Festival

Highlights PFF59

Pesaro Vision Pro
by Pedro Armocida

Put on the analogue viewing headset of the Pesaro Film Festival and watch its phenomena now almost paranormal – such as projection not on one type of film only, 35mm, but also on 16mm and Super 8. These can only be live events. The Mostra Internazionale del Nuovo Cinema, historically founded as an “anti-festival” in 1965, is still obstinately pursuing its glorious goal: to be a special festival, a break in the daily image overdose, and a venue for cultural experiences filled with meaning. The digital is the present of the future, something to be embraced; but exposed film brings us back to a physicality that is a practice prior to becoming an aesthetics: enter the Super 8 Workshop! In this sense, we could continue and find in PFF #59 a long thread of formats, including 16mm (Rosalind Nashashibi, Argentina Perspective), Super 8 (Milena Gierke and the Pablo Marín workshop), and 35mm (The Magic Screen). Our critical journey departs from the research, analysis, and study of the most experimental forms of cinema from the past, by way of our Lessons in Film History on the film avantgarde beyond the Wall (this year, Poland, Hungary, and Romania); its destination is the cinema of the future, that we highlight in the Competition in all its diverse formats. It is a seamless line of film critique that expresses the Festival’s DNA, something that still matters for us.

It is the throbbing heart of a cultural research that does not aspire to be exclusive, or to be a counter-proposal (or maybe a little), but has the ambition of paving the way. A replicable one.
The Festival can also be found in these pages, an instance of publishing activity that continues to produce studies and research on cinema: the monograph on Giuseppe Tornatore, published by Marsilio, is #85 in the collection Nuovocinema created by Lino Miccichè, who – along with Bruno Torri, whom we acknowledge with affection and gratitude – founded the Mostra Internazionale del Nuovo Cinema. If we are still here today it is thanks both to them and to all those who work impassionedly for the Festival, but also to the institutions that believe in us and support us financially, such as the Direzione Generale Cinema e Audiovisivo of the Ministry of Culture, the Regione Marche, and the Pesaro Municipality. With all these, we set out for a long journey that next year will take us to celebrate Pesaro, the 2024 Italian Capital of Culture.
See you at the Pesaro Film Festival #60!

 
 

Poster PFF59 by Luca Lumaca

Opening theme and poster design

by\ Luca Lumaca.

Director and writer Luca Lumaca
Editing Matteo Bombarda
Colour correction Davide Polato
Music Luca Giovanardi

“The basic idea of my opening theme was to break down the Pesaro Film Festival’s logo into the three simple geometric shapes that make it up, i.e., a triangle, a square, and a circle. In my concept, the three shapes become the symbols of three frames of three potential film typologies set in three possible locations linked to the Adriatic shore: I imagined the square for a beach scene from a drama, the circle for a scene in a pinewood from a comedy, and the triangle for a metacinematic scene.
Personally, I feel like the Pesaro Film Festival pieces together the different narrative souls of cinema just like the hand of the girl off screen puts together the geometric parts of the whole, in this case the festival’s logo. To make the video, I wanted to use several technical gimmicks to create images, such as the physical, analogue composition of the sign at the end of the footage, made with a felt board like those that used to haunt cafeterias until the late 80’s. Another technical idea is shooting double takes with double focus to film the geometric symbols scenes.” (Luca Lumaca)

Luca Lumaca

Luca Lumaca was born in Modena in 1978. He has worked as a photographer since 1997. From then on, he has been working in the field of advertising for important Italian and international companies.
Since 2001, he has imagined and created music and commercial videos. Over the years, he has worked several times with representatives of the Italian independent scene, publishing videos for various artists that have reached millions of views on web platforms. Many of these productions, exhibited in specialized galleries and festivals, have been awarded several prizes for their creative value. His creations refer to an often hyperpop, contemporary, and experimental imaginary; they are always devoted to technical research, with an eye to political and social issues. The Pesaro Film Festival dedicated a Focus to Lumaca in 2022.

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Se è vero che la Mostra di Pesaro è più per che non del Nuovo Cinema, si può immaginare che l’attività editoriale che la accompagna prenda le mosse dallo stesso stimolo vitale che anima la rassegna cinematografica: una forte tensione scientifica che cerca di affrontare il nuovo osservandolo in termini di processo, maturazione, tenuta nel tempo. L’attività editoriale rappresenta pertanto quel lavoro di comprensione e interrogazione critica che deve accompagnare l’opera d’arte se la si vuole inserire dentro un percorso di conoscenza e presenza nel tempo, dentro l’esigenza di leggibilità del mondo che è propria dell’arte. A partire dalla coralità della forma della miscellanea e dalla ricchezza di uno studio che preveda i punti di vista di tanti studiosi, la Mostra del Cinema di Pesaro ha accompagnato e seguito lo sviluppo della storia del cinema dell’ultimo mezzo secolo, ponendosi come punto di riferimento critico autorevole per chi voglia conoscere in profondità il mondo intorno alla settima arte.

 

 

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