i mille occhi XVII edition Teatro Miela Trieste 14_20 September, 2018 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 XVII: Corpo, sguardo e silenzio Trieste, Teatro Miela, 14 ‡20 September 2018 Preview in Rome, Cinema Trevi - Cineteca Nazionale, 11 ‡12 September 2018

Associazione Anno uno’s festival

with the contribution of under the patronage of

main partners La Cineteca del Friuli, FIAF – Archivio Cinema del Friuli Venezia Giulia, Gemona (UD) Centro Sperimentale di Cinematografia – Cineteca Nazionale, Roma in collaboration with RAI Sede Regionale per il Friuli Venezia Giulia Associazione culturale project partners Anno uno Hrvatski filmski savez, Zagreb Locarno Festival Državni arhiv u Splitu (DAS), Split Cineteca di Bologna Sense Agency, Zagreb Cineteca Italiana, Milano president Michele Zanetti Fond za humanitarno pravo, Beograd Museo nazionale del cinema, Torino Istituto Luce, Roma Cineteca Lucana, Oppido Lucano (Potenza) Raphaela-Film, München Cineteca Bruno Boschetto, Torino vice president Werkstattkino, München Penny Video, Roma Giuliano Abate L’Officina Film Club, Roma AFIC, Associazione Festival Italiani di Cinema Fuori orario, Roma Casa del cinema di Trieste director Fondazione Franca e Franco Basaglia, Roma Sergio M. Grmek Germani

advisors Marie-Françoise Brouillet Annamaria Camerini Igor Kocijan čič Olaf Möller Alice Rispoli Raphaela-Film Dario Stefanoni GmbH

fuori orario cose (mai) viste c on the cover casadelcinema Maureen O’Hara (Anno uno Collection). .trieste conception, researches and staging catalogue edited by Thanks to Francesco Sacchi, Valentina Molaro from Teatro Sergio M. Grmek Germani Simone Starace all the filmmakers and the producers of the films in the Miela - Cooperativa Bonawentura with the collaboration to the programme of with the texts by programme Sandi Škerk from Azienda agricola Škerk Sergio M. Grmek Germani, Mila Lazi ć, Olaf Möller, Dario Zidari č from Azienda Agricola Zidari č Cecilia Ermini, Mila Lazi ć, Olaf Möller, all the authors and the editors of the published texts Jackie Raynal, Simone Starace, Dario Stefanoni, Gary Vanisian, Michele Zanetti all the participants in the meetings Maddalena Giuffrida, Walter Stanissa from Agriturismo Juna Roberto Turigliatto, Gary Vanisian graphics and layout project partners and collaborators Cristina Vendramin additional thanks to organization CINETECA DEL FRIULI – A RCHIVIO CINEMA DEL FRIULI Adriano Aprà, Stefano Barbacini, Enrique Bergier, Monica Goti English translation of the catalogue VENEZIA GIULIA Arianna Boria, Edward Catalini, Gerardo Corti, administration Nicole Tonas director Livio Jacob film archive Elena Beltrami, Alessandro De Zan, Sergio Crechici, Evelyn Dewald Caporali, Federica Rigante printing Cristina D’Osualdo, Christoph Draxtra, Bernard Poligrafiche San Marco, Cormons Simone Londero, Alice Rispoli, Andrea Tessitore film delivery thanks for their collaboration to Piera Patat, Giuliana Eisenschitz, Massimo Ferrari, Neva Gasparo, Luca Luisa screenings Puppin, Ilaria Cozzutti, Ivan Marin Dafne Imbimbo, Suzana Jovanovi ć, Zlata Kali ć, Paolo Venier Paolo Lughi, Emilio Medici, Carla Melli, Nicoletta press office CENTRO SPERIMENTALE DI CINEMATOGRAFIA – Romeo, Antonio Rubini, Giulio Sangiorgio, Simone Starace subtitles CINETECA NAZIONALE Boba Šibali ć, Marina Silvestri, Slobodan Šijan, assistant Betina Lilian Prenz president Felice Laudadio Gordana Šimi , Francesco S. Slocovich, Suzana Francesca Dougan ć Anno uno award realised by general director Marcello Foti Stevanovi ć, Fulvio Toffoli, Giorgia Venturoli, social media communication and promotion Stefano Coluccio, Canestrelli - Venice Mirrors, Venezia director Gabriele Antinolfi Mina Vidakovi ć, Mislav Vinkovi ć, Ivan Vukovi ć Francesca Bergamasco curator Daniela Currò cultural diffusion and planning Laura Argento and assistants Hotel Continentale, B&B Hotel Trieste, Hotel Alice Koren, Zoe Ferfoglia, Antonio Pasqua with Maria Coletti, Domenico Monetti, Luca Pallanch and the staff of Cinema Trevi Colombia, B&B Amelie, B&B Petra, Le Stanze di photos and videos food & beverage Miramare Boutique B&B Francesca Bergamasco, Ektor Leka, Azienda agricola Škerk, Duino Aurisina (TS) CONSULATE GENERAL OF THE REPUBLIC OF CROATIA IN Gioele Delluniversità Azienda agricola Zidari č, Duino Aurisina (TS) TRIESTE Theresia Mittel Bistrot, Trieste consul general Nevenka Grdini ć hospitality Caffè Teatro Verdi, Trieste Daniela Pick-Tamaro Elià - Ristorante greco, Trieste CINETECA BOLOGNA assistants Rossopomodoro, Trieste director Gian Luca Farinelli Mara Guerrini, Greta Tamaro Trattoria Caprese, Trieste archive Andrea Meneghelli, Carmen Accaputo website CINETECA ITALIANA Zenmultimedia director Matteo Pavesi IT support MUSEO NAZIONALE DEL CINEMA Stefano Biloslavo president Sergio Toffetti curator Claudia Gianetto

FUORI ORARIO enrico ghezzi, Roberto Turigliatto, Fulvio Baglivi, Donatello Fumarola, Lorenzo Esposito media partners L’O FFICINA FILM CLUB Paolo Luciani, Cristina Torelli Bernd Brehmer from Werkstattkino Diana Nenadi ć from Hrvatski filmski savez Mirko Klarin from Sense Agency Nataša Kandi ć from Fond za humanitarna prava, Beograd Vendi Ganza Maruši ć from Dr žavni arhiv u Splitu Angelo S. Draicchio from Ripley’s Film Miloš Budin, Mariella Magistri De Francesco, Francesco De Luca, Daniele Marzona, Michele Sumberaz Sotte, Barbara Scarciglia, Alice Bensi, Fuggiamo insieme by Sergio M. Grmek Germani

Se parlo di film, di sole, di poesie, nessuno mi ascolta. Se parlo di cose serie, di soldi, tutti mi ascoltano. Pietro, from the psychiatric hospital in Gorizia, in I giardini di Abele (1968) by Sergio Zavoli

It is necessary to wrap ourselves in something: because exorcising the alienation as other’s issue, blissfully overcomeable through the unfolding of the human dimension, is perhaps the most deciduous element of the ideologies (first and fore - most Marxist, as it still is an ideology). Dismissing religion, for instance, as the opium of the people is laughable today, since religion has been capable of treat - ing some profound needs much better than other entities. As cinema enthusiasts and devoted to Carl Theodor Dreyer, we know that cinema gathers what is essential in religion, the escape from a future intended as destiny of death, that the great cinema of Leo McCarey (this year gladly welcomed in Locarno, and next year at I Mille Occhi as continuation of the tribute of some years ago), too, rejects with its to be , and whose inventive Italian title Fuggiamo insieme (corresponding to Once Upon a Honeymoon ) that here we borrow, reverses, just like in the film, the direction of History. But cinema is capable of welcoming all the levels of the human being, and not only human, rather in the free version, although marked by the divine, of a Divine Comedy , work that obsessed significant part of the cinematographic universe, to which we dedicate two important moments of our programme: the return to the cinema of the Dante scholar and filmmaker Marc Scialom and the recurrence of Dantesque influences (from Vita Nova as well) in Eckhart Schmidt’s films. Schmidt, among the variety of merits of which we will partly talk about (for instance, being capable of making exceptionally original Italian films without involving neither the MIBACT, nor Italian festivals – I Mille Occhi, it is well known, are stateless), possesses the remarkable ability to blend noble poetry and earthly bodies, whose detournante apparition (namely the presence of the body in the Marilina Marino and Sara Marrone in Amor sacro, Amor profano by Eckhart Schmidt image), does not demonise the provocation that the body contains, that may

7 emerge in the sexual dimension. That also to remind that whenever our festival allowed to be interviewed and filmed for Nascita di una dittatura , giving an out - walks through the hardcore, as well as the joys of the softcore, the purpose is not standing contribute to this partly Rossenian, Lilithian, “document” on the psychi - to titillate (which, of course, may consequently occur), but rather to not give up atric institute in Gorizia. In I giardini di Abele , beside the superb provocations-inter - the intense embrace between cinema and life. views, such as that of Pietro, which we welcome in the epigraph, or that of the Cinema has been an illustrious and free theologian in our beloved and dear depart - woman from Gorizia, “Mrs. Carla”, who imperturbably tells “Mr. Zavoli” that she ed Ermanno Olmi, in the unrestricted Raffaello Matarazzo, whose abstract ending went crazy because of a heartbreak, Basaglia takes the floor without any hierar - of Guai ai vinti climbs over the cross with a dolly, as well as in Comencini’s laic chical superiority. Well, Basaglia’s sequence represents one of the highest moments comedies or in the wonderful Trappola (word that well defines cinema as well) by in cinematography: his constant motion across the room, forcing a series of scene Eugenio Perego, with Leda Gys. cuts in the editing in order to keep him in the field, is pure Bazin, pure Rossellini. And so this year we are glad to better get to know (thanks to the Cinema ritrova - And, not second to his problematic moving in and out the frame, the things he says to in Bologna and the Giornale del cinema muto in Pordenone: but I Mille Occhi are possibly the most distant from any political manoeuvring, the most truthful facts are not umbilical, like Roberto Rossellini in Illibatezza , as well as the entirety of his that one, in 1968, could have imagined. And this is why the incomplete interview cinema, they willingly give themselves to the knowledge) an invaluable filmmak - to the politicians that he realised one year before his death, in 1979 (and which er, John M. Stahl, who places even the religious movements into an absolute imma - Franca Ongaro Basaglia wanted to edit by entrusting its authorship, today detour - nence: oh, the upper floor of the church in which the love between Irene Dunne nante, to Maria Grazia Giannichedda), retains an extraordinary value, regardless of and Charles Boyer becomes eternal, that could not do better job to prolong their the political or intellectual stature of the speakers. They represent the proof, along missed meeting on top of the Empire State Building in Love Affair by McCarey (and with the coeval Conferenze brasiliane , of a character in convergence with the then between Deborah Kerr and Cary Grant in An affair to remember , which would Rossellinian method. Today, if politics was still willing to learn, it would find the be blasphemous to call a remake, as it is the representation of what is always the most precious lesson right there. same yet always different in the universe of cinema; in Locarno, in fact, we saw it We must say in all, non-celebrative, modesty that today this writer feels unworthy with the revelation of the best film “ever seen”, and here the Italian perfectly ren - of discussing Basaglia (but the same goes for Rossellini, Dreyer, Camerini, Genina, ders the experience). Bianchi). What was I doing while he was struggling to make my town more live - The body, we know, is not less infinite than the soul, it may extend from the clin - able? I was simply his contemplative contemporary, unlike Maria Grazia ical vulnerability to the presence that the image, even more than life itself, retains. Giannichedda, Franco Rotelli, Peppe Dell’Acqua, Michele Zanetti, and in other Of how the medical culture is capable of questioning itself the most exemplary les - occasions Antonio Slavich, Mario Tommasini and, of course, Franca Ongaro son comes from Franco Basaglia, of whom we do not hesitate to highlight the Basaglia, who made his work possible as well as durable. Also unlike Sergio Zavoli, Rossellinian intensity, even though, almost certainly, he did not attend it as spec - Pirkko Peltonen, Silvano Agosti, Franco Giraldi, who tied him to the cinema. To the tator. Actually, such parallel convergence is even more valuable. Moreover, let’s cinema (and to “the arts” as our festival says) also belongs, along with the most dis - watch the wonderful I giardini di Abele , which would be worth an Anno uno tant parallel work of Frederick Wiseman and Leon Hinszman, that writing on the Award to Sergio Zavoli as well, not for nothing among the most notable authors of wall of the ex-mental institution, Venga a prendere l’elettroshock da noi [t/n: come that Italian television that Rossellini, along with Cottafavi, Olmi, De Seta, Blasetti, and get your electroshock with us], superb parody of the Lattuadian comedy Emmer, Giraldi, Bava, Tognazzi & Vianello as well as some others were able to inspired by Piero Chiara, moment of anonymous (or perhaps collective) invention make great, sadly for such a short time (as for Zavoli, what is surpsrising is the in the universe of artistic creations that followed the events, from Vittorio Basaglia, authenticity of his pathos, his ability to extend it from the nuns in Clausura to to Giuliano Scabia, up to the great Ugo Guarino, also misremembered in Trieste, Processo alla tappa , thanks to which Amedeo Bordiga, for the one and only time, his own hometown, who published two marvellous books for Milano Libri in par -

