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i mille occhi XVI edition Teatro Miela Trieste 15_21 September, 2017 Festival internazionale del cinema e delle arti Festival internazionale del cinema e delle arti I mille occhi / The Thousand Eyes Festival internazionale del cinema e delle arti / International Arts and Film Festival XVI: Eros e PriaPo Trieste, Teatro Miela, 15 ‡21 settembre 2017 AntePrima a Roma, Cinema Trevi - Cineteca Nazionale, 12 ‡13 settembre 2017 il festival dell’Associazione Anno uno con il contributo di main partners La Cineteca del Friuli, FIAF – Archivio Cinema del Friuli Venezia Giulia, Gemona (UD) Centro SPerimentale di Cinematografia – Cineteca Nazionale, Roma project partners Associazione culturale Cineteca Italiana, Milano L’Officina Film Club, Roma Cineteca di Bologna Fuori orario, Roma Anno uno Museo nazionale del cinema, Torino Cineteca Bruno Boschetto, Torino Elliniko Kentro Kinimatoghrafou, Athina Associazione GiusePPe De Santis, Fondi Presidente ERT, Athina Fondazione Luigi Micheletti, Brescia Michele Zanetti Hrvatski filmski savez, Zagreb Archivio audiovisivo del movimento oPeraio e Jugoslovenska kinoteka, Beograd democratico, Roma Vicepresidente Centar film, Beograd Penny Video, Roma Giuliano Abate Werkstattkino, München RiPley’s Film, Roma Kommkino, Nürnberg AFIC, Associazione Festival Italiani di Cinema Direttore Filmmuseum, Düsseldorf Casa del cinema di Trieste Sergio M. Grmek Germani Filmmuseum München Comunità Greco Orientale di Trieste Istituto Luce - Cinecittà, Roma Fondazione Ellenica di Cultura, Trieste Consiglieri Marie-Françoise Brouillet Annamaria Camerini Igor Kocijan čič Olaf Möller Alice RisPoli Dario Stefanoni fuori orario cose (mai) viste on the cover c Joanne Woodward and Lee Remick in a film still of The Long, Hot Summer (1958) casadelcinema by Martin Ritt (Anno uno Collection). .trieste ideazione, ricerche e messa in scena catalogo a cura di Si ringraziano Angelo S. Draicchio di RiPley’s Film Sergio M. Grmek Germani Simone Starace tutti i cineasti e i produttori dei film in programma, Giorgio Nogherotto, Rita Ravalico, Guglielmo con la collaborazione al programma di con contributi di tutti gli autori e gli editori dei testi pubblicati, Danelon, Francesco De Luca, Cecilia Ermini Thanos AnastoPoulos, ChristoPh Draxtra, tutti i partecipanti agli incontri, e Daniele Marzona, Michele Sumberaz Sotte, Cecilia Ermini, Sergio M. Grmek Germani, Mila Lazi ć, Barbara Scarciglia, Alice Bensi, Francesco Sacchi, e Fulvio Baglivi, ChristoPh Draxtra, Mila Lazi ć, project partners e collaboratori Olaf Möller, Simone Starace, Roberto Turigliatto, Olaf Möller, Dario Stefanoni, Gary Vanisian Valentina Molaro di Teatro Miela - CooPerativa CINETECA DEL FRIULI – A RCHIVIO CINEMA DEL FRIULI Gary Vanisian grafica e impaginazione Bonawentura VENEZIA GIULIA Cristina Vendramin Nicoletta Romeo di Trieste Film Festival - AlPe coordinamento direttore Livio Jacob Adria Cinema Margherita Pevere stampa archivio film Elena Beltrami, Alessandro De Zan, Sandi Škerk di Azienda agricola Škerk con la collaborazione di Poligrafiche San Marco, Cormons Simone Londero, Alice RisPoli, Andrea Tessitore Dario Zidari č di Azienda Agricola Zidari č Francesca Bergamasco traduzione del catalogo in inglese si ringraziano Per la collaborazione Piera Patat, Maddalena Giuffrida, Walter Stanissa di movimentazione Nicole Jurman Giuliana PuPPin, Ilaria Cozzutti, Ivan Marin Agriturismo Juna Luca Luisa traduzioni e interpreti CENTRO SPERIMENTALE DI CINEMATOGRAFIA – un ringraziamento speciale a ufficio stampa e comunicazione online - Erica Bresciani, Isabel del Zotto, ChristoPh Draxtra, CINETECA NAZIONALE Gabriella Cucchini realizzazioni video Mila Lazi , Paola Sorrentino, Simone Starace, Presidente Felice Laudadio ć direttore generale Marcello Foti si ringraziano inoltre Francesca Bergamasco Gary Vanisian Benjamin Albrecht, Christian APPelt, Adriano assistenti ufficio stampa e social team direttore Gabriele Antinolfi proiezioni conservatore Daniela Currò APrà, Chiara Barbo, Corrado Basile, Maria Teresa Francesca Benedetti, Giulia Terzani, Amine Elcicek, Paolo Venier Bassa PoroPat, Sara Bergamasco, Enrique Bergier, Lucia Conti, Ginevra Radivo, Giulia GroPPazzi diffusione culturale e Programmazione Laura Argento con Maria Coletti, Domenico