Thanks to the Italian Prime Minister’s latest decree that foresees the (...)
_ Contemporary Russian Cinema – The documentaries
In the year in which Russian language and culture is being celebrated in Italy, the Pesaro Film Festival, directed by Giovanni Spagnoletti, continues its in-depth look at contemporary Russian cinema, begun last year with a wide focus on today’s arthouse cinema being made in Russia that, however, “postponed” documentaries for the Festival’s 47th edition.
Reviving a long and glorious tradition, Russian cinema of the new millennium is gaining growing acclaim at festivals worldwide, with frequent and prestigious awards, yet this has not been matched with adequate distribution in an Italian market increasingly less sensitive to the evolution of those film industries not considered sufficiently commercial. If this is the case with fiction, it holds even more true for the vast field of documentaries, in which Russia has historically boasted a highly esteemed industry, both in terms of quality and quantity.
Precisely to compensate for, at least in small part, this current gap in knowledge, we decided to hold the largest focus on the subject ever offered in Italy, to give an overview of the current situation of documentaries in all their forms, from the “artistic” to the “social,” without neglecting essay-films on two master Russian filmmakers (Tarkovsky, Sokurov). Representing this aspect of the sector (with one or more works) are the internationally acclaimed Sergej Loznica, Viktor Kosakovskij, Marina Razbežkina and Pavel Medvedev, some of whom will be in Pesaro to present their films. Thus, we will also pay homage to the celebrated (formerly Leningrad) St. Petersburg Documentary Film Studios, the oldest and most renowned state institution of non-fiction, the works of a varied group of female documentary filmmakers as well as directors such as Pavel Kostomarov/Antoin Cattin and Aleksandr Rastorguev (to whom the Festival is dedicating a special focus), who are particularly focused on contemporary society.
Organized with support from the Comitato Italia–Russia and, in part, with the collaboration of institutions of the Russian Federation (the Ministry of Foreign Affairs, Ministry of Culture, Foundation for Social and Cultural Initiatives and the Direction for International Programmes), the focus on contemporary Russian cinema is rounded out by a small “update” on female directors with two interesting works of fiction: the directorial debut of actress Alena Semenova, The Rowan Waltz, and Truce, the latest project by a director who was a guest at the 2008 Pesaro Film Festival, Svetlana Proskurina.
_ 25th Special Event on Italian Cinema
The 25th Special Event on Italian cinema – organized by Adriano Aprà and with CinecittàLuce, in collaboration with the Centro Sperimentale di Cinematografia - Cineteca Nazionale – pays tribute to the work of Bernardo Bertolucci, who last year received the Pesaro Nuovo Cinema Award. That occasion led to the idea of a complete retrospective, one so thorough that all the films were reprinted for the event and some were even restored. The films will screen in their integral and original versions, with Italian subtitles for those shot in foreign languages. On Saturday, June 25, Bertolucci will also meet with audiences for an interview conducted by Adriano Aprà and Bruno Torri.
From The Grim Reaper (1962), his surprising debut at the tender age of 21, to The Dreamers (2003), Bernardo Bertolucci has never ceased to tackle the historical and cinematic era in which he lives, and simultaneously challenge the present with an inquisitive and passionate look at the past (from The Spider’s Stratagem and The Conformist to 1900 to The Last Emperor).
The arc of his life, which brought him from the provinces of Parma to the international limelight, is anomalous in Italy and finds comparisons only in those of Rossellini of Antonioni.
From his "childhood disease" of the nouvelle vague, perfectly incarnated by extreme films such as Before the Revolution and Partner, to the gradual and difficult confrontation with his own maturity in films like The Tragedy of a Ridiculous Man and The Last Emperor, Bertolucci’s work can also be interpreted as a form of psychotherapy. The “proof” of cinema – its “blinding” mimesis of the real – is exceeded by the imagination, which is what led Bertolucci to invent worlds parallel to the one in which we live, where the forces that in real life risk overwhelming us find their order, their energy, their sublimation, allowing us to stretch beyond that proof.
After The Conformist, Bertolucci decided to step out of the comfortable but confined environment of independent cinema, to accept the challenge of making an industry film –and he succeeded in the grueling task of both preserving his auteur mark and transferring his obsessions from intimate dialogues to a “scandalous” provocation of broad audiences. The moment that an intimist story like Last Tango in Paris involved a star such as Marlon Brando, it became a universal fable. Perhaps it is through his work with bigger-than-life actors, who in Bertolucci’s hands become heroes of mythological tales, that we can perceive the filmmaker’s desire to come out into the open, to overtly and daringly take on a universe much bigger than his own. This attitude also extended to the risky pairing of big names with new faces – starting with Maria Schneider in Last Tango – many of whom went on to become stars in their own right.