8 9 allel to his collaboration with Basaglia, Cuore (1968, once again) and La psi - tightly intertwined with that of Giraldi. And let’s not forget that Elio Petri, too, coanalisi (1974), and who made his debut with a collaboration with «Il Piccolo» as branches off of De Santis. And that in all three of them the female characters are well as «La Cittadella» that our festival friend Guido Botteri had documented with intensely highlighted: among them, perhaps Giraldi better intertwines with some of painstaking accuracy for a publication remained unreleased in the town of the no the most curious glances towards the feminine dimension, sharing a certain shy - se pol [it can’t be done]. ness, albeit different (and better concealed) with Antonio Pietrangeli as well as Therefore, in this scenario, we wanted to “freely” select (according to the honest Brunello Rondi. Giraldi’s always rational listening to the woman prolongs De Santis’ term of many cinematographic adaptations) the title of a fundamental text by political cause, his image of the female body as foundation of politics itself, with - Franco Basaglia as the title for this edition of the festival: Corpo, sguardo e silenzio . out lingering in that physical fascination unlike Pietrangeli and Rondi, of whom we Among the many evocations of cinema that such title contains, one is certainly not feel accomplices, whereas Giraldi is a wise man. only evocative, but rather quintessential: the refusal of the clinical-centric vision of Senta Berger’s presence at the festival (along with that of Giraldi himself for the giv - the body, hence its mortality. ing of the award as well as that of the longtime festival friend Omero Antonutti) Each of I Mille Occhi’s programmes is built through their constant intertwining, charges our tribute with the maximum intensity it could have reached. A heartfelt oftentimes with regrettable postponements, and in other occasions with the per - thanks to Senta, great actress as well as great woman, who has been part of the ception of a gift that cannot be rejected. Italian cinema for so long, included two of Giraldi’s most beautiful films. This year, there are some tiles of the mosaic which glimmer vividly in the light of She makes the already wonderful La giacca verde the unique film it is. A film that, the tribute to Basaglia. Certainly the Anno uno Award to Franco Giraldi, regarding by traversing the always open ridge between true and false, allows itself some obvi - which we are about to elaborate further motivations in this context. It is not only ous falsifications: not only in the form of Mendelssohn’s music distorted into a carol the place-Trieste that connects us: of the award we want to highlight, this year as by a fake musician (and Bacalov brilliantly echoes that «Christ has born» until after well, the reference point. We are not afraid to admit that we came in “last” in this the ending credits: on television, such detail would certainly be lost, and this is why regard, after an extensive tribute of the Trieste Film Festival eagerly desired by it is so important to screen the films in their original versions and in a proper Annamaria Percavassi, to which Tullio Kezich and Callisto Cosulich were still able room), not only for that green jacket that it is important (once again) to see in its to participate, and to which Luciano De Giusti collaborated (with the only book right colours (as much as Il ragazzo dai capelli verdi by Losey), not only for that dedicated to the filmmaker to this day), who a few years ago paid homage to brilliant expedient (shared with Mario Soldati) in which the incompetent musician Giraldi at the University of Trieste along with Elvio Guagnini. There was also a is suspicious of the fact that the actual musician chose as his name that of the beautiful Darko Bratina Award, that accurately recognised in the title of Giraldi’s Premoli dictionary (an almost Resnaisian or Markerian moment in the film), but first last document, Con la furia di un ragazzo , an autobiographic note. There was a and foremost because Senta Berger imposes her beauty, her sensitivity, her actual tribute of Lagunamovies in Grado. There is the long lasting attention of the voice on a mold worthy of a true star that, like Chopin and Liszt made inter - Cineteca del Friuli, depositary of precious Giraldian assets. And, of course, the con - changeable by Renzo Montagnani (who participated to La coscienza di Zeno in the - stant appreciation of the most notable expert regarding the culture of such places, atre along with Giraldi), freely refers to Isa Miranda (whose Inferno giallo she, Eva the writer Claudio Magris. But we do not consider our choice less significant or Sandor, is the protagonist in the fiction) and Marika Rökk. Two actresses we love committed, for any reason. Not for nothing, such choice has been particularly sup - (actually, as for the “admirable Isa”, we adore her) and of whom Senta Berger’s ported by one of our non-Italian longtime collaborators, Olaf Möller (it is well truth conveys that dynamic bricolage. Just like her couple with Tognazzi in Cuori known that Germany has a feeling for the Italian cinema, as last year’s tribute to solitari genuinely traverses the times of the “sexual revolution”, which followed the the Friulian Damiano Damiani has proven). Nevertheless, he is one of the most events of 1968, making that film one of the best of that period, along with others committed evaluators of Giuseppe De Santis, whose artistic and human events that we are screening this year, purposely echoing that Germi-Bene-Ferreri triad

10 11 brilliantly foreseen by Micheal Delahaye in «Cahiers du cinéma» (where Sylvie in a manner reminiscent of Borges, by Italian voices. Of course, accepting the dub - Pierre even included L’immorale in her annual top-ten); magazine which perhaps bing is a contradiction, since it is true that, by this means, the fascism wanted to underestimated (unlike «Positif») Risi and Comencini (as opposed to Giuseppe erase from the listening all the foreign languages (as well as the dialects), though Turroni and «Filmcritica»), Lattuada, as well as (as opposed to «Présence du a necessary contradiction. cinéma») Cottafavi and Matarazzo, but that certainly has the merit of noticing, at A remarkable ability to give to the cinema different directions from the inputs of least in part, (with Jean Douchet) Olmi and (with Freschi and others) De Seta. history can be found in the show curated by Mila Lazi ć, a sequel to that of last year, As for the latter, we welcome in the programme, in a different copy from the one which offered us some wonderful films by Ivan Martinac, Tomislav Gotovac and we screened in the past, the most supported film by the magazine mentioned others. Martinac comes back this year with two more masterpieces, this time above (other than by «Filmcritica»), Un uomo a metà , film in our programme that referred, as the entire show, to the most recent wars on the Yugoslavian territory. admirably separates the psychoanalysis from the psychiatry through the reference Of this illustrious filmmaker, that only the globalist ignorance may deem peripher - to the Jungian Ernst Bernhard, personal and pertinent reference from the filmmak - al, we are committed evaluators along with Mila since we curated in 1998 a show er, in no way culturalistic nor conditional (the great authors, such as Rossellini and on the Croatian cinema for Alpe Adria Cinema, and I Mille Occhi homaged him Dreyer, know that they always need to learn, but they never let their cinema be a several times (sadly post mortem). Not only does this year’s programme renew the derivation), yet such as to infuse the film with an unique acting intensity. Today, collaboration with the most significant Croatian archives, as well as the consular films of psychoanalytic nature are obnoxiously pretentious and tedious, whereas representation in Trieste, but it covers (also for the convention La guerra della fol - Un uomo a metà gets better at each screening: in this film, De Seta questioned him - lia ) the relationship with the institutions such as the Humani tarian Law Center in self to the depht (and the most superficial critics did nothing but reproach him for Belgrade and Sense in Zagreb. The filmmaker who exposed himself the most in a “abandoning the social commitment” of his previous Banditi a Orgosolo , failing to fight for the truth beyond the borders is Lazar Stojanovi ć, of whom last year we understand that the latter was already a film of social subconscious) and, therefore, watched the film repressed by Tito’s regime (in that 1972, such a sad year for such work today turns out to be stronger than the coeval ideologies. Yugoslavia, that by now should not be seen differently from the previous Czech The interest towards the Italian cinema extends to all that territory adjacent to both and Polish repressions and, rather, unknowingly accomplice of the forthcoming the Italian and the American cinema represented by the American cinema dubbed ruin of a country that the filmmakers still thought could blend socialism and free - in Italian (like, by the way, almost all the Italian cinema was dubbed). A “fake” from dom), whereas this year we will witness the crimes of the wars of the degradation. which oftentimes an invaluable beauty of voice arises. I myself consider the voic - The filmmaker who in 1971 thought that listening again (in Plastic Jesus ) to the es of Emilio Cigoli and Lydia Simoneschi among the most fascinating aesthetic Chetnik and Ustashe anthems was no longer a taboo becomes the one who better experiences that cinema has to offer (along with those of Alberto Sordi and Mauro contrasts the remarks of the various Mladi ć and Karadži ć (and it is him, too, to bring Zambuto, Laurel & Hardy’s dubbers). The programme, coming from the precious to Pawlikowski’s attention Eduard Limonov’s armed fury against Sarajevo, source collection of Simone Starace, exceedes however any attitude of pure cult. In fact, of Emmanuel Carrère’s book); we simply cannot but wonder who else if not six films that juxtaposes the smallest of the major (Universal, that both Stahl and Stojanovi ć, today sadly departed, could ever shoot a film on Slobodan Praljak Sirk traversed) and the biggest of the lesser companies, namely Republic, have today, the Croatian general (as well as awful filmmaker) who destroyed Mostar’s been chosen. As for Anthony Mann, we screen one of the most aware films con - bridge and who theatrically suicided before the tribunal in the Hague. cerning the totalitarian regimes, that in relation to the French Revolution and its The show intelligently extends from Godard’s films on the subject to a documen - Terror anticipates Cottafavi and Eric Rohmer. And concerning Allan Dwan, Edward tary on the fools of World War I, to then join Un anno di scuola (pivotal piece of Ludwig and John H. Auer we offer a little taste, but enough to show how the most Giraldi’s trilogy, which goes from La rosa rossa to La frontiera ) as well as the last beautiful American cinema is never standardised, and how the latter can be told, film by Autant-Lara, unpublished in Italy: a filmmaker often, yet never enough, cov -

12 13 ered by the festival, and in fact we will once again retrace his interweaving of films focused on female perspectives and films focused on war. As culmination of these editings on the decades and the centuries there is the dip - tych of Cécile Decugis, already guest of I Mille Occhi and recently departed, in a woeful year that marked the loss of many remarkable filmmakers (Ermanno Olmi, Angela Ricci Lucchi, Idrissa Ouedraogo, Milos Forman, Juraj Herz, Fernando Birri, Nelson Pereira dos Santos, Alain Jessua, Giorgio Trentin, Vittorio Taviani), the loyal, great musician of our Anno uno Award, Luis Bacalov, as well as brilliant critics (Pierre Rissient, André S. Labarthe, Stanley Cavell) and wonderful actresses (Anne Wiazemsky, Danielle Darrieux, Stéphane Audran, Paloma Matta, Dorothy Malone, Anna Maria Ferrero, Alba Arnova, Isabella Biagini, Marina Ripa di Meana, Margot Kidder, Barbara Harris, Christine Keeler, Dolores O’Riordan, Mercedes Grabowski aka August Ames). With even more heartfelt emotion we say goodbye to Kira Muratova, our first Anno uno Award; to Štefka Drolc, who came to the festival on the occasion of a wonderful event concerning the Award in Škafar; to Angela Felice, who collaborated to our tribute to Irazoqui, as the great appreciator of Pasolini (and Siro De Angelis) that she was; and to our friend at the CEC in Udine, Mauro Dentesano: even though we met infrequently, we were always glad to know him alive, at just few steps away from Trieste. And I apologise in advance for the unintentional oversights in a list inevitably limited to itineraries of passion. Back to I Mille Occhi, and far from the desire to deplete all of their programme in this context, that offers itself as a discovery even to ourselves during the screenings at the festival, it seems noteworthy to us, for a festival that has always wanted to contradict the disagreeable contraposition of the present cinema to that of other times, instead of understanding how cinema lives on through every single screen - ing, that this year we are able to propose such a variety of Italian films as well as films linked to Italy. Therefore we combine them with a meeting with the film - makers called Può il cinema italiano ridiventare giovane ? [can the Italian cinema become young again?], subheading of one of the itineraries that chooses as its title that of a soviet film with no owners by Gleb Panfilov, Chiedo la parola [I ask for the floor]. Also, we will meet two close people again, Luis aka Fulvio Baglivi, vital collabora - tor of several previous editions, and Otto Reuschel, German citizen of Italian ori - gin, who presents a project that perpetuates the line of a cinema free from any boundary. And we will meet Stefano Morandini, who pursues a cinema of anthro - Sara Marrone in Stella by Eckhart Schmidt

14 15 All the colours of love. pological nature in Udine, with a film dedicated to the earthquake in Portis and to the subject, proper of Dreyer, of how to revive a place. Eckhart Schmidt and Italy Fabrizio Ferraro will be at I Mille Occhi for the first but, we are sure, not the only time. His film on Walter Benjamin represents one of the great cinematographic rev - as female seduction: preview of elations of this year, which joins his previous film about Simon Well in an essential diptych, in which a Straub-Huilletian precision and a Rossellinian discovery of the nine films, with two flashbacks set are brought back to life. And lastly, we cannot but be surprised by how I Mille Occhi are able to present a and one flashforward preview (in 8 cases international, in 3 cases worldwide) of the Italian cycle, or rather the Roman Cycle, of Eckhart Schmidt. It is the first entire series of 9 films, and 2 more as anticipation of the second cycle: shot during the last three years in Italy, in co-production with Germany, primarily spoken in Italian and partly in English. Films on Italian settings, on poetical (Dante, Pavese) and pictorial refer - ences, as well as splendid physical presences of unknown Italian actresses. Other than some apparitions in lesser roles, and besides those who will have a part in the second cycle, this first series of 9 films sees the presence of 4 actresses that we unhesitatingly define striking. A “written” cinema, yet willing to abandon itself to the discovery of the set. And, most importantly, a cinema that exclusively stages women (the male presence is limited to some occasional voice off), like a sort of twenty hour version of Women by Cukor. Loving Valeria is the film which gathers all the presences, even the lesser ones. Cecilia Saracino, in La mia estate più bella, Princess – Voices from Hell and It’s Me , blends determination and fragility (real as well as staged). Marilina Marino stands out, not only because of her curvacious body, in Love and Death in the Afternoon and returns as deuteragonist in Amor sacro, amor profano and in the already mentioned Princess . Valeria Pellegrini, after a secondary role in Stella , is protagonist and only performer in the last film, Angel’s Flight , where the camera follows her from all the perspectives, and lets her act splendidly naked and doe-eyed as she read the news from every possible news - paper, which bear inevitable mention of the Five Star Movement. In Stella , Stella Reloaded and Amor sacro, Amor profano the protagonist is an exceedingly per - sonal and eye-catching Sara Marrone who, in the latter, makes with Marilina Marino a couple of female love and hate worthy of De Palma and Verhoeven. This is also the only entirely narrative film, of direct acting and without any voice off, and even in such territory Schmidt once again proves to be a surprising Italian filmmaker. Yes, we want this Roman Cycle to wrap us like a bed sheet.

