1951. Dopo quasi vent’anni, Tilly (interpretata dall’attrice premio Oscar Kate Winslet) fa ritorno a Dungatar, luogo da cui era stata allontanata quando era solo una bambina in seguito ad un tragico evento, per occuparsi della madre Molly (interpretata dall’attrice Judy Davis). Il ritorno di Tilly genera turbamento tra gli abitanti. In un piccolo paese come Dungatar, sperduto nel nulla e circondato da immensi campi di grano, tutti conoscono tutti e ovviamente tutti sanno tutto di tutti. Con il suo fascino e la sua eleganza Tilly, talentuosa stilista, conquista gli sguardi di molti. Primo fra tutti, il sergente Farrat (interpretato da Hugo Weaving), un uomo per bene ma con un segreto: ama le stoffe, i tessuti, gli abiti e soprattutto le piume. Anche il giovane Teddy Mcswiney (Liam Hemsworth) rimane incantato dalla bellezza della giovane donna tanto da innamorarsi di lei. Ed infine le donne del villaggio, attratte dalle sue abilità sartoriali, iniziano a commissionarle numerosi abiti. Ma un ricordo sfocato tormenta Tilly e, lungo tutto il film, ella cerca di farlo riaffiorare nella memoria.
Rino – La mia ascia di guerra di Andrea Zambelli, presentato nella sezione Italiana.doc del 33° Torino Film Festival, è un omaggio a un grande partigiano, un eroe che non è mai sceso a compromessi, Rino Bonalumi.
Lo scorso 15 ottobre il National Theatre di Londra, consolidando una tradizione iniziata nel 2009, ha trasmesso in streaming la diretta della rappresentazione di Amleto con regia di Lyndsey Turner (produzione di Sonia Friedman) superando ogni suo record: 225.000 spettatori, 1.400 schermi in 25 paesi live e/o in lieve differita. In Italia uscirà nelle sale il 19 e 20 aprile 2016, in occasione dell’anniversario della morte del drammaturgo inglese.
Ieri sera Hamlet è stato presentato da Emanuela Martini al Torino Film Festival: pochi posti liberi al Reposi e tantissimi giovani che si sono lasciati attrarre dalla storia immortale del principe danese.
Bambini nel tempo. L’Italia, l’infanzia e la Tv è un documentario prodotto da Rai Teche e Rai Cinema con la regia di Roberto Faenza e Filippo Macelloni, da un’idea della Direttrice delle Teche Rai Maria Pia Ammirati.
“Testimonianze preziose, momenti catturati e conservati negli archivi delle Teche Rai, tasselli di un grande mosaico che si compone strada facendo, raccontando i mutamenti dell’Italia, dagli anni ’50 a oggi, da un punto di vista sorprendente, preciso e leggero: quello dei bambini.” Così viene presentato il film: attraverso un lungo e complicato lavoro di ricerca e di digitalizzazione all’interno degli Archivi delle Teche Rai, sono state selezionate testimonianze di un’Italia che cambia attraverso gli occhi dei bambini.
Il film “Lamb”, di Ross Partridge, è stato presentato nella sezione Festa Mobile al 33° Torino Film Festival.
Un uomo di mezza età, David Lamb, interpretato dallo stesso Partridge, dopo essere stato lasciato dalla moglie e aver assistito alla morte del padre, è preso dalla solitudine e entra in depressione.Nel parcheggio di un supermercato, per caso, incontra una bambina di undici anni, Tommie (Oona Laurence), anche lei sola, derisa dalle compagne e trascurata dai genitori. Tra i due nasce un sentimento ambiguo e fuori luogo che li porta a scappare insieme verso la vecchia casa del padre di David, spersa nelle praterie. Percorrono un lungo viaggio, si conoscono, imparano a fidarsi l’uno dell’altro, diventano complici; nulla intorno a loro è importante, sono come racchiusi in una bolla che li separa da tutto ciò che li circonda, presi nello scoprire questo nuovo sentimento. Al mondo esterno sono dedicati pochi momenti, pochi squarci di periferia americana e di natura vasta e selvaggia, come i cavalli che la bambina ha sempre sognato di vedere.
Ross Partridge traspone il romanzo omonimo di Bonnie Nadzam e con grande coraggio affronta un tema complicato da capire e da accettare, quale l’amore tra un uomo adulto e una bambina; un rapporto ambiguo, che lascia lo spettatore nella costante ansia che ci sia un risvolto violento nella storia; ma tra David e Tommie nasce un amore vero, al quale è difficile rinunciare.