The Bertolucci retrospective is accompanied by the volume Bernardo Bertolucci. Il cinema e i film (edited by Adriano Aprà), which offers a re-interpretation of the director’s entirely filmography, by young and less-young essayists, all invited to reflect upon a body of work that historical distance allows us to see in a new light. Essays are by: Adriano Aprà, Rinaldo Censi, Sergio Bassetti, Laura Buffoni, Giulio Bursi, Stefania Carpiceci, Antonio Costa, Luciano De Giusti, Giordano De Luca, Pierpaolo De Sanctis, Bruno Di Marino, Goffredo Fofi, Michele Guerra, Donato Guida, Silvio Grasselli, Tullio Masoni, Emiliano Morreale, Stefania Parigi, Patrizia Pistagnesi, Giacomo Ravesi, Federico Rossin, Alberto Scandola, Piero Spila, Simone Starace, Bruno Torri and Vito Zagarrio].
_ Pesaro Nuovo Cinema-Lino Miccichè Award
The competition section offers seven films from hot spots of new cinema throughout the world.
_ Cinema in the Square
Eight open-air screenings held in Pesaro’s main square, of films that unite quality with wide appeal among audiences, who will vote on the festival’s Audience Award.
_ Special Events
Working in Milan and Berlin, the filmmakers collective hiding behind the name Flatform are among the most internationally renowned directors of short films produced in our country. Inspired by a philosophical incipit that visualizes a habitat in which landscape and/or people’s actions seem identical but are actually in constant temporal flux, the group’s work has been shown at leading international films festivals (including Rotterdam, IndieLisboa, Venice and Oberhausen) while their latest project, Un luogo a venire (2011), will have its premiere in Pesaro.
The Festival is holding a retrospective of video artist, performer and documentary filmmaker Cosimo Terlizzi, of all his documentaries and majority of his video works. Works that cover various media and are characterized by their decisive, personal style and an approach that, beginning with the self, draw attention to the relationship between human beings and their environment, traversing themes of identity, ritual and the places in which we live. Born in Apulia, Terlizzi began his artistic career in Bologna, in which he resided for many years. His work has been shown in numerous museums and galleries, including the Modern Art Gallery of Bologna, the Fondazione Merz (Turin), the Galleria Civica d’Arte Contemporanea of Trento, Rome’s MACRO and the National Museum of Wroclaw in Poland.
_ 2011 CineMarche Giovani Award – First edition
A new prize dedicated to short films of any genre and technique, up to three minutes long, by directors under the age of 30 who live, study or work in the Marches region. Jury: Paolo Angeletti, Pierpaolo Loffreda, Alberto Pancrazi, Ludovico Pratesi, Claudio Salvi.
International Festival Signes de Nuit
LEMS (Electronic Laboratory for Experimental Music)
Five “round midnight’ evenings in the courtyard of Palazzo Gradari, including an entire programme of video art.
From Paris comes a selection of the International Festival Signes de nuit, now at its eighth edition. The programme of films presented seeks to cover some of the themes that refer to the new transformations of society, such as the relationship between technocratic domination and the sterilization of the body (Aorta); a dance of life against desperation (Contra); the challenge of a structure of the unconscious that is unpredictable (Between), meditative (Centipede sole) or magical (Magia); landscapes and frames of mind; as well as philosophical reflections on time, space, responsibility and eternity (Sink).
From Pesaro – through the LEMS (Electronic Laboratory for Experimental Music), the Oliveriani Library and Museums and the Quatermass(x) Collective of Research and Production – comes the video project by Mariangela Malvaso, Luca Vagni and Roberto Vecchiarelli entitled dodici pezzi facili. The work is the combination of three (photographic and filmic) projects that were part of two events promoted by Pesaro’s Oliveriani Library and Museums: the photo exhibit Intus Labor - immagini e installazioni; and the cycle of conferences entitled Dodici pezzi facili - cose rare preziose e insolite.
_ PERF 2011 - Scuola del Libro Art Institute of Urbino
The comic books and animations of the students of the Masters course of the Scuola del Libro di Art Institute Urbino will be on exhibit as video installations in the Teatro Sperimentale during the Festival at the Libreria del barbiere bookshop in via Rossini 38 (June 11-27).
Young jury – Guerrilla marketing
The Fondazione Pesaro Nuovo Cinema with support from the Carlo Bo University of Urbino recognizes the accomplishments over the years and the fruitful relationship between the Festival and the three-year diploma course and the Masters in Communication and Advertising based in Pesaro, through scholarships for students and the creation of a jury of young people comprising approximately 20 students from the Masters course, who will present an award to the Best Film of the Festival.
With the department of Sociology we have organized a new guerrilla marketing campaign with the help of the most innovative forms of viral communication.
_ 2011 Amnesty Award
Created in 2007, the Amnesty Italia - Cinema and Human Rights Award will once again this year be given to the film that best unites the multiple themes of human rights. The films will be chosen from among the titles in Competition, Russian Documentaries and Out of Competition by a professional jury comprising Gianfranco Cabiddu (president), Riccardo Giagni, Antonello Grimaldi, Riccardo Noury and Sonoa Orfalian.
_ Pesaro in Rome
As part of the “Great Festivals” event in the outdoor cinema of Rome’s Piazza Vittorio, for the eighth consecutive year in collaboration with ANEC Lazio, we will hold Pesaro in Rome (July 8-10, 2011), an exhaustive selection of films from the 2011 festival’s various sections.