16 17 PASSION sibility and respectability faced with the with the likes of Adrian Hoven ( Siegfried by Olaf Möller community of man weight heavy on the und das sagenhafte Liebesleben der shoulders of most who’d made contact with Nibelungen ; 1971), Bruno Gantillon ( Sans Since Eckhart Schmidt decided in the mid- Nazism, if only as a tyke; whatever its more sommation ; 1973), Franco Prosperi ( Pronto 60s that he had to make films - movies just cheeky and naughty aspects: a cinema of ad uccidere ; 1976) and Hubert Frank like the ones he watched and wrote about wild abandon it wasn’t. This was not a cul - (Disco-Fieber ; 1979), if they didn’t get going as a reviewer -, there was no stopping him tural sphere for the likes of Schmidt: auteurs big time on their own like acteur-auteur Ulli – Schmidt keeps ‘em coming. During the and connoisseurs of movies made to make Lommel but also Geissler. Can’t divvy things last half century plus he made so many life more film-like – sexier, crazier, full of up that easily – something middle-brow films in an ever-increasing speed that his possibilities, and heroic in the way Mourlet- film culture always had a problem with and œuvre by now constitutes a sub-continent style MacMahonianism understood that preferred to ignore or deny. of German cinema – can anybody keep up word (let it be said here that Eckhart And weird as it might sound but: for all the with his furious will to create, is there a sin - Schmidt is the only MacMahonian auteur soft-core erotica around, the nation in 1970 gle bio-filmography that really lists every - in FRG film history). Mind, the truly early was simply not yet ripe for something sub - thing he did? So far the count is at 150plus Young German Cine ma, its first generation versively sensual cum playful like Männer works, mainly feature- and mid-length. And which mainly means undersignees of the sind zum Lieben ; it would take another who these days can say he finished a dozen Oberhausen Manifesto: that of eg. Ulrich decade before someone like Nikolai films in one year – already in summer? Only Schamoni and Franz-Josef Spieker and Rob Müllerschön would get away with a senti - Schmidt can. Houwer and Walter Krüttner, was genuine - mental while sensitive, nudity-filled com - Well, there is a gaping hole about a decade ly interested in crafting smart entertain - ing-of-age gem ( Schulmädchen 84 ; 1983), wide in his filmography: Between 1970 when ments for general audiences; if already in the same moment Schmidt would be back he released his second feature-length work , 1965 something of a rebellion rose against in action, wilder than ever, with Der Fan Männer sind zum Lieben da , and his cau - the Oberhausen Way - a rebellion Schmidt (1982), one of the biggest local sensations/ tious comeback, the documentary Douglas was part of - then this means that the move - scandals/successes of its time. It’s telling Sirk: Über Stars (1980). An in-depth look ment’s take-over by its all-out bourgeois, that both films are about teenagers, for the into this moment sans Schmidt is needed to social-democratic side was well on its way... 80s saw the second FRG-generation’s revolt; properly appreciate the nature of his glory By the end of the decade, one thing would Schmidt’s was the cinema of people tired of – praise ex negativo, so to speak. become painfully obvious: That the attempt their elders’ neurotic will to look proper in The 1970s were the era of FRG cinema’s at changing FRG cinema’s middle-ground front of the neighbors, tired of behaving world domination – nothing back then was was doomed – for financial reasons: There responsibly (in the service of national capi - deemed newer and more challenging than simply wasn’t the paying audience needed tal), tired of a liberalism big on boundaries productions Made in Germany (West). A cer - to stabilize a continuous production hip and short on personal freedom; also, it was tain type of production, that is: mythoman - while different; almost everybody with a the cinema of people who’d witnessed the ical, grandiose, cinephile in a blatantly knack for the saucy and feisty, daring and Marilina Marino in Love and Death in the State act with extreme prejudice against brainy cum nostalgic way, and either intel - confrontational (let’s mention here Roger Afternoon everybody deemed extremist (make that: lectual in that vaguely liberal-proggresistic Fritz, Klaus Lemke, Marran Gosov and May left-wing extremist for the neo-Nazis never fashion or - total opposite - in love with the Spils) found him- or herself in debts. The had to fear that kind of prosecution…). This irrational – a cinema that was decidedly future would be subsidized – which is to would gladly pass a death sentence); one of is the period of Punk and New Wave, of unfun and wholesome, more something to say: dependent on the State and its admin - the best things to be said about Rainer subversive hedonism, of sex and horror, talk about with earnest expressions after - istrators, therefore slow and tasteful but not Werner Fassbinder is: he churned ‘em out, gratuitous nudity and gore – the perfect wards than to make merry with while too good-looking; several movies per year, with relish. Which also begs for one final basis for a cinéma du look , German style. watching. It was not a bad cinema (for the always in synch with the changing fashions, observation on the subject: that especially And Schmidt delivered: Der Fan , Das Gold most part), and it wasn’t even as joyless as reacting to current events was nothing the Fassbinder-family was deeply involved der Liebe (1983), Die Story (1984), Loft , it just now might have sounded – audiences deemed desirable (and if it happened as with genre cinema – just look at the filmo - Alphacity – Abgerechnet wird nachts , Das and writers alike proved often dourer than was the case with Rolf Olsen’s Italian-style graphies of eg. Peter Berling or Dieter Wunder , Die Küken kommen (tutti del 1985!) the works themselves; the burden of respon - gangster flick Blutiger Freitag (1972), critics Geissler and you’ll see that they worked and Wie treu ist Nik? (1986) constitute in 18 19 their sum total something of a Commercial Those were the days, and back then barely Hearts (1996), Internet Love (1998), yet early One of the most important elements of New Wave. Here you can: admire teen idol anybody understood what was happening: spring for his. this movie is the fresco Trionfo della Désirée Nosbusch naked while munching Suddenly, for half a decade, FRG cinema (On a brief personal note: My favorite film morte in Palermo, where you see the away at the corpse of her pop god! ( Der dared to be vulgar and intelligent at the same of Schmidt remains Der Prinz von Homburg , riding death killing the rich, the poor, Fan ); enjoy some of the coolest Neue time. Schmidt was not alone: young guns like his strikingly personal 1994 adaptation of the lovers. In front of this fresco the girl Deutsche Welle-bands in a Vienna-set pulp the already-mentioned Nikolai Müllerschön, Nikolaus Lehnhoff’s 1992 production of kisses her boy for the first time and vanitas! ( Das Gold der Liebe ); see a real Wolfgang Büld (yep, one of the Neonstadt - Henze’s opera – on par with the thinking/ American star: Dynasty ’s Al Corley, in a chosen) or Carl Schenkel seized the day feeling man’s Blow-Up , the 1968 Jet Gene - she’s never going to see him again. Her German flick fit for international consump - and unleashed a torrent of outrageous ration .) brightest moment of happiness is also tion! ( Alphacity – Abgerechnet wird nachts ). movies on the unsuspecting viewers. With his Roman Cycle Schmidt took the her darkest moment. You see the beach If this sounds like overdoing it: Schmidt Müllerschön did a film based on a Büld- final step in this development: Films made world of Mondello and in your mind actually tried to instigate a movement like script whose title describes best the movies only for you who watches them, films with you see a tragic love story and the por - this - a Neon Wave - with an omnibus proj - we’re talking about here: Orchideen des young women, films of desire eternal dedi - trait of the Generation Y. (E.S.) ect called Neonstadt (1982) featuring contri - Wahnsinns ; yes, that’s what they are: rar - cated to the passing glory of the flesh – doc - butions by Gisela Weilemann, Helmer von efied flowers whose eye/ear-fragrance sees umentaries of ancient evenings and nights Lützelburg, Dominik Graf, Johann Schmid to spontaneous deliriae. and days rematerialized in the here and [T HE ROMAN CYCLE / D ER RÖMISCHE and Wolfgang Büld; plus, he ran a magazine Come the 90s and everything has changed now. Everything got stripped down to the ZYKLUS I, 2] LOVE AND DEATH IN called S!A!U! that for some had a similar in the world. Schmidt had finally been able bare essentials, only what needs to be said THE AFTERNOON . A N ELEGY meaning as the Cahiers had had for many to create a space in the FRG media land - and heard and shown will make it to the of Schmidt’s generation, just that it was scape that was his alone: For TV he made finished piece. You can’t get simpler, more Director, screenplay, cinematography, about culture in general and not only film – documentaries mainly about film but also direct and immediate. This is here and now, S!A!U! was in certain circles the word. And opera, theater and music, en chain and editing: Eckhart Schmidt; music: Toti this is cinema. It’s right in front of you and Basso, Joe Landis; cast: Marilina Ma- whom do we find among the authors: Rainer faster than lightning, with cinema becoming only you. For cinema now is a solitary Werner Fassbinder and Werner Schroeter – a space of personal desire and obsession rino; production: Gorana Draga š and pleasure, the community of yore is now in E. Schmidt for Raphaela-Film; origin: wherever you try to draw lines, reality will unleashed. Schmidt fully understood that every individual’s head. teach you. the era of commercial movies is over – Germany, 2016; format: video, col.; It’s important for understanding Schmidt never mind that those early 90s saw the rise length: 104’. that for him cinema is but an element in of another FRG commercial cinema tame Blu-ray from author. something culturally much more complex – and ass-kissy where his had been scan - [T HE ROMAN CYCLE / D ER RÖMISCHE ZYKLUS I, 1] LA MIA ESTATE PIÙ movies need music and fashion, same way dalous and outrageous. The lone thing to An Amour-Fou-Story of an old man and as fashion needs movies to be seen and be done is craft films that might create a BELLA (MEIN SCHÖNSTER SOMMER ) a young girl, remembered by the girl at music to move with, make the designs and desire for this now lost cinema in the audi - fabric shine; same way that pop joys are but ence: make the viewers want this excite - Director, screenplay, cinematography: the Roman places of their love ... modes of expression neither better nor ment, make the patrons appreciate the Eckhart Schmidt; editing: Michi Kaussner, worse than what the establishment with its beauty of an object essentially disposable Raoul Sternberg [E. Schmidt]; music: It’s the story of my death told as a history of art canonical or not has on offer and not necessarily recyclable. Schmidt Toti Basso, Joe Landis; cast: Cecilia Sara - poet’s dream. He came to Rome to die, – depending on how you look at it, Thomas understands the melancholia of that gesture cino; production: Gorana Draga š for but got inspired by a girl, who teaches Hampson can be as pop as DAF and only too well: the American cinema he Raphaela-Film; origin: Germany, 2016- him Italian. When he falls in love she Kraftwerk as classical as Wagner. Also: praised as a young critic is that of Old 2017; format: video, col.; length: 94’. no longer can be his muse – that Fashions change, that’s the nature of the Hollywood’s twilight years, with the Raoul DVD from author. means, that he is ready to die. She’s game – be it Swinging Schwabing, be it Walsh of Marines, Let’s Go (1961; reimag - telling their story now, mourning for Punk, be it Millennial: Schmidt will play ined by Schmidt as Die Küken kommen ) with it. As long as it’s beautiful – that’s the and A Distant Trumpet (1964) reigning Coming back to Rome a girl remembers him, remembering all their locations lone rule governing the Schmidtverse. Ugly supreme. It’s half past autumn for cinema her Sicilian holidays, her first great love and finally getting his baby. It was great is verboten. Ugly was yesterday. Ugly can worldwide when Schmidt makes Undine and her confrontation with the tragic to shoot in Rome with Marilina, who is never be pop. Ugly doesn’t sell. (1992), Der Sandmann (1993), Broken death of her friends in a terrorist attack. so beautiful and intense. It was the first 20 21 film of the Roman Cycle – so every - E. Schmidt for Raphaela-Film; origin: thing started here. (E.S.) Germany, 2017; format: video, col.; length: 60’. Blu-ray from author. [T HE ROMAN CYCLE / D ER RÖMISCHE ZYKLUS I, 3] STELLA The girl of Stella is dreaming about Director, screenplay, cinematography: God keeping his promise to try it again. Eckhart Schmidt; editing: Michi Kaussner, She agrees that this time he’s going to Raoul Sternberg [E. Schmidt]; music: build the world not on Adam, but on Toti Basso, Joe Landis; cast: Sara Mar - Eve. And she has conditions ... rone, Valerina Pellegrini; production: Coming back to the world, the girl Gorana Draga š and E. Schmidt for Raphaela-Film; origin: Germany, 2017; challenges God and finally decides to format: video, col.; length: 83’. eliminate the idea of life after death – Blu-ray from author. and the idea of God. So her dream of a comeback is the dream of total harmo - The day of the Final Judgment has ny between plants, animals and human arrived, there is a war of all against all, beings ... I see the film as a kind of sec - but there is a girl fighting in the name ond thought to the first film, pointing in of Love against the God of Destruction. a provocative direction. (E.S.)

The challenge was to create the Final Day of mankind without showing it. [T HE ROMAN CYCLE / D ER RÖMISCHE There is nothing to be seen but a naked ZYKLUS I, 5] LOVING VALERIA girl in an apartment. You hear the voice Director, screenplay, cinematography: of God announcing the End of the Eckhart Schmidt; editing: Michi Kaussner, World. And the viewer has to work Raoul Sternberg [E. Schmidt]; music: with these elements to establish every - Toti Basso, Joe Landis; cast: Va leria Pel - thing else in his fantasy. Sara’s per - legrini, Marilina Marino, Sara Marrone, formance was great. She transports the Cecilia Saracino, Claudia Ida, Sara Pie - catastrophe with her looks and her tri; production: Gorana Draga š and movements. (E.S.) E. Schmidt for Raphaela-Film; origin: Germany, 2017; format: video, col.; length: 95’. [T HE ROMAN CYCLE / D ER RÖMISCHE Blu-ray from author. ZYKLUS I, 4] STELLA RELOADED Director, screenplay, cinematography: While searching the girl of his dreams Eckhart Schmidt; editing: Michi Kaussner, in the City of Eternity he has to cross Raoul Sternberg [E. Schmidt]; music: many streets and many other girls to Toti Basso, Joe Landis; cast: Sara Mar - meet her again ... rone; production: Gorana Draga š and Valeria Pellegrini in Loving Valeria 22 23 It’s a film about leaving paradise and imagining how it could have been to reach the dream of loving a girl, who is so close and at the same time so far away. The film runs through all emo - tions: poetry, the game with the classi - cal three graces and his goodbye leav - ing for the land of darkness. It involves a lot of things that I’ve done in Rome: photographing a poetry book and film - ing poetry on public places ... All the actresses are part of this project. (E.S.)