Bravi nell’interpretazione gli attori protagonisti, Partridge e Laurence, che hanno saputo rendere al meglio e con grande espressività due personaggi sfaccettati e complessi. Frutto di una produzione indipendente, girato in soli diciotto mesi, il film ha una storia insolita e un po’ inquietante, ma narrata con delicatezza e sensibilità.
Giovedì 26 Novembre sono stati accolti in Conferenza stampa Ross Partridge e Jennifer Lafleur, regista e produttrice del film Lamb, presentato nella sezione Festa Mobile del 33° Torino Film Festival.
Ross e Lafleur hanno innanzitutto parlato della difficoltà di trovare finanziamenti per un film così particolare e con un tema così difficile. Ross Partridge, che è anche l’attore protagonista, afferma che si tratta di una piccola produzione indipendente frutto del lavoro di un solo gruppo di produttori, tra i quali figura Jennifer Lafleur.
Article by: Giulia Conte
Translation by: Lorenzo Matarazzo
Nene Grignaffini and Francesco Conversano dedicate a film to the Spoon River Anthology to celebrate the hundred years from the publishing of the famous poetry collection by Edgar Lee Masters. The movie was shot in Lewiston and Petersburg, Illinois, where the current inhabitants of those places read the compositions in their houses’ rooms. Slow pace, even too much sometimes, but a particular idea for sure. 104 minutes of traveling through small towns which tell the tale of the provincial America and the lives of those who live there.
All of the characters who read one of the epitaphs, identify themselves with one of the protagonists from the book, as if the latter were speaking of their lives too.
“All, all, are sleeping on the hill.”
Time is still, and the film moves from house to house, listening to the story of everyone. The feeling is that the inhabitants of the two cities are lazily living their lives, stuck like the Spoon River characters, who, and here lies the difference, were dead. As it is well known, life in suburban America can be many things, except easy and fun. This narration is a clear example of what means living isolated and almost imprisoned in cities, which might be big under the aspect of territorial extension but empty and not interesting on a cultural level.
One of the Lewiston citizens reads one the most touching sentences from the Anthology:
“It takes life to love life”
This to say that a certain kind of spirit is needed to love life, despite living there.
The Spoon River Anthology is a work written in 1915, which is still very contemporary today: George Gray said:
Yet all the while I hungered for meaning in my life.”
And I think that this is a very common thought, shared by anyone of us, just like it is by the characters of the movie.
The work of Grignaffini and Conversano is entirely focused on this aspect, i.e. passing on the hunger for life and the willingness of persons to tell themselves, in order to give life to an film that, although not easy in its comprehension, is moving and makes one think.
Article by: Luca Richiardi
Translation by: Kim Turconi
How do a young and loving couple react to the unknown?
The most primordial and essential life events can have serious effects on us, when they are experienced firsthand. The unknown is hidden behind the birth of a child, in the way in which such event changes the perception of the relationship between parents; the unknown can be found in tales and myths, among the folklore that is (or was) transmitted to children.
The Hallow, first feature film of the young British author Corin Hardy, deals with ambiguities and the unknown. The film initially titled “The Woods”, was premiered at the Sundance Festival, where it has been noticed for its qualities.
The Hallow is without any doubt a horror; it proudly represents the genre with all the trimmings and many clichés that are so appreciated by horror fans. We see a little family, happy to start their life together in their new isolated home surrounded by a lively, dark, dangerous forest. There is nothing wrong with using and abusing of such commonplaces, when it is done skillfully. This is what good films do, and they manage to do it in a stimulating and pleasant way.
Good films put the audience at ease by presenting a familiar atmosphere: a relaxed audience can be carried in different directions – even new directions – as long as the film itself is able to respect the audience. This is the case of The Hallow.
As he said himself during the press conference, Corin Hardy is a big fan of horror, especially of the golden age of Italian horror: the ’70s and ’80s variety of Dario Argento and Lucio Fulci – as evidenced by Corin’s shirt of Suspiria, worn with pride.
Hardy is well aware of what it needs to make a good horror film, and he shows great respect for his role models.
The Hallow is born from the legends of European folklore – Irish folklore in particular – and, for this reason, the film is set in Ireland itself. Hardy gathered together changelings, fairies, sylvan monsters, traditional creatures and he reshaped them with his own hands. He also showed to us some preliminary but beautiful sketches of the creatures design.