Monetti, Luca Pallanch, Paolo Bertagni, Matteo Biacca, Claudia Bouvier, sottotitoli Maurizio Cabona, Bilquis Castano, Mohamed ufficio stampa esteri Betina Lilian Prenz Franca Farina, Viridiana Rotondi, Silvia Tarquini, Gloria Zerbinati Cosetta Delfaro Challouf, Sergio Crechici, Alice Cucchetti, Evelyn premio Anno uno realizzato da e lo staff del Cinema Trevi Dewald CaPorali, Cristina D’Osualdo, Massimo ospitalità Stefano Coluccio, Canestrelli - Venice Mirrors, Venezia Ferrari, Beatrice Fiorentino, Gabriele Giuli, Toni Mara Guerrini CINETECA BOLOGNA Giusa, Franco Grattarola, Federica Gregori, assistente ufficio ospitalità direttore Gian Luca Farinelli Konstantin Hockwin, ChristoPh Huber, Rainer Carlotta Pinatti archivio Andrea Meneghelli, Carmen AccaPuto KnePPerges, Jan Kuhn, Petar Jakoni ć, Giulio selezione vini e omaggi ospiti offerti da sito internet CINETECA ITALIANA Lauri, Paolo Lughi, Jaruška Majovski, André Zenmultimedia Azienda agricola Škerk, Duino Aurisina (TS) direttore Matteo Pavesi Malberg, Bernhard Marsch, Felix Mende, Annalisa Azienda agricola Zidari č, Duino Aurisina (TS) Metus, Federica Naveri, John Oliver, Chiara assistenza informatica Caffè Teatro Verdi, Trieste MUSEO NAZIONALE DEL CINEMA Omero, Norbert Pfaffenbichler, Giulia Pigato, Stefano Biloslavo Taverna SaPori Greci - Sorsi e Morsi, Trieste conservatore Claudia Gianetto Enzo Pio Pignatiello, Federico Poillucci, Nenad accoglienza, maschere, infopoint Theresia Mittel Bistrot, Trieste FUORI ORARIO Polimac, Giorgio Rossi, Antonio Rubini, Gianni Giulio Baistrocchi, Farhan Shabbir, Amelia dolce q.b., Trieste enrico ghezzi, Roberto Turigliatto, Fulvio Baglivi, Sadar, Cristina Sain, Giulio Sangiorgio, Tatti Elisa Weffort Peroni Gustò TiPical Triestin Buffet, Trieste Donatello Fumarola, Lorenzo EsPosito Sanguineti, Sebastian Schwittay, Silvana Silvestri, Ponteross6, Trieste Vlado Škafar, Francesco S. Slocovich, Daniele video e foto L’O FFICINA FILM CLUB Terzoli, Ghiannis Theos, Fulvio Toffoli, Gianni Luca Innocenti Paolo Luciani, Cristina Torelli Torrenti, Silvia Vallario, Antonella Varesano, assistente video e foto Giorgia Venturoli, Mislav Vinkovi , Loris Zecchin JacoPo Baroni Konstantinos Aivaliotis di Elliniko Kentro ć Kinimatoghrafou e Bernd Brehmer di Werkstattkino Hotel Savoia Excelsior, Hotel Filoxenia, Diana Nenadi ć di Hrvatski filmski savez B&B Amelie, Brass B&B, Cerino b&b, Aleksandar Erdeljanovi ć, Saša Banjovi ć di 0.3 stanze, B&B EmPire 1970, Meg Homestay Jugoslovenska kinoteka Ljubomir PoPovi ć, Jadranka Blanuša-Vu čkovi ć di Centar film media partners Darko Šimi čić di Institut Tomislav Gotovac Igor Pressel, Kaja Bohor č di Slovenska kinoteka Pier Paolo Poggio, René CaPovin, Stefano Guerrini di Fondazione Luigi Micheletti Roberto Cicutto, Maria Gabriella Macchiarulo di Istituto Luce - Cinecittà Outside the Law by Sergio M. Grmek Germani It’s not my soul, it’s my heart. the Protagonist of The Fireworks Woman by Wes Craven Cinquantaquattro marinai cinesi, minacciati di essere espulsi dal Canada perché – dopo aver subito un siluramento – rifiutavano di riprendere il mare, dichiarando di essersi reincarnati come canadesi. Spiegarono che, dopo il siluramento in pieno Atlantico, erano morti e si erano reincarnati sulla nave canadese che li aveva raccolti. Le autorità canadesi non accettarono questa dottrina, e i cinesi dovettero riprendere il mare. Elias Canetti, Il libro contro la morte , by Ada Vigliani, AdelPhi, Milan, 2017 The cinema screen has no frame, according to the invaluable lesson Provided by André Bazin; instead, it is a window. Therefore, if I mille occhi choose to frame their Program, it is only to broaden it even further. This year, the first and the last of Seth Holt’s finished films are going to be the first and the last film screened at the festival. They have established themselves as the films intended for that role; the titles alone give it away, not to mention their actual viewing. Because the wandering, erratic, detournante nature of the former is emPhasized by the ruthlessness of the latter (and the female char - acters have never before been a comParable target of denied sacrifice as they are in Holt’s filmograPhy, starting from Maggie Smith and Andree Melly in the first film, uP to Valerie Leon in his incomPlete works) and, in the end, the Perilous