[T HE ROMAN CYCLE / D ER RÖMISCHE ZYKLUS I, 6] AMOR SACRO , A MOR PROFANO Director, screenplay, cinematography: Eckhart Schmidt; editing: Michi Kaussner, Raoul Sternberg [E. Schmidt]; music: Toti Basso, Joe Landis; cast: Sara Mar - rone, Marilina Marino; production: Cecilia Saracino in Princess – Voices from Hell Gorana Draga š and E. Schmidt for Ra- phaela-Film; origin: Germany, 2017; format: video, col.; length: 91’. Blu-ray from author. Mari lina and Sara became part of this Inspired by the famous painting of game. (E.S.) Titian it’s the story of two girlfriends and one lover and a deadly solution ... [T HE ROMAN CYCLE / D ER RÖMISCHE It’s a revenge story, inspired by the ZYKLUS I, 7] PRINCESS – V OICES painting of Titian. It shows the naked FROM HELL Amor-sacro-Girl and the beautiful dres sed Amor-profano-Girl. So the holy Director, screenplay, cinematography: love is naked and the profane love is Eckhart Schmidt; editing: Michi Kaussner, dressed. In my film Profano robs Raoul Sternberg [E. Schmidt]; music: Sacro’s boyfriend and Sacro’s money. Toti Basso, Joe Landis; cast: Cecilia It’s the story of one night of truth, that Saracino, Marilina Marino, Federico ends up in a killing. It’s a game about Passi; production: Gorana Draga š and a duo infernale. And it was great, how E. Schmidt for Raphaela-Film; origin: Cecilia Saracino in Princess – Voices from Hell

24 25 Germany, 2017; format: video, col.; Basically all my Roman-Cycle-Films are the end the girl reads what Dante wrote standing example for a genuinely cre - length: 92’. about love. For the concept of this one about the situation. It’s one of the most ative and personal way of interpreting Blu-ray from author. I got inspired by the famous short story crazy texts about the situation. (E.S.) literature. Hoffmann’s obsession with Suicidi by Cesare Pavese. I’m just telling the sombre, nightmarish aspects of life She is tortured by a voice from the the other side of his story, the girl’s part. and desire is very close to Schmidt, as Roman past, she is hunted through the I’m following her visions of Venice, her [E.T.A. H OFFMANNS ] DER SANDMANN he lengthily had proven with Der Fan , places of fascist architecture and only threats to kill herself, her despair and Loft etc. His main character Daniel (for Director, screenplay: Eckhart Schmidt; one thing can help her from being finally her effort to understand that once a Schmidtian male main character story: based on a story by E.T.A. Hoff- pushed into suicide ... this love is in vain. The challenge was not named Raoul) is just as restless and mann; cinematography: Johannes to shoot everything in a hotel room, melancholic as Hoffmann’s Nathanael Kirchlech ner; editing: Raoul Sternberg It’s a story of love that turn into a story concentrating on the girl, without ever and Sabrina Paravicini’s Clara just as [Eckhart Schmidt]; music: Frédéric of hate. We shot mainly at places that seeing or hearing her lover. (E.S.) angel-like and understanding as her lit - Chopin, Antonio Vivaldi; cast: Lorenzo Mussolini built. Like Piazza Mazzini and erary model. In turn, Schmidt plays Fla herty ( German voice Florian Halm), EUR. The idea was to transport Nero’s around with the characters of Coppola Stella Vordemann ( German voice Mela - hate into the world of the fascistic dic - [T HE ROMAN CYCLE / D ER RÖMISCHE and Spalanzani and even manages to nie Jung), Sabrina Paravicini ( German tator. It’s also a little bit like Fitzgerald’s ZYKLUS I, 9] ANGEL ’S FLIGHT insert a twist at the very end of the film voice Alexandra Ludwig), Erik Schu- Great Gatsby : All your power and all which Hoffmann probably wouldn’t Director, screenplay, cinematography: mann, John Karlsen; production: your money will not win over a girl, even have dreamt of (this goes also for Eckhart Schmidt; editing: Michi Kaussner, Eckhart Schmidt for Raphaela-Film and who dreams and fights for her freedom. the special effects as designed by Colin Raoul Sternberg [E. Schmidt]; music: Jürgen Haase for Proverbis-Film; origin: Cecilia was great to work with and it H. Arthur, which add an extroverted Toti Basso, Joe Landis; cast: Va lerina Germany, 1993; format: 35mm, col.; was impressive how she went through Hollywood-flavour to the oniric Lago di Pellegrini; production: Gorana Draga length: 104’. all the tortures and made the invisible š Garda-atmosphere of the film). and E. Schmidt for Raphaela-Film; ori - 35mm from Werkstattkino (by permis - work. (E.S.) But possibly the most important change gin: Germany, 2017; format: video, sion of Eckhart Schmidt). as compared to Hoffmann’s story is col.; length: 70’. Olimpia, the puppet, the automat, who Blu-ray from author. Instead of adapting „dusty literature“, [T HE ROMAN CYCLE / D ER RÖMISCHE becomes a real character, knowing how German cinema should react „in form ZYKLUS I, 8] IT’S ME! to reason and very soon understanding A girl is waiting in a hotel room. She’s and content to a juvenile cinema audi - her own tragic being. „How can you Director, screenplay, cinematography: sending out messages, never getting an ence“ and should turn their „longings sense love if you don’t sense pain?“ Eckhart Schmidt; editing: Michi Kaussner, answer. She’s reading headlines in the and nightmares“ into images, the ever- Daniel asks her once. Hoffmann uses Raoul Sternberg [E. Schmidt]; music: papers. She touches herself. An Angel provocative and frank Eckhart Schmidt this uncanny love of Nathanaels’ for Toti Basso, Joe Landis; cast: Ceci lia Sa - is looking for her and finding her and is quoted in 1984 by Der Spiegel. Olimpia as a foremostly satirical pun of racino; production: Gorana Draga š and giving her what she expected. About ten years later, he himself set off his contempoaries’ cloying sensitive - E. Schmidt for Raphaela-Film; origin: to adapt some classical, but carefully ness. With Schmidt, love can never be Germany, 2017; format: video, col.; My inspiration was Fra Angelico’s L’an - selected German literary oeuvres: Der subject of irony or satire. Love is a length: 70’. nuncia zione . I show a girl alone in her Prinz von Homberg by Heinrich von dead-serious game, and can transgress Blu-ray from author. room, dreaming the dream of an angel Kleist, de la Motte Fouqué’s Undine even the borders of human being. seeing her, being with her and produc - and one of E.T.A. Hoffmann’s master - (Gary Vanisian) For him it was just an affair, for her it ing with her the world’s savior. We fol - pieces, Der Sandmann . Schmidt’s was the love of her life. And now she low her fantasy, we see the angels approach in translating literature to cin - is in Rome to see him, to put pressure looking for the right window to find ema is worthy of an entire case study on him, to threaten with suicide ... the right girl. And finally it happens. In and represents, in my eyes, an out -

26 27 Castles of sand, II. BROKEN HEARTS . V ERLIEB DICH NIE gin: Germany, 2018; format: video, col.; IN EINE MAFIA -T OCHTER length: 76’ + 76’. The last bridge (Nikad više) Blu-ray from author. Director, screenplay, editing: Eckhart Schmidt; cinematography: Stefano Mo- Dante talks in his book La vita nova ser; cast: Laura Di Mariano, Daniele about the “Colour of Love” without say - Liotti, Massimo Ciprari; production: ing what colour love might have. Raphaela-Film/Proverbis-Film/Roxy- Perhaps he wanted to say that love has Film/telenormfilm; origin: Germany, all colours. And in the end of La Divina 1996; format: 35mm, col.; length: 96’. Commedia Dante concludes that love 35mm from Werkstattkino (by permis - moves the sun and all the other stars. sion of Eckhart Schmidt). This Roman Cycle II is about love and some of its variations from the Greek The mafia daughter, who is heavily mythology till today. For this project I guarded by her father, has never been wrote and directed more than 20 dif - kissed or loved by a man. During a ferent loves stories and I was obsessed shopping expedition with her body - with all of them. The experience of First guard Raoul she changes all of this: she Love or of Holy Love in the episode snatches Raoul’s Beretta, holds the gun picture Colour of Love and the myth of to his head and forces him to leave Dafne, Danae and Eva – they all excit - Rome. In a isolated villa near the Via ed me. An essential project of the new Appia Antica the spoilt innocent angel Roman Cycle is Colore d’amore /Colour Stella tries with every trick in the book of Love , that I shot in an Italian version to get Raoul to go and kiss her, but he and in an English version. Both films resolutely refuses because he knows he are about 80 minutes long and they dif - will be a dead man if he touches the fer sometimes. I think it is very inter - Mafia Lolita. But, in reality, Raoul has esting to compare both versions and long since fallen in love with her. see how the girls are handling the texts. All seven episodes of this film and also the episode ‘Noir’ are based on true [T HE ROMAN CYCLE / D ER RÖMISCHE stories. All these stories had been told ZYKLUS II] COLORE D’AMORE + to me by girls of today. I tried to tell COLOUR OF LOVE and film them a little bit the way Cesare Director, screenplay, cinematography: Pavese might have done it: cool, with a Eckhart Schmidt; editing: Michi Kaussner, certain distance, but full of underlying Raoul Sternberg [E. Schmidt]; music: To - fire and passion. (E.S.) ti Basso, Joe Landis; cast: Cecilia Sara - cino, Valeria Pellegrini, Marilina Ma rino, Federica Cuccia, Noemi Francesca, Claudia Ida, Chiara Emanuele, Diane Patierno; production: Gorana Draga š and E. Schmidt for Raphaela-Film; ori -

28 29 PROF ESSION : W AR PHOTOGRAPHER 1 it is. Flames, masses of rubble, twisted reason try to get as close as possible to 8 If you film from any moving vehi- by Nikola Tanhofer metal are just that without a precise the subject and beware of the telepho - cle, you can only get a good picture context. At most they may be an arrest - to lens. with the lens as wide as possible. A war photographer’s life is in general dan - ing image, but not news, not informa - 3 If possible start with a shot establish - Avoiding using the zoom in these cir - gerous. tion. It becomes news only when one ing the full context and then close in - cumstances, especially in the same It is dangerous not only in times of war, can see an identifiable house burning, you can use the zoom if you like, but direction of movement or in the oppo - but even in daily routine. True war or the street in which it stands. It must it’s better to take a few steps forward - site direction. photographers are ware of the danger, be clear what the detail is a part of, or and break up the subject with some 9 Of course, you can use the camera if like Formula One drivers. what it was. Is the twisted metal from a close-ups. you are walking, and even if you are A war photographer is particularly tank, or a car? Where, exactly was it 4 If the camera is to be mobile (for pan - running, but in that case the lens exposed, not only because he has to standing, etc? A group of people talking ning shots and so on), start filming should as wide as possible. Moreover, stand up while others cower, or about events must be shot in such a from a motionless position, then start it is always better to walk or run behind because he has to walk while others way as to make it clear who is talking to move. Don’t switch off the camera someone, rather than in front of them. run, or because he has to remain per - to whom. The sudden “glance” of the immediately after stopping. Run on for In that way any sudden movement or fectly calm while others are nervous: in film camera (which is not the same as a few seconds. It can always be cut jarring of the camera will be less other words, superior to everyone else a human glance), senseless zooming, later on. noticeable. in all these psychic and physical swinging constantly to an fro distracts 5 Bear in mind that you are not making 10 Don’t be afraid of filming in poor respects together. What makes his posi - the viewer’s attention and dilutes the an advertisement; the aim is not to light, at dawn, at sunset or in the rain. tion truly special is his relationship with content, the point of the shots. The film entertain. So forget the zoom. Better Your camera is very sensitive and the the world which surrounds him. He camera is not a telescopic sight. There take a general view and then a close- shots will be full of atmosphere. does not see it as others do, through are rules about how the lens “sees”, up than to link them with a zoom. The Remember that a piece of nylon or oil - their normal sense organs, he has to which have developed over a hundred zoom is very tricky to use intelligently. cloth gives excellent protection for view it constantly through his lens. This years and which viewers have incorpo - 6 Don’t make useless panning shots. your camera. simple fact tends to isolate him from rated and learnt to understand and it is You should know beforehand what the 11 If you film a meeting or a confer - happens out there and gives him a only thanks to these that the full mes - opening and closing shots will be. Both ence in an enclosed space, film it from sense of protection, leading him to do sage can be deciphered and fully com - ends of the sequence must be clear and the entrance. That is the best place and things which border on lunacy. There prehended. connected by smooth, even camera - don’t ever move. From here the viewer are war photographers who are totally Here are some straightforward hints to work, without any sudden movements. will have an overall view and a sense mediocre, timid people in normal life make the life of a cameraman that little The speed of the movement is deter - of the size of the hall and he can get his but become capable of extraordinary bit easier and the information he wants mined by the position of the zoom. The bearings. You can take a few steps acts with a camera on their shoulders. to convey as intelligible as possible. tighter the tele, the slower should be towards someone but keep pointing in Looking at the world through the eye- the movement and the firmer the hand. the same direction to keep the logic of piece of a film camera gives the same Twelve commandments for shooting film Vice versa, the wider it is, the faster can the situation under control. If there is sense of invulnerability you get from 1 Switch on and start filming only when be the movement. no extra lighting make sure there is not inches of steel around you in a tank or you have a really interesting subject in 7 The use of the tele is inevitable in too much light coming from the win - feet of reinforced concrete in a bunker. the frame. war, but an image which is not clear dow, as the camera will automatically This psychological dimension consti - 2 Remember that television is a “low- and precise is of no use to anyone. compensate and darken the rest of the tutes an extra objective danger. War definition medium”, partly regarding Generally speaking a good tele shot frame. Do the same outside. Your news, like any other, has to be clear the amateur VHS system. This means can only be made using a tripod, but opening shot will provide the general and intelligible, factual and unambigu - the image has few details and every - anything handy can take its place: a impression and all the foreground ous. Any average person should be thing in the background will be lost, all rock, a branch, the barrel of a rifle, a should be filmed from same direction if able to tell what , where , who and how the details and subtle shades. For this post - whatever is around. possible.

