tombstones. A house built into a rock wall separates the world of the dead from the living. Tzvia (played by Shani Klein) lives in this spiritual and transcendental place. She is the protagonist of Mountain, the new film by Yaelle Kayam, which was presented for the first time this year in the “Orizzonti” section of the 72nd annual Venice International Film Festival. This feature film tells the story of a Jewish woman waiting for any signs of love coming from her husband. The routine of Tzvia is always the same: she does housekeeping and walks in poetic landscapes among millions of burial recesses. While Tzvia waits for the love and attention of Reuven, her husband, she begins to wander in the area around her house at night. Thus, she discovers that some erotomaniacs meet to consummate decadent copulations with each other, when the sun goes down. At the beginning, she hides herself among the tombstones and watches, with a voyeuristic attitude, the merging of the bodies during sexual intercourse. The Jewish woman discovers the meaning of sexual liberty and makes a comparison between that attitude and her unsatisfying life with her husband. Tzvia is still hidden and she does not know how to escape the situation. When the erotomaniacs become aware of the presence of the woman, Tzivia reduces herself to a servile condition. She feels a sense of guilt, so she decides to offer a meal to the group of exibitionists every night from now on. The film exudes the philosophy of Bataille and sacredness becomes seminal. Mountain presents images full of symbolism. For example, the scene in which Tzvia touches a used condom clearly indicates that she is a sexually repressed woman, while the image of the dead mouse lying on the floor reveals in advance the tragic ending of the film. To summarize, this work by Kayam is nebulous and fails to emerge. Still, there are some interesting – but half-developed – ideas. They float in the air just like Tzvia’s sexual desires do. Who knows if love will crush sense of duty once again.

Il blog degli studenti del Dams di Torino