The Hallow is the result of measured quotations scattered throughout the film, good narrative choices that keep the tension high by playing on ambiguous situations, believable performances from the actors, great soundtrack and the light – almost invisible – hand of the director.
A horror film not to be taken lightly: it will scare, confuse and entertain you, and it will make you desire to watch another Corin Hardy’s film again.
“Mi chiamo Leo, ho 11 anni e ho un segreto… Sono un eroe.”
Phantom Boy è un film d’animazione che racconta la storia di un bambino malato di leucemia il quale scopre di possedere un potere: può staccarsi dal suo corpo e volare come un fantasma. Invisibile agli occhi di tutti, Leo attraversa i muri dell’ospedale e svolazza libero per la città di New York.
Sophelikoptern (The Garbage Helicopter) è un curioso film del regista svedese Jonas Selberg Augustsén, presentato nella sezione TorinoFilmLab del Festival.
La sequenza iniziale ci mostra una piattaforma d’atterraggio immersa in una fitta foresta nordica, sulla quale viene sganciato un enorme container da un elicottero che sentiamo, ma non vediamo. A seguire si cambia ambientazione: un’anziana signora all’interno della propria camera si accorge di non poter più fare a meno, dopo un anno di attesa, del suo orologio ora in riparazione; alza il telefono, chiama la nipote dall’altra parte della Svezia e chiede di riportarglielo. Inizia così il viaggio della nipote, di suo fratello e di un amico attraverso tutto il Paese.
Article by: Elisa Cocco
Translation by: Chiara Toscan
Phantom Boy is an animated film that tells the story of a child suffering from leukemia, who discovers that he can float free of his body and fly like a phantom. As none can see him, Leo flies through the hospital walls, and wanders freely around the city of New York.
During his treatments, Leo meets Alex, a police officer injured during a chase, who is now confined to a wheelchair. Leo, who dreams about becoming a police officer, offers his help to Alex and try to find the man with the broken face who is spreading a computer virus, in order to take control of the city. The reporter Mary, Alex’s friend, thinks she’s alone in the manhunt, as she doesn’t know that Leo is on her side, protecting her just like a guardian angel.
This is the second animated film after A Cat in Paris (2010) by Jean-Loup Felicioni and Alain Gagnol. The film tackles subjects such as illnesses, childhood and bravery. A serious disease affects an eleven-year-old child upsetting his boyhood, the most beautiful period in life. However, his courage is the element that stands out in the film: Leo decides to help Alex and Mary with their investigation, at the extent he sacrifices himself for their sake. He proves to be brave facing his illness and, at the end of the film, when he decides to stay with Mary even if it might preclude him the chance to rejoin with his material body.
Article by: Elisa Cocco
Translation by: Chiara Toscan
Mary Shepherd (wonderfully interpreted by Maggie Smith) is a lively elderly woman who lives in her dear old smelly van. She wonders around the streets of London, seeking for a safe place to live, until she get to Camden Town, an inner district in the north of the city. Here, people prove to be kind to her, especially when she settles with her van, despite the smell it brings in front of their homes.
The comedy writer Alan Bennet (interpreted by Alex Jennings) has just bought a house in the neighborhood and immediately notices the presence of the battered van, parked in the lane, and the eccentric woman who inhabits it.
When on-street parking becomes forbidden, Miss Shepherd finds herself without a place to park her van, and the writer, a restrained but kind man, invites her to settle temporarily in his driveway. However, the provisional arrangement becomes permanent: “I was supposed to stay here for three months, but I ended up staying fifteen years!” says Mary at the end of the film while laughing out loud; years in which their beautiful friendship develops, even including arguments and misunderstandings, just like an old married couple.
In Nicholas Hytner’s film there are two versions of Alan Bennett: one who lives his life, and the other who writes about it. The story is mostly true and is about an author who struggles with a creative block while trying to find himself. But the film is also the story of a friendship which turns an unknown vagabond into “one of the family”.
Presented at the festival’s section “Festa Mobile”, The Lady in the Van is adapted from Alan Bennett’s play and his autobiographical book. The writer, who is also the screenwriter of the film, played a walk-on part in the final scene.
The Lady in the Van is a pleasant film that leaves place for reflections while teaching to look beyond appearances, because behind the clothes (or the smell) there is always a hidden story.