30 31 12 Don’t take needless risks as a cam - DAS LIED IST AUS In 1993, the experimentalist Ivan the superficial calm of the sea. The eraman. There are no shots worth your Ladislav Galeta (1947-2014) tells in his footage includes material shot between Director, cinematography: Ivan Faktor; life. mother language, Hungarian, about the September 16 th and December 6 th , 1991. screenplay: Ivan Faktor, Marijana Tanhofer wrote this text in 1991. It was atmosphere of sadness and nonsense Fumi ; editing: Dubravka Turi ; audio: distributed to the young cameramen ć ć that reigns around him, wondering from the film M by Fritz Lang (1931); who had to shoot with their about the reasons behind it. The ques - IVAN MARTINAC production: Vera Robi -Škarica for cameras in places at war against ć tions remain unanswered. (1938-2005) the Yugoslav (Serbian) Army. Hrvatski filmski savez; origin: Croatia, Dedicated to his film-maker friend Edited in Croazia. Onde dell’altra 2001-2002; format: VHS/BetaSp, b/w- Artist and intellectual, film-maker, Zoltán Silfis, from Subotica, Vojvodina. riva , cat. Alpe Adria Cinema 1998-99 col; length: 18’42”. screenwriter, editor, cameraman, master The final wording is still a mystery: Digital copy (from BetaSp) from Hrvat - of amateur cinema, poet, journalist, «Zagreb, 7/10/1922 Ladislav». ski filmski savez. architect, designer, painter, astrologer, PISMO IZ HRVATSKE chess player, debater... he used to [A L ETTER FROM CROATIA ] On the threshold between the docu - believe that an artist should never be Director: Mihovil Pansini; cinematogra - mentary and the experimental film, Das limited to a single means. He claimed Lied ist aus is dedicated to Fritz Lang ZADAR NIJE ZA DAR that he had worked as architect just phy: Ivan Faktor, Milan Bukovac, Mla- [Z ADAR MUST NOT BE GIVEN AWAY ] den Petri i , Branko Mandari , Stjepan and Marlen Dietrich. At the beginning, because, as such, he could work at his č ć ć own conditions, without interference, Tosenberger, Milan Drmi ć, Krešimir Pa- the opening quote is drawn from Director: Zdravko Musta ć, Vlado Zrni ć, veli , Žarko Batinovi , Dražen Travaš, Dall’inferno by Giorgio Manganelli. Vedran Ćupi ć, Duško Brala; cinematog - realizing films that would meet his own ć ć criteria. He realized seventy-one short Davor Šari ć; editing: M. Pansini, M. The filming process took place in raphy: D. Brala; music: V. Ćupi ć; pro - Bukovac; production: Hrvatski filmski Osijek, from September 1991 to April duction: Samostalni vod umjetnika films, one full-lenght film, dozens of savez Zagreb; origin: Croatia, 1992; for - 1992. Ivan Faktor introduces the sound Zadar; origin: Croatia, 1992; format: S- film-related books and nine collections mat: BetaSp, b/w-col.; length: 42’23”. of the film M by Fritz Lang, contrasting VHS, col.; length: 74’. of poems . Digital copy (from BetaSp) from Hrvat - the atmospheres of 1931 to those of Digital copy (from S-VHS) from Hrvat- ski filmski savez. 1991. The ambience of tension and agi - ski filmski savez. tation intersects the calm of the empty GRAD U SIVOM The last film by Mihovil Pansini (1926- streets of the quiet town, resigned to The KinoKlub school of cinema in Split [T HE CITY IN GRAY ] 2015), ), master of the Croatian experi - the horror that it is living, lead to the has left its own mark. The lessons of Director, screenplay, editing: Ivan Mar- mental cinema, in part presented in the absurd by the words Frag nicht Martinac have overtly paved the way tinac; cinematography: Ante Verzotti; previous edition of the festival. Pansini warum ... (Do not ask me why...) pro - for the new generations of experimen - sound: Messa funebre, Antonio Vivaldi; makes use of video footage realised by nounced by Marlen Dietrich. talists and amateur videographers. production: Dalmacija film i video cameramen as well as amateur videog - There is a taste of avant-garde as well (Split ); origin: Croatia, 1992; format: raphers during the first year of war in as Croatian experimentalism in the full- 35mm, col.; length: 12’16’’ (114 frames). Croatia, assembling an anti-war film PISMO length film Zadar nije za dar signed by 35mm from Državni arhiv u Splitu. made explicit by the ending phrase [L ETTER ] four authors, among which Zdravko «You have to know, this is the war Director, screenplay: Ivan Ladislav Ga - Musta ć, author of the documentary «See you in this (for what it is) or in the against your coscience! Take it up!». leta; cinematography: Milan Bukovac; Martinac . The fixed camera is pointed next peace. Just know this: Any poten - production: Hrvatski filmski savez; ori - towards the bridge in Zara: The situa - tial alienation, madness, war (and all gin: Croatia, 1993; format: VHS, col.; tions and the protagonists change, but this is possible if we do not get back on length : 4’. the bridge supports everything, it track), are not our (not yours, nor Digital copy (from VHS) from Hrvatski opposes war. The fear and the danger mine) alienation, madness, war... To be filmski savez. counterpose the reverb of the sun on honest, I had foreseen the “war squab - 32 33 bles”, knowing the programme of Yugoslavia (Croatia), 1977; format : brother Vojislav, he participates in the The film integrated part of the archival Miloše vi ć and Ćosi ć. I knew that there 35mm widescreen, 1,66:1, b/w-col.; creation of the alternative group “Open material, acquired from the Fond za would have been some “bloodshed” on length: 9’ 17’’ 8 ft. (96 frames). University” as form of intellectual op- humanitarno pravo/Humanitarian Law one of the borders, in some peripheral 35mm from Državni arhiv u Splitu. position to the regime. In 1990, along Center (HLC), regarding the crime com - suburb, but I thought that the conflicts with the journalist who have left «NIN», mitted by Škorpioni (the Serbian para - would cease soon and that I would The short film carries on the tradition of the weekly publication of the State, he military unit that used to operate in var - never have a reason to live them as MY the “pure film” [ čisti film], also called proposes the independent liberal ious territories during the Yugoslavian war. [...] No one could have imagined, antifilm , which makes use of the fixed weekly publication «Vreme», still active war) in Trnovo, Bosnia, in 1995. It was particularly not in the peaceful land - camera, or rather fixation in a broader today. After the fall of Yugoslavia, dur - broadcasted for the first time on the scape along the Adriatic Coast, that term. Most is considered by its author a ing the regime of Slobodan Miloševi ć’s, B92 television channel on the evening masses of rabid beings could throw poem-film and therefore, as usual, he he is activist against war, he works as of the same day of the sentence for the grenades (missiles) on bell towers, could not know the ending until the journalist for Radio France Interna- protagonists of the crime. The number naves of the churches, hospitals, last moment. By using several different tionale and, from 2000 to 2006, for the of viewers exceeded 380.000, compara - kindergartens, schools, bus stations, films (colour as well as black and OSCE and UN missions. In 2011 he is ble to football matches; yet, the follow - really no one could have imagined that white, of various degrees of sensitivity), coordinator for the Centre for humani - ing day, no one discussed the film. those bearded beasts, in uniform and Martinac introduces particular machi - tarian rights (FHP) of the REKOM proj - «I understand it very well: Škorpioni without it, with an emphasis of “inspi - avellian elements concerning the fight ect, a national initiative intended to imposes you an alignment! Who may ration”, would mistreat the elderly and between man and machine. Being the ascertain the events concerning the wars like that? In spite of this, the crime the week, slaughter children. Thefore celluloid the most visible element of in the ex Yugoslavia. Stojanovi ć never scene crossed the entire world. Not as this war, unlike World War II, which I the film, through the alternation of the stopped fighting for individual freedom. excerpt of my film, but rather as infor - remember only in part, has become empty films, he wants to demonstrate Selected filmography mation about the crime that was com - MINE. The illness did not allow me to that the two opposite parts of Most , in Ona voli , 1968; Zdrav podmladak , mitted. The same might be said about a the context of the conflict, may use any scene from the film Serbian Epics , go to the trenches where, to my own 1971; Plast ični Isus , 1971; Serbian Epics surprise, I would have wanted to be. I means to reach their ends. (Pawel Pawlikowski), 1992; Približno where the Russian poet Limonov, while wrote several protests, I realised a sad Srbi , 1998; Život i priklj učenje Radovana visiting Karadži ć, fires his machine gun short film. The terrifying crimes of Karadži ća, 2005; Uspon i pad generala across the streets of Sarajevo. This those who detest civilisation did not LAZAR STOJANOVI Ć Mladi ća, 2005: Škorpioni – spomenar , anonymity does not bother me. What is damage my town (Split), but the black (Belgrado 1944-2017) 2007; Teodora , 2012. shown under your name does not nec - essarily offer the maximum result; the roses still have grown beyond my Journalist, theatre director as well as best you can obtain is the strong social heart, the black roses: Vukovar, Osijek, documentarist, one of the most impact that your product has had on Mostar, Škaranje, Sarajevo, Dubrovnik, “famous” cultural dissidents during ŠKORPIONI – SPOMENAR many people. It does not matter who Drniš». Tito’s regime (his Plastic Jesus , film that [T HE SCORPIONS - A H OME MOVIE ] the author is» (Lazar Stojanovi , inter - Ivan Martinac, open letter to Živojin concludes his studies of film direction, Director, screenplay: Lazar Stojanovi ; ć Pavlovi , Split, July 20 th , 1992 ć view in «Vreme», February 11 th , 2016). ć caused him three years in prison, the cinematography: Nikola Majdak; editing: requisition of his passport as well as Suzana Stevanovi ć; music: Aleksandar the impossibility to carry out his pro - Ludaji ; production: Nataša Kandi for MOST ć ć SERBIAN EPICS / S RPSKA EPIKA fession). He takes part in the student Fond za humanitarno pravo (FHP); ori - Director, screenplay, editing: Ivan Mar - movements of 1968, he is co-founder of gin: Serbia, 2007; format: DVCam, col.; Director, sound, production: Pawel tinac; cinematography : Andrija Piv čevi ć; the newspapers «Vidici» and «Student», length: 52’. Pawlikowski; cinematography: Bogdan sound : Wolfgang Amadeus Mozart; for which he often writes. In 1976 (until Digital copy (from DVCam) from Fond Dziworski, Jacek Petrycki; editing: production : Slavica film (Split); origin : 1984), along with his philosopher za humanitarno pravo, Beograd. Stefan Ronowicz, Nigel Williams; pro -

34 35 duction: BBC; origin: Great Britain, Saša Petrovi ć in two films about the 1992; format: BetaSP, col.; length: 46’. Roma: Sakuplj ači perja (1967) and Biće Digital copy from BBC. skoro propast sveta (1968). With Pri - bližno Srbi he addresses the issue of The film, apparently etnographic or the life conditions within the Roma rather a picture of the Serbian cultural community in the democratic Serbia, legacy, reveals many details concerning and he dedicates his work to Petrovi ć, the public and private life, as well as «the artist who used to love the Roma». the environment in which the different «With the film Približno Srbi, about the characters of the war conflicts in Bosnia position of the Roma in Serbia, which is have grown. very important to me, I had an unusu - «The idea, in fact, was to show some - al problem in the United States. The one talking about the battle of Kosovo film discusses, quite clearly and direct - [1389, ed.] – how this relates to the tra - Približno Srbi / Almost Serbs ly, the position of the Roma amongst ditions, to the knowledge as well as the us, and it met positive reception in the habits of the local population – and to European countries, yet not in the USA. gather proof of how such traditions are When I asked for an explanation to a growing and how, in the context of the friend of mine, he told me that they daily political life, they are instrumen - we briefly see him as protagonist, help - would rather present a selection of the talised. Moreover, we did not attribute music in the film. “Why not the film?” I any merit nor blame to the characters ing a lady escape from the snipers in Sarajevo. asked. “But what does the film talk we put in front of the camera. We about? Where is the conflict?” - That thought it would be best to show the question was not yet clear to me. “It characters in their authenticity. They talks about an ethnic group that does PRIBLIŽNO SRBI / A LMOST SERBS had the complete freedom to present what it is allowed to do: entertain themselves as they wanted. They have Director: Lazar Stojanovi ć; screenplay: another ethnic group. This is their posi - not been falisified. They had the L. Stojanovi , Ljubomir Živanovi ; cine - tion in the society, their destiny”, I opportunity to say what they wanted to ć ć matography: Nikola Majdak Jr, Jovan explained. He looked surprised: “But say, and to show what they thought Milinov, Nenad Mladenovi ć; sound: we cannot distinguish them!” They was important to express. We did not could not distinguish between the censor the sequences just because they Vladan Ðoki ć, Aleksandar Perovi ć; edit - ing: Suzana Stevanovi ć; production: TV Roma and the Slavs! In their eyes, such spoke ill or well of the Serbs. We mere - distinction had no meaning at all». ly tried to show in a clearer and more B92 (Belgrade), Last Productions (New (Lazar Stojanovi , interview in «Vreme», accurate manner the need to create York), Rrominterpress (Belgrade), Lazar ć February 11 th , 2016) myths, typical of a mixed culture such Stojanovi ć and Veran Mati ć; origin: Ser - as the Balkan one, of which people are bia, 1998; format: DVCam, col.; length: often unaware» (Milica Lu i avi , 56’. č ćČ ć ŽIVOT I PRIKLJU ENJE RADOVANA interview to Lazar Stojanovi for aim - Mp4 (from DVCam) from TV B92. č ć KARADŽI A / L IFE AND DEEDS OF press.ch, April 17 th , 1994) ć RADOVAN KARADŽI ć Stojanovi ć considers himself co-author Lazar Stojanovi ć, still student at the of his film, although he is not given Academy of cinema, works as assistant Director: Lazar Stojanovi ć; screenplay: credit (only thanked), and in one scene Frames from Serbian Epics director of his professor Aleksandar Mirko Klarin; cinematography: Zoran