Path of Danger Route Route ends with a freeze frame holding the Protagonist, defeated PerPetrator of the feminicide, before his exit. There could not be better evidence of why he is such a great film-maker to rediscover, who is certainly Part of the Perfect Poker of British cinema (on which the schematizations of Godard 7 & C. today are less truthful of the marginal curiosity of Marker and Tanner, as well by Paul Schrader, so that the heartbreaking Picture of Amanda Seyfried acts as as Dreyer, who included Brief Encounter by Lean in his top ten , aPParently a Perfect visual inciPit for this text. A film comPletely oPen to all religions and canonic, but, among others, traversed by a title such as The Petrified Forest by ideologies, to the Point where it is Possible to include in its Christian universe all Mayo) along with Seth Holt, Alfred Hitchcock, Terence Fisher and Michael Powell the vanishing of bodies and the destruction that many would rather attribute (our Precious Olaf Möller, who
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  • La Commedia All'italiana

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    La Commedia all’italiana Con l’espressione «commedia all’italiana» si indica quel fortunato filone cinematogra- fico che nasce e si sviluppa in Italia tra gli anni Cinquanta e Sessanta del secolo scor- so. Anzi, per la precisione, questo termine (mutuato dal titolo di un celebre film di Pietro Germi del 1961, Divorzio all’italia- na) è usato per designare, più che un filone vero e proprio, un periodo creativo parti- colarmente felice per la cinematografia ita- liana, in cui vengono prodotte commedie brillanti, ricche di situazioni esilaranti, ma caratterizzate da contenuti profondi e di grande attualità. Negli anni del cosiddetto boom econo- mico, in cui il nostro Paese visse un momento di straordinaria crescita econo- mica e di sviluppo tecnologico, questi film Locandina del film Divorzio all’italiana si ripropongono di raccontare i drastici di Pietro Germi. cambiamenti che il benessere diffuso ha prodotto nella mentalità e nei costumi degli italiani di allora: la nascita di un nuovo rapporto con il potere e con la religione, la ricerca di nuove forme di emancipazione economica e sociale sia all’interno del lavoro, sia nell’ambito della famiglia e dei rapporti matrimoniali. Obiettivo dei registi di questo filone cinematografico è analizzare i fermenti e le contraddizioni della società dell’epoca, rappresentando, in modo più o meno bonario, il carattere degli italiani con i loro vizi e le loro virtù. In questo senso, il testimone forse più lucido e disincantato è sicuramente Pietro Germi, che, insie- me a Mario Monicelli, è considerato
  • Filmkrantindex 0-166

    Filmkrantindex 0-166

    Inhoud/Toelichting 1 INDEX NR 0 T/M 166 T/M 0 INDEX NR Deze index op de nummers 0 tot en met 166 van de Filmkrant is ingedeeld in de hieronder vermelde categorieën. Elke categorie is gealfabetiseerd: op trefwoord, op titel of op naam. De alfabetisering volgt het 'computer-systeem', d.w.z. dat begonnen wordt met leestekens ('Crocodile' Dundee), vervolgens cijfers (06) en daarna letters (A demain). Artikelen .............................................................................. 2 Filmrecensies ................................................................... 20 U vindt hier artikelen en series (b.v. Flashback) die buiten In deze categorie vindt u uitsluitend echte recensies met alle andere categorieën vallen. Géén filmbesprekingen of credits. de inhoud van de rubrieken 'Nieuws' of 'Geruchten- machine'. Films op video ................................................................ 37 Sinds kort de rubriek waar films worden besproken die Boekrecensies ................................................................... 8 wel op video maar niet in de bioscoop worden uitge- Hier vindt u echte boekrecensies, niet de rubrieken van bracht. U vindt hier geen credits, alleen de uitbreng- Jan Hilkemeijer en Anita Snoek. datum en de distributeur. Columns ............................................................................... 10 Interviews .......................................................................... 39 Persoonlijke notities van Jan Beijsterbos, Jan Heijs, Ian U treft hier, naast interviews met filmmakers over hun Kerkhof,