Article by: Lara Vallino
Translation by: Roberto Gelli
Contemporary images of FIAT plants during the night covered by the machinery’s noise. Break. Second worldwide postwar period: Sicilian children are interviewed about the matter “Where are you dads?” “They are in Germany”.
This is the beginning of Francesca Comencini’s documentary entitled In fabbrica: Cipputi Award winner in 2007 as the best film about work. This year Comencini has received the lifetime achievement award in TFF.
During the Fifties Italy relies on industry, in order to improve working life, which can guarantee a better lifestyle. In a short dialogue between a journalist and a worker we hear “Is it easy to find a job?”, “Yes, there is a lot”, which causes some astonishment among the modern spectators, who got used to the term precariousness. But those years represent the highest point for the local economy, the so-called economic boom: from all the areas of the peninsula people move towards the big northern industries, so as to find a job. “Would you come back home to Naples?”, “No, not even if they covered me with gold”, this is the reply given by a girl defending her new status of worker. The interviewed show themselves to be always satisfied, in a time when job is a source of money and sustenance. What is more, it is something, which people can be proud of. On the other hand, this period also witnesses a strange combination between guaranteed jobs and black market labour, sometimes related to child labour.
Those years give progressively birth to a class consciousness, which results in the first FIAT workers uprising in 1962. If it is true that they get better work conditions, more problems seem to arise like that concerning the housing of people coming from the south. As a female worker stated in 1968: “those who always work by using their arms, lose mental agility, memory and thinking ability”. This situation leads towards new strikes aimed at removing production lines: workers now want to take part at the production activity, not only by tightening bolts, but by putting something of their own into the final products.
With the 80’s the concepts of profit and progress come onto the scene and automation systems are adopted in the firms. Workers form picket lines surrounding FIAT plants 35 days long, the firm replies imposing unemployment insurance. On 14th August, 1980 workers not involved in the measure, together with common citizens, demonstrate in the streets of Turin. It is the so-called “March of the forty thousand”; an invisible crowd of people opposing workers strike and demonstration. The unprecedented event is a sign of a rising individualism and negation of class consciousness. From that time on, there were in fact no strikes anymore.
Nowadays factories are still there but their workers have become a sort of invisible entity: none of them thinks about protesting or striking. There is an emptiness in terms of unity, that same unity which would let the situation change. Above all, none seems to believe in change anymore. A sense of resignation and indifference has spread among workers causing the maintaining of the status quo, which was conquered through efforts during those years, when consciousness of factory workers in Italy was born.
Article by: Luca Bellocchia Translation by: Rita Pasci
An excellent debut film from British director Paul Katis, after working his way up directing short films. The film is based on real events that happened to Mark Wright and a small unit of British soldiers stationed in Afghanistan, on a ridge near the Kajaki dam.
To disable a Taliban roadblock, a three-man patrol offers to carry out the mission. In a dried out river bed, one of them accidentally detonates a landmine, losing his leg in the process. This triggers a tense and claustrophobic narrative, where shots of vast deserted spaces define an indifferent and merciless setting. Although the film was shot outdoors, the action takes place in a very confined space.
What’s thought-provoking is the fact that even though the film is set in Afghanistan, the indigenous population is kept at a distance from the centre of the action, apart from the very beginning of the film.
Katis favours all that is anti-spectacular, the events are told in a dry and blunt manner. The outstanding performance of the actors playing the main characters cannot leave even the most insensitive viewer indifferent.
One thing that’s astonishing is the sense of humour of the soldiers, who, despite the tragic situation they find themselves in, still manage to defuse the tension. The soundtrack is reduced to the essential, the panting of the maimed and wounded and the noises made by flies cast the viewer directly into what’s happening, making everything more real.
Kilo Two Bravo is a film that gives an opportunity to elaborate on a point of view about war that is still unexplored, namely that of real war, where young people die simply because of distraction, misunderstanding, or just pure bad luck.
Ottima opera prima dell’inglese Paul Katis, dopo una gavetta trascorsa con cortometraggi. Il film è basato su fatti realmente accaduti a Mark Wright e ad una piccola unità di soldati britannici di stanza in Afghanistan, su un crinale vicino alla diga Kajaki dam.
Una pattuglia di tre uomini si propone volontaria per rompere un blocco stradale talebano. Nel letto di un fiume prosciugato, uno di loro fa accidentalmente detonare una mina, perdendo una gamba. Questo innesca una trama tesa e claustrofobica in cui inquadrature di ampi spazi deserti forniscono una sensazione di accerchiamento e prigionia.