36 37 Petrovi ć, Du šan Krivokapi ć, Goran USPON I PAD GENERALA MLADI ćA / Tubaji ć; sound: Novica Jankov, Dejan RISE AND FALL OF GENERAL MLADI ć Ili , Jasmin Suvalija; editing: Aleksandar ć Director: Lazar Stojanovi ; screenplay: Stanojevi ; contributions: Ljiljana Bula - ć ć Mirko Klarin; cinematography: Zoran tovi ć, Elvira Vitlar, Jevrem Brkovi ć, Dr. Petrovi ć, Dušan Krivokapi ć, Goran Zoran Stankovi ć, Marko Ve šovi ć, Željko Tubaji ć; sound: Novica Jankov, Dejan Kopanja, Dr. Ismet Ceri ć, Daniel Piri ć, Ili ć, Jasmin Suvalija; editing: Aleksandar Predrag Pa šić; production: Mirko Klarin Stanoje vi ć; contributions: Ljiljana for Sense Agency; origin: Croatia, 2005; Bulatovi , Jovan Divjak, Dr. Zoran format: DVCam, col.; length: 52’. ć Stankovi ć, Ljubodrag Stojadinovi ć, Digital copy (from DVCam) from Sense Željko Kopanja; production: Mirko Agency. Klarin for Sense Production; origin: Croatia, 2005; format: DVCam, col.; The full title of the film is Život i length: 46’. priklju čenje Radovana Karadži ća, Digital copy (from DVCam) from Sense opruženika, polit ičara, pjesnika i psihi - Agency. jatra sa Durmitora [The life and adven - tures of Radovan Karadži ć, defendant, A socio-psychological analysis of the politician, poet and psychiatrist from myth of Ratko Mladi ć as soldier, leader, Durmitor], which recalls the most rele - hero, extraordinary man, a myth that vant work of the remarkable Serbian became instrument of political propa - 18 th century writer Dositej Obradovi ć. ganda and that gradually underwent The film, divided into 17 chapters, rep - drastic changes. The film is divided into resents an attempt to reveal the several several chapters (such as the one with aspects of the personality of the “many- Karadži ć) with evocative titles – “The faced fox”, as Stojanovi ć defines him discreet charm of the general”, “The through the title of a chapter. The film mediator, “Adored by the masses”, “The sheds light on the rhetoric and the believer”, “The refuge”, “The parent”, arguments used by Karadži ć in order to “The defeat”, “The gods of war” – and manipulate the masses and on the con - provides insights to everybody, regard - sequences of his actions, described in less of their convictions or sympathies . the indictment issued against him by the ICTY (International Criminal «Stojanovi ć was an activist against war Tribunal for the former Yugoslavia). and madness, eternal opposer of Such is the overview of a character that authoritarism and totalitarianism. A was considered a myth and that found pacifist willing to risk, often victim of a place in the epic popular songs. political repression, defender of the freedom of speech, an artist in the widest sense of the term. Of himself he once said: “I am for freedom and Približno Srbi / Almost Serbs human rights and, if you like, I am one

38 39 of those anarchists who believe in the favour of humanity. Because rules primacy of the freedom of the individ - exist, and exceptions too. Culture is the ual, not that of a race, a class, or rule. Art, the exception. Everybody humanity... individual freedom is a express the rule: the cigarette, the com - value that must always be protected, no puter, the t-shirts, TV, turism, war. No matter the price: especially since its loss one makes mention of the exception. irreparably ruins all that matters”». You do not say it, you write it: Flaubert, (interview to Lazar Stojanovi ć, in Dostoevsky. You compose it: Gershwin, «Republika», n. 416, May 2017) Mozart. You paint it: Cézanne, Vermeer. You film it: Antonioni, Vigo: Or you live it, in which case it is art of living: SCEMI DI GUERRA . L A FOLLIA NELLE Je vous salue, Sarajevo Srebrenica, Mostar, Sarajevo. Wanting TRINCEE the death of the exception is part of the rule. Organising the death of the art of Director: Enrico Verra; story, screenplay: living, which still flourishes, will be Enrico Verra, Davide Sapienza, France - then part of the rule of the European sca Zanza; cinematography: Gherardo culture. When the time to close the Gossi; editing: Claudio Cormio, Cristina book will come, I will have no regrets. Sardo, Annalisa Schillaci; music: Giu - I have seen many people live so badly, seppe Napoli; contributions: Quinto JE VOUS SALUE , S ARAJEVO and many people die so well». Antonelli, Bruna Bianchi, Lucio Fabi, Antonio Gibelli; production: Vivo Film Director, screenplay, editing, nar rator: (Rome), Gregorio Paonessa, Marta Don - Jean-Luc Godard; cinematography: Izet DANS LE NOIR DU TEMPS zelli; origin: Italy, 2008; format: Beta- Kutlovac; sound: François Musy; music: Digital, b/w-col.; length: 48’. Arvo Pärt; production: Périphéria; ori - Director, testi: Jean-Luc Godard; screen - Digital copy (from BetaDigital) from gin: France, 1993; format: 35mm, col.; play: Anne-Marie Miéville; cinematog - Vivo film. length: 2’15’’. raphy : Julien Hirsch; sound: François DVD from the production. Musy; production: Nicolas McClintock; Testimonies, letters, diaries and archival origin: France, 2002; format: 35mm footage draw the reality of the life of The Swiss franc film-maker gradually b/w-col.; length: 11’. the soldiers in the trenches during the discloses the cruel picture that the 35mm from Ripley’s Film. Great War, which often had critical con - American photojournalist Ron Haviv sequences on their personality. The took in Bosnia in the March of 1992, The episode Dans le noir du temps is mental health problems had to be accompanied by the gentle and velvety part of the anthology film Ten Minutes solved quickly in order to return to the music by Arvo Pärt. The video was part Older: The Cello , as reflection on the front, otherwise the soldiers were sec - of the 29 th Biennial in San Paolo (2010). theme of the passage of time towards tioned into the mental institutions and «In a sense, fear is God’s creation, the new millennium. It is a study about called “war fools”. «Darling, they just redeemed on the night of the Good time and the last moments of youth, moved me to the fools ward, if I don’t Friday. It is not a pretty sight. Mocked, glory, thought, memory, love, silence, go back to my place I’m a goner, please damned, repudiated by everybody. But eternity, fear and cinema. Frames from Uspon i pad generala Mlad ića / Rise help me» (from the film). do not misunderstand. Fear guards and Fall of General Mlad ić every mortal agony, it intercedes in 40 41 Autant qu’était Lara. LA GUERRA DELLA FOLLIA [T HE WAR OF MADNESS ] A woman’s presence September 17 th , 2018 International meeting at the Bobi Bazlen hall of the Palazzo Gopcevich, in a furious film-maker, I in Trieste, with the participation of: Nataša Kandi ć (founder in 1922 of the Fond za humanitarno pravo / Humani- tarian Law Center in Belgrade, produc - er, 2018 Nobel Peace Prize nominee), Mirko Klarin (journalist and founder of Sense Agency), Diana Nenadi ć (critic and film historian) and Franco Rotelli (psychiatrist).

42 43 I ask for the floor. GLORIA childhood again, who now performs La Mort du cygne by Saint-Saëns in a Can Italian cinema Director: Claude Autant-Lara; story: music hall in front of the booing crowd. from the novel by Solange Bellegarde [...] As we see Gloria impassively per - [Solange Beaugiron]; screenplay: C. form the Dying Swan, accompanied become young again? Autant-Lara, Jean Halain; cinemato - by the noises of the audience in search graphy: Wladimir Ivanov; editing: of rougher performances, we witness Monique Isnardon, Robert Isnardon; such a limpidity of découpage, such music: Bernard Gérard; cast: Valérie well-timed framings, such a well articu - Jeannet, Sophie Grimaldi, Nicole lated dramatisation, that we cannot but Maurey, Maurice Biraud, Andrée remember the great films that made of Tainsy, Dorothée Jemma; production: theatre a metaphor of life, such as Luci Alain Poiré for Production 2000/ della ribaltà and Il teatrino di Jean Gaumont; origin: France, 1977; format: Renoir . Films in which realism and 35mm, col.; length: 115’. fantasy talk to each other, and in which DVD (with colour correction from the the plot itself, exposed through a 35mm) by permission of the cinemato - nudity that has no need to be suppor - graphy director Wladimir Ivanov. ted by brilliant or captivating expe - dients, synthesises a vision of the world «Gloria , the last film by Autant-Lara, is in which the contradictions of the cha - so well-made that one becomes aware racters can be clearly read. Characters of its structure only retrospectively. The to which the author lends the most fer - artifice that originates from the flash - vent passions, against which he himself back is, in fact, one with the plot and, has fought and that, therefore, he although it is used several times, it does knows in first person». not cause those unpleasant distractions Jean-Claude Biette, Imaginez that affects even some of the great films deux enfants , «Cahiers du Cinéma», narrated through flashbacks. Gloria tells n. 282, November 1977 a story that could have been filmed by Mizoguchi or the John Ford of Sentieri selvaggi : An orphan boy, raised by his CLAUDE AUTANT -L ARA grandfather (de facto, an illegitimate Presentation of the book by Jean-Pierre son), is sent away from France at the Bleys, Institut Lumière/Actes Sud edi - time of the declaration of war of 1914. tions, Lyon/Arles, 2018. Thus, he is also taken away from his young partner whom his mother, thea - tre actress, sends to a boarding house in Switzerland, where all the letters from the boy will be hidden to her. After the war, Jaques, by now a young man about to marry his American girl - friend, finds the young partner of his

44 45 A certain year. JE SUIS SIMONE the passage of thousands of people and (L A CONDITION OUVRIÈRE ) refugees on the run from the fascist 68 between 67 and 69 movements spread across the core of Director, screenplay, cinematography, Europe in the course of the last centu - editing: Fabrizio Ferraro; cast: Gio - ry. First the Catalans and the interna - (Seedlings. Correspondence vanna Giuliani, Claudia Landi, Natacha tionalist militants escaping from the Eychenne, Emmanuel Rovillier, Antonio Francoism, followed by Jews, commu - between Italian film-makers, II) Sinisi; production: Gruppo Amatoriale; nists and dissidents of Nazism shortly origin: Italy/France, 2009; format: afterwards. Our philosopher Walter 35mm/video, col.; length: 82’. Benjamin was one of them. DCP from author.

The journal about the work in a facto - PARALLEL CONVERGENCES ry of the French philosopher Simone ANTROPOLOGY OF THE SET Weil who, at the age of twenty-five, PORTIS DEVE RINASCERE QUI from December 4 th , 1934, to August 1935, takes an year off and interrupts Director: Stefano Morandini; origin: Italy, her studies in order to join as work - 2017; format: video, col.; length: 50’. woman, assigned to the presses, the DVD from author. Ashtom power company in Paris. An experience at the base of the book La Screening-meeting with the director (and condizione operaia . The narration of curator of the parallel book Portis. La her days is visually accompanied by a memoria narrata di un paese , Cierre succession of dark indoors and urban edizioni, Verona 2017) in the date of landscapes of the Île Seguin (southern the anniversary of the devastating earth - outskirts of Paris), with particular atten - quake. tion in regards to the construction sites and the factories. From La condition ouvrière by Simone Weil. DRAJ čIčI - Y ES WE CAN Director: Otto Reuschel. Presentation with the director of the LES UNWANTED DE EUROPA / G LI crowdfunding and the state of the proj - INDESIDERATI D’E UROPA ect regarding a border village, featuring Director, screenplay: Fabrizio Ferraro; a speech of the co-producer Andrea cast: Euplemio Macrì, Catarina Wallen - Magnani. stein; production: Boudu/Eddie Saeta; origin: Italy/Spain, 2017; format: video, col.; length: 100’. DCP from author.

The film retraces the events around a path on the Pyrenees, which witnessed

46 47 OFF-SCREEN become a plague in the hands of some - PARALLEL CONVERGENCES SEDOTTI E BIDONATI one like Hitler, or Goebbels. The soci - The work of Valerio Zurlini (as well as ety of consumerism, the mass culture is IN CALABRIA Director: Giorgio Bianchi; story: Rober- his statements taken by Gianni Da turning into a curse, as it positions the to Amoroso; screenplay: Roberto Gian- Director, cinematography, editing: Vit- viti, Amedeo Sollazzo; cinematography: Campo) and Carl Theodor Dreyer individual, annihilates them, crumbles torio De Seta; voice: Riccardo Cucciolla; their personality, impedes their affirma - Adalberto Albertini, Erico Menczer; production: Raiuno/Circuito Cinque - editing: Antonietta Zita; music: Carlo tion and, ultimately, destroys in the stelle/Lori; origin: Italy, 1993; format: individual, in their personality, the only Rustichelli; cast: Franco Franchi, Ciccio 16mm, col.; length: 83’. Ingrassia, Mia and Pia Genberg, Leo- UN UOMO A METÀ and last safeguard. It seems to me that Digital copy from Anno uno. anything relevant, anything sound and poldo Trieste, Alfredo Marchetti, Oreste Director, story: Vittorio De Seta; screen - human that has been told so far merges Palella; production: R. Amoroso for play : Fabio Carpi, Vera Gherarducci, V. «De Seta does not allow himself to film into such thesis. For this reason, in this Ramo Film; origin: Italy, 1964; format: De Seta; cinematography: Dario Di Pal - a Calabria which is blown-up and age of insane extraversion, I was inter - 35mm, b/w; length: 90’. ma; editing: Fernananda Papa; music: transfigured – and hence identifiable ested in making a film about introspec - 35mm from Cineteca Nazionale. Ennio Morricone; cast: Jacques Perrin elsewhere. He films a present which is tion, in telling the story of an “intronaut” (voice Pino Colizzi), Lea Padova ni, Ila- uncertain, transitory, labile and fleeting, in this age of astronauts. At first, the «Sedotti e bidonati , the thirteenth of the ria Occhini, Gianni Garko, Rose mary represented once again in repetition, screenplay was considerably longer, as full length films interpreted by the duo Dexter, Pier Paolo Capponi, Francesca and hidden in the echo – a time resist - it was meant to describe the protago - in the course of the year, parodies, De Seta; production: V. De Seta; origin: ing the clear and reassuring distribution nist’s crisis, its consequences in regard more with regard to the title than to its Italy, 1966; format: 35mm, b/w; length: of the modes of conjugation. The pres - to the social context, the work environ - actual intentions, the famous film by 93’. ent of the “filming” – the golden law of ment, etc. Sadly, films cannot last more Pietro Germi, Sedotta e abbandonata , 35mm from Cineteca Nazionale. the cinema, whether documentary or with which it shares a couple actors than a couple hours, and the available not – proves in this film to be trans - means for an independent film are (Leopoldo Trieste and Oreste Palella) «The film results from a crisis, a feeling formed into the strange present of a invariably scarce. As a result, the film is as well as the soundtrack by Carlo of doubt, of caution, concerning atti - “capture of time” woven at one and the Rustichelli. Franco and Ciccio play the internalised to the greatest extent pos - same time of a destroyed past which tudes of social and political commit - sible, it only tells about the “inner role of two Sicilian cousins lured by a ment. A mere need for revision, a set - persists perhaps as future, and of a wedding announcement into the trap things”, the protagonist’s crisis due to promised future which has not back, perhaps headed towards a form set by a gang of crooks: the two arrive his complexes, of which he lets go occurred though there survives a past of “commitment”, but without any in order to marry a pair of gorgeous through a process of self-analysis, in trace of it. [...] Vittorio De Seta’s film has “projection”. A radical need to seek and twins passing themselves off as siamese. order to integrate himself, in the indi - the desperate beauty of the gesture of resolve the causes of the conflict with - [...] The plot, as simple as it is effective, vidual sense, or rather in the exact love which wants to force into the pres - in the inner self without “projecting” in is articulated through a narrative fluen - opposite meaning for which such term ent of its inscription the loved object, every way and, consequently, alienat - cy that is never upset by the amount of is used today. The protagonist gets to and instead can only reproduce it ing oneself even in such sense. gags, almost entirely based on verbal know his “shadow”, as Jung would say, altered. The filmed object, the lost It seems to me that this is a crucial issue accepts himself, painfully integrates Calabria, absents itself and suspends ambiguity and misunderstanding, with today. We are blinded by our own civil - himself, becomes a man». itself, at once revealing the utopic and some rare but noteworthy exceptions isation, we confuse the ends with the (such as the dancing sequence with the Vittorio De Seta, Situazione in agosto , uchronic potency of the cinema ». means, we think, for instance, that tel - twins going wild). The prevailing com - in Filippo M. De Sanctis, Un uomo Jean-Louis Comolli, In Calabria , evision represent a form of progress a metà di Vittorio De Seta , in Alessandro Rais (curated by), ical mechanism amounts to a series of per se, without realising that it may Cappelli, Bologna, 1966 Il cinema di Vittorio De Seta , variations concerning the issue of phys - become regress if it is used to broad - Maimone, Catania, 1996 ical impairment: The embarrassing situ - cast questionable content, that it may ations that originate create the ideal

48 49 conditions for the duo to exhibit the a tragicomic series of events. I cannot petty conventions of the Church and L’ HAREM habitual humour. Sedotti e bidonati , really get into it, obviously”. But it is a those of society. Perhaps no one can more than to the parody, pertains to the real news report subject... “Correct. understand the good faith of a man Director, screenplay: Marco Ferreri; comedy of the misunderstanding, with Happened some time ago, but not that who believes in marital love enough to story: M. Ferreri, Rafael Azcona, Ugo some costume references. Although not much, right here in Sicily. In the film, multiply it by three. He lives his mis - Moretti; cinematography: Luigi Kuveil- ler; editing: Enzo Micarelli; music: as unrestrained as other Italian films, though, the emphasis is placed on some sion immersed in the present time, Ennio Morricone; cast: Carroll Baker, this work stands out for its politeness peculiar aspects of the Sicilian spirit. extricating himself with the purpose of Gastone Moschin, Renato Salvatori, as well as its biting and sarcastic lan - But always in an ironic key. In a style preserving his paradoxical order from William Berger, Ugo Tognazzi; produc - guage, which relates it to some coeval that is reminiscent of Divorzio all’Italia- the chaos that threatens it. [...] In the tion: Alfonso Sansone and Enrico experiments arranged by Fulci». na . The screenwriter, in fact, is Gian - final scene, Sergio, by now in peace, Chroscicki for Sancro International/ netti, the same of Pietro Germi’s film». comments his own funeral from the Marco Bertolino, Ettore Ridola, Paris Cannes; origin: Italy/France, 1967; Franco Franchi e Ciccio Ingrassia , afterworld, and wonders if his wife Saretto Leotta, Romina Power format: 35mm, col.; length: 96’. Gremese, Rome, 2003 a Siracusa, “vergine assicurata” , Giulia has ever suspected something. 35mm for Cineteca Nazionale. «La Sicilia», November 17 th , 1966 The film ends with Giulia’s close-up infused with light, her enigmatic smile ASSICURASI VERGINE frozen by the fixed frame. Giulia «Perhaps it is in L’harem that we can find L’ IMMORALE the most evident manifestation of the Director: Giorgio Bianchi; story: Ales - reminds of the quiet Luisa, similarly to how maria (Stefania Sandrelli) reminds process that Marco Ferreri undertook sandro Fallahi; screenplay: Alfredo Director: Pietro Germi; screenplay: P. against himself, against the type of cin - of the restless Rita, the two women of Giannetti; cinematography: Benito Germi, Alfredo Giannetti, Tullio Pinelli; ema that he had been practicing since L’uomo di paglia . [...] The torments of Frattari; editing: Clara Mattei; music: cinematography: Ajace Parolin; editing: his debut in 1958 with El Pisito , against L’uomo di paglia find here a temporary Carlo Rustichelli; cast: Romina Power, Sergio Montanari; music: Carlo Rusti- the charge of naturalism that he had solution, which preserves the male and Dino Mele, Oreste Palella, Daniela Roc - chelli; cast: Ugo Tognazzi, Stefania been dragging behind him since then. celebrates the woman in a subordinate ca, Leopoldo Trieste; production : G. Sandrelli, Gigi Ballista, Renée Longarini, [...] Of the screenplay (written along role (compared to what Ferreri was Bianchi for Rizzoli/Virgo; origin : Italy, Maria Grazia Garmassi, Giovanna Len- with Azcona), that verbosely told about doing in those years from a female, if 1967; format: 35mm, col.; length: 100’. zi, Giorgio Bianchi; production: Robert the simultaneous relationships that not feminist, point of view: In L’ape 35mm from Cineteca Nazionale. Haggiag for RPA/Delphos/Artistes As - Margherita, architect in Milan, had with regina , Alfredo, Alfredo , which reminds sociés; origin: Italy/France, 1966; for - five different kinds of men, as well as of L’ape regina , or in L’harem , which «The director Giorgio Bianchi and his mat: 35mm, b/w; length: 100’. her elimination at the hands of the lat - reminds of this film). Imbued with a troupe arrived in Syracuse on tiptoe. 35mm from Cineteca Nazionale. ter, secretly united against the woman diffused and reassuring light, animated Almost in secret, to keep a low profile. who tries to behave just like them, not buy a smooth and delicate movement Just few moments to acclimate and «On the “o” of the title L’immorale (writ - only with regard to the professional (as opposed as the hectic movement in then the first shot at the Aretusa hotel. ten in black on a white background, area, but also to the extent of the sen - Signore & Signori ), where the zooming The film title: Assicurasi vergine . A pro - similarly to Il cammino della speranza timental life; of this satire that wanted - technique achieves a classical balance, visional one. Perhaps the title on the and Il ferroviere ), there is a halo. The mainly in a comical key - to show the L’immorale represents for Germi the board will be Vergine contrassegno . The film was originally meant to be called Il tribulations of the Italian woman; of all film of the utopic harmony, his ideal meeting with director Bianchi takes santo . Sergio Masini (Ugo Tognazzi) this, nothing remains: A dramatic mech- laic paradise». place in a hall inside the Aretusa. [...] really has something of a secular saint anism (which does not work too well, The plot? “In short, this: a Sicilian emi - of our times. Germi is not tempted by Adriano Aprà, Per una revisione as it never reaches a balance. But a film di Germi , in Lino Micciché (by), grant wants to ensure his daughter’s the official religion. [...] To Sergio’s con - Signore & Signori di Pietro Germi. must not be judged based on its func - integrity before she starts working fessions, which articulate the story in Uno sguardo ridente sull’ipocrisia tioning. The mechanism of the plot abroad. His determination evolves into the form of a voice off, he opposes the morbida , Lindau, Turin, 1997 lacks importance, since now the film 50 51 does not intend to convince ). Ferreri, at Bene, left in frustration in front of the tor), of giving the rules of the game a the time of the editing, decided to black and white that covers, demean - different status. Without the need “to change the tone of the film, shifting ing them, some luxurious forms; refusal respect” the spectator, even insulting from the comedy to the drama; he then from the same spectator, unable to dis - him, it is possible to accept his pres - proceeded to the following opera- tinguish not only beyond, but even ence: it all comes to embracing other - tion: he wanted the acting, notably within the appearance of a cinema, the ness, selfishly being more than one, pronounced, to be neutralized in the nature of the illusion, namely misery refusing pacification as well as recogni - dubbing process; he eliminated every and death. [...] In the “introduction”, a tion (everything resembles us) in fa- professional reference regarding the narcissist looks in the mirror, pointing vour of conflict, diversity, knowledge». characters (it is necessary to know the at a spectator who accurately resembles Adriano Aprà, Fiori di ghiaccio , previous stages of the film to realise him (Don Giovanni exhibits his own «Cinema & Film», n. 11-12, that Margherita is an architect); he went myth concluded in the form of a cata - summer-autumn of 1970 as far as making the fifth man disap - logue of masks; Carmelo Bene sum - pear completely, namely the one who marises his cinema as a splendour of was meant to provoke the others into appearances and illusions); in the UN CERTO GIORNO “text”, an actor/director does no longer the final conspiracy. What is left? An Director, screenplay, editing: Ermanno immense fable , softly and widely col - settle for recognition, he wants to be known (by himself, by the others: the Olmi; cinematography: Lamberto Caimi; oured around the Woman (generic) music: Gino Negri; cast: Brunetto Del and her undisclosed contradictions (in two things cannot be dissociated). The text, for this purpose, generates the Vita, Lidia Fuortes, Vitaliano Damioli, this sense, Carroll Baker’s acting, with Raffaele Modugno; production: Cine- her proud passiveness, is spot on); even conditions for its own crisis in the form of a disruptive influence: a “character” ma/Italnoleggio; origin: Italy, 1968; for - more, a fable about the condition of mat: 35mm, col.; length: 106’. Victim and the apparatus of Sacrifice». that creates obstacles through a narra - tive flow that seems predictable from 35mm from Cineteca Nazionale. Eduardo De Gregorio, Bergamo: the beginning (the last variation of the due favole , «Cinema & Film», «One day: right when life has never n. 4, autumn of 1967 Theatre). It is the Little Girl, whose innocence is meant to verify the con - been so easy. A faint noise, then, once sistency of a vocation, that of Don again, the calm. The protagonist is driv - ing his car, satisfied with himself and DON GIOVANNI Giovanni/Carmelo Bene to be the Saint (the driving force) of a World (the world the future that awaits him (he has just Director, screenplay: Carmelo Bene; of fiction and theatre, of an appearance been proposed as chief executive offi - cinematography: Mario Masini; editing: that is more truthful then truth itself). cer of the company for which he Mauro Contini; cast: C. Bene, Lydia From now on, every manifestation of works), yet, in a single moment, every - Mancinelli, Vittorio Bodini, Gea Marot - the show, every trick of the theatre will thing gets complicated. “What was ta; production: C. Bene; origin: Italy, have to face a spectator forced by his that?” “I’ve heard a bang. Like a stone”. 1970; format: 16mm, col.; length: 70’. own innocence (“virginity”) either to [...] He knows, he feels that something 35mm from Cineteca Nazionale. disappoint or to betray. Since asking has happened. So he comes back to the spectator for compliance is too that curve, on foot, and finally sees - as «Don Giovanni opens with a deceit as easy, deceiving him is not in our inter - if he evoked him - the man he run well as a refusal: deceit at the expense ests, convincing him may as well impli - over, who will soon die in the hospital. of the spectator (a certain spectator) of cate losing him, it is a matter of chang - For the protagonist, this event repre - the previous two films by Carmelo ing the show (along with the specta - sents a moment after which his life will From the film Un certo giorno

52 53 never be the same again; for the film, films with regard to the Italian society freedom of thought, ends up being has produced in these years. The this scene is the turning point that turns of the late 1960s: the abandon of the replaced by the triumphant smile of charge is not an allegory of the State it into “something different”, marking a countryside, the supremacy of the mar - the great temptress that incarnates the [...]. Despite the title, no one plays the sharp narrative and stylistical disconti - ket, the violent social transformations, hypnotic and captivating suggestion of role of the devil. Sister Geraldine may nuity. [...] In a cinema such as that of the loss of essential values, the triumph the dogma, of the uncritical abandon slip into pride and fanaticism, but the Olmi, consistently characterised by the of consumerism, the alienation». to a crystallised and quietening truth. final return of her followers proves “whispered speech” as well as an Piero Spila, Un certo giorno , Except that the the two temptations her correct. [...] Having accepted that expressive undertone, Un certo giorno in Adriano Aprà (by), Ermanno Olmi. eventually come on the same level, salvation is always found within the is, on the contrary, a “shouting” film, Il cinema, i film, la televisione, equally separated from history, origi - Church, Damiani makes smart use of precisely because of its peculiar use of la scuola , Marsilio, Venice, 2003 nating an artificial conflict in which his metaphoric resources, adapting the the silence as well as the drastic break mysticism and rationalism end up storm to the eternal». of the narrative rhythm, an extreme appearing, in fact, as two faces of the Jill Forbes, «Monthly Film film, in its own way, because of its IL SORRISO DEL GRANDE TENTATORE same abstraction. Not surprisingly, the Bulletin», n. 499, August 1975 hopeless pessimism. The film tells Director, story: Damiano Damiani; collaborationist and the pro-revolution - about the realisation of an individual screenplay: D. Damiani, Fabrizio Ono - ary bishop, the worker-priest and the crisis already in the premises, and fri, Audrey Nohra; cinematography: theologian closed in his own rumina - LE CASTAGNE SONO BUONE places it onto the background of a Mario Vulpiani; editing: Peter Taylor; tions, all of them behave the same way Director: Pietro Germi; screenplay: Leo greater defeat, which pertains to the music: Ennio Morricone; cast: Glenda and seem to be united by the same Benvenuti, Piero De Bernardi, Tullio Pi - industrial society as well as the pathol - Jackson ( voice Maria Pia Di Meo), Clau- judgement in the eyes of the journalist netti, P. Germi; cinematography: Ajace ogy of human behaviours that the latter dio Cassinelli ( voice Sergio Graziani), (and in those of the director) as if they Parolin; editing: Sandro Lena; music: originates. The realisation comes, as we Lisa Harrow, Adolfo Celi, Arnoldo Foà, had not undergone radically different Carlo Rustichelli; cast: Gianni Morandi, have seen, along with a sudden event Francisco Rabal; production: Euro In- experiences in the course of their life. Stefania Casini, Nicoletta Machiavelli, that breaks an illusory and insidious ternational; origin: Italy/UK, 1974; for - Just like it is no coincidence that the Franco Fabrizi, Gigi Reder, Giuseppe calm, a violent event, just like being mat: 35mm, col.; length: 120’. true power of the Church is eventually Rinaldi; production: RPA/ Rizzoli Film; “hit by a stone” (which reminds of the 35mm from Cineteca Nazionale. identified in Sister Geraldine, reducing origin: Italy, 1970; format: 35mm, col.; original title of the film). The stone that the two prelates charged with investi - length: 108’. shakes and shatters the glass, but also «Il sorriso del grande tentatore by Da - gating her actions to marginal anticleri - 16mm from Cineteca Nazionale. the stone thrown in the pond, which miano Damiani looks like it might be cal caricatures». moves circles across its surface, along born as reaction to the claims of Paolo Sandro Zambetti, «Settegiorni», «The last film by Pietro Germi, Le casta- with the cloudy water underneath. VI concerning the existence of the February 10 th , 1974 gne sono buone , has been released for Olmi shows both effects in the film. devil. It is certainly possible that the the cinemas of the major Italian cities. There is the moral turmoil of the pro - director, or someone of his collabora - «In a country such as Italy, where the The opinions of the critics towards him tagonist (his reflection into the empti - tors, had had the idea much earlier, but Church is still politically active, the rhet - have been - almost invariably - severe - ness of his own life, the regrets, the its realisation appears to be tailor-made oric of catholicism adequately express - ly negative. There has been talk of a deceits, the betrayal, an underlying to play the game of the abstraction es the reality of a sinister power strug - “sharp involution” of the film-maker, of unhappiness), and there is the social from the man and from history, simply gle. Not in England [...]. The fact would “obnoxious optimism” in the film, “so analysis which, thanks to the secondary reversing the roles of good and evil, be secondary, if Damiani did not take much that it reminds of fascist period, characters in particular [...], progressive - with the capital initials, obviously, that so literally his investigation on the role of which the film it is a close relative”, ly expands and takes a shot of the neu - fight against each other on a metaphys - of the Church and the meaning of faith. of “sugared oversimplification”, of a rotic and unhappy Italy on the eve of ical level. [...] The smile of the great It would be wrong to compare the film “consumer product intentionally mis - 1968. [...] Un certo giorno really is one of tempter [t/n: namely the title of the to the many denounces to the corrup - leading in regard to our local reality”, the most explicit as well as farsighted film], that was meant to be that of the tion of the State that the Italian cinema of “backward middle-class moralism”.

54 55 Flowers in the mud. The figure of the sentimental, innocent PARALLEL CONVERGENCES girl, who turns out triumphant of the Universal and Republic gems cynicism of a young TV film-maker, ’77 N O COMMERCIAL USE who ends up marrying him by con - Director, editing: Luis [Fulvio Baglivi]; vincing him of the correctness of his (Nobody’s stepchildren, I. The most cinematography: Luca Toni, Andrea Ga - own convictions did not meet the audi - daleta Caldarola; cast: Lucrezia Erco - ence’s taste. [...] How do you feel, lani, Damiano Roberti; production: flamboyant American cinema, Mister Germi, how about the criticism Abelmary/Trop Tot Trop Tard; origin: concerning your film? [...] “I am proud Italy, 2017; format: video, col.; length: spoken by the Italian cinema) of it. I would shoot it the exact same 127’. way again. I endorse its assumptions, Copy from author. and I am sure it will have recognition, at least among decent people, who can be found anywhere, from the metal - It is 1977, the (red) sky has finally fall - workers to the intellectuals. Sure, it is a en unto the Earth. Wow. Blowing on weird, even scandalous film. It defends fire, through discord, the (armed) joy, one of the last standing taboos of our (class) revolt and machination, without times: the moral. It takes some courage, respite; there is a strange movement of I admit, to speak well of it.. [...] The film strange scholars behind this, conspiracy speaks to whoever has a soul, and of people without family, without jail. everyone has one. What’s this about The meadow is in flames, the revolu - the elderly being worth less than the tion is over, we have won. young? It doesn’t make any sense. Plus, let’s say it, those who get upset, who show off, those who protest and make noise represent a minority. On the con - trary, I speak to the majority, to them I dedicate the film, I offer an encour age - ment to keep believing in their ideas, not to be blinded by false moralisms. [...] The film wouldn’t offend a child’s sensitivity. Yet the censors heard some profanity in a scene - the one where some young people perform inside a small avant-garde theatre. I will cover those lines with the soundtrack, if nec - essary. It is never pleasant, nor easy, but I am willing to do so, provided the ban will be revoked”». Liliana Madeo, Germi polemico tuona e difende le castagne , «La Stampa», November 11 th , 1970 56 57 LA VALLE DEI FORTI money, but it would have been a major laugh at it. If so, they were soon laugh - lows and the two start a crusade against Trail of the Vigilantes fiasco if we had not changed it». ing with it». the police. Elliott then decides they’d Allan Dwan Don Miller, New Words on Old Westerns , get better results by cooperating with Director: Allan Dwan; screenplay: Ha - in Peter Bogdanovich, «Focus on Film», n. 11, autumn 1972 the Federal government, and so is rold Shumate; cinematography: Milton Allan Dwan. The Last Pioneer , appointed a U.S. marshal. Carroll mean - Krasner, Joseph Valentine; editing: Studio Vista, London, 1971 while, has forsaken his Robin Hood Edward Curtiss; cast: Franchot Tone, TEXAS SELVAGGIO career to rob a bank with his band, War ren William, Broderick Crawford, «Dwan says that when he was assigned The Fabulous Texan which makes him a Federal offender. Andy Devine, Mischa Auer, Peggy this one, it was to be played straight. Picture has a final sequence, incidental - Director: Edward Ludwig; story: Hal Moran, Porter Hall, Charles Trowbridge; Quickly perceiving that this was the ly, which will rank among the corniest Long; screenplay: Lawrence Hazard, production: Universal; origin: USA, road to disaster, if not madness, he ever seen unless Republic gets hep and Horace McCoy; cinematography: Reggie 1940; format: 35mm, b/w; length: 75’. turned it into a spoof with the aid of a trims it before Texan goes into general Lan ning; editing: Richard Van Enger; 16mm (from 35mm) from Penny Video. hasty re-write and the co-operation of release. It shows Miss McLeod as an old the cast. A pleasant anecdote, but one music: Anthony Collins; cast: William grandmother, posing before a statue of «At first, the film was meant to be a wonders. [...] The laughs are genuine Elliot ( voice Augusto Marcacci), John her late husband and telling bystanders melodramatic western, written in a seri - and hearty, and the expected Western Carroll, Catherine McLeod, Albert Dek- something about the fact he wasn’t the ous manner. I went to the mountains action isn’t sacrificed. [...] Significantly, ker ( voice Gaetano Verra), Andy Devine; only one who did a lot for Texas. Miss along with the troupe for the external the film carries no producer credit. production: Republic; origin: USA, McLeod’s gray wig and the painted filming, and no sooner had I shot the The narrative begins seriously enough, 1947; format: 35mm, b/w; length: 95’. backdrop are too obvious for comfort». 16mm (from 35mm) from Penny Video. third scene than the story proved to be with one of those lengthy forewords Stal., «Variety», actually mediocre, as the situations about the winning of the West peculiar November 12 th , 1947 were ridiculous rather than serious. So to outdoor sagas with pretentions. «Republic has apparently taken the I stopped the troupe and I took them Then the plot is set up in the first advice of some of its major stockhold - «Emigrated from Russia (his real name back to the studios: for Universal, it scene, an undercover man (Tone) from ers to forego attempts at making pres - was Litvak), Edward Ludwig makes his was a shock. I told them: “Honestly, it the East sent to the cow country to tige films and sink its heavier budgets debut as director in 1933. Despite some cannot work like this. We have to expose dirty work on the prairie. Tone into the type of pictures it knows best film of prestige (and most importantly, change it, because if you intend to hasn’t arrived long before he’s how to make. Fabulous Texan is a intelligently tailored) such as L’ultimo shoot it this way, then I’m out of it”. embroiled in an upside-down hanging western in every sense of the word and, gangster (1937, with Edward G. “What do you want to do? By now we by his heels, and a raucous bar-room as such, right down Republic’s alley. It’s Robinson) as well as Quella cer ta età are into this, we are already spending brawl in partnership with Crawford and obviously, too, an expensive job and, (1938, with Deanna Durbin), his reign money, people are under contract”. I Devine. By the time Auer is incongru - with the cast topped by William Elliott, belongs to the low budget darkness, replied: “Give me a screenwriter and I’ll ously introduced as a transplanted mis - John Carroll and Catherine McLeod, particularly at Republic,where he works get to work right away”. In a few hours placed Cossack, the plot just leans back looks good for first runs, as well as the under contract during the late 1940s. It we reviewed the script, mantaining the and twiddles its thumbs until the time shootin’ galleries. is here that he makes, along with John same story, although with a shrewd hero Tone gets around to corralling Story has Elliott and Carroll as a couple Wayne as both actor and producer , I approach. The cowboys would have villain Warren William. In between, of Confederate officers who return to conquistatori dei mari (1944) and, most made mistakes and everything would the accent is on comedy verging on Texas after the war only to find it over- significantly, his masterwork La strega have gone wrong; no more efforts to slapstic. [...] The film opened to enthu - ridden by carpetbaggers and despotic rossa (1948), film focused on the be funny, as the very things they were siastic reviews and proved popular state police. To avenge the death of his adventure as well as the amour fou, meant to do would have been funny. with audiences, including the sophisti - father at the hands of the troopers, exalted by a dipahanous photography In the end, the result was rather appre - cated set still resistant to Westerns. Carroll shoots it out with them and has in black and white, heavily contrasted, ciable, a fun film that even made some Perhaps they entered the theatre to to flee into the mountains. Elliott fol - like an etching. This film also repre -

58 59 sents an answer to those who claim Cummings ( voice Augusto Mar cacci), «Il regno del terrore is pure pleasure, a that John Wayne cannot die on the Richard Basehart ( voice Emilio Cigoli), tour de force of directory skills. Mann screen: in the last scene, the ghosts of Richard Hart, Arlene Dahl ( voice Dhia does not give up anything: shadows, the two lovers meet each other once Cristiani), Arnold Moss ( voice Mario bizarre camera perspectives, low ceil - again, sailing the ocean for all eternity. Besesti), Norman Lloyd ( voice Stefano ings, streets of barely illuminated wet In the light of such poetic impetus, Sibaldi); production: William Cameron pebbles, rooms lightened by a single Ludwig may be forgiven for his anti- Menzies for Walter Wanger Productions; candle, crooked compositions, intense communist film, once again interpreted origin: USA, 1949; format: 35mm, b/w; close-ups, a camera delicately moving by Wayne, Big Jim McLain (1952, length: 75’. up and down... The director’s signa - [released in Italy under the title 16mm (from 35mm) from Penny Video. tures are all there. Set in Paris during Marijuana , thus erasing any political the post-revolutionary period, Il regno reference]). On the contrary, it is cer - «William Cameron Menzies was one of del terrore shows us the techniques tainly possible to be sensible to the the most relevant figures of the cine - proper of a noir film suitable for a film sometimes unequal appeal of La prim - matographic industry, as well as one of in costume. An intense introduction of ula rossa del Sud (1953) or Il tesoro del the best screenwriters with whom I had documentaristic flavour recites: “Paris, the chance to collaborate. I met him Rio delle Amaz zoni (1954). Ludwig also July 26 th , 1974... anarchy, misery, mur - back when I used to work for Selznick excels at praising the most flamboyant der, bonfires...”. In other words, perfect and, at that time, he had already taken beauties, redheads (Arlene Dahl) as material for Mann. These words are part in Sam Wood’s films. He was an accomapnied by an editing that shows well as brunettes (Yvonne De Carlo), extraordinarily imaginative man. We by assigning them historical-melodra - us the fanatic revolutionaries, with their made Il regno del terrore with a 750.000 close-ups deformed by the blazing matic ( Sangaree , 1954, which success - dollars budget, a meager amount, and flames in the background. Such intro - fully subverts the conventions of the the shootings lasted 20-25 days. duction announces the tone of the southern melodrama) or exotic roles Menzies contributed with some won - baroque horror about to follow, antici - (L’av venturiera di Bahamas , 1956). derful ideas. Here is one. We had to fill pating the fact that the stylistic exasper - Before sinking into the anonymity of a square with background actors, but the 1960 TV series, Ludwig makes one our budget only allowed us to hire one ation is going to be widely exploited. of his best films, Furia del West (1963), hundred of them, at most. Menzies As for the rest, the screenplay retains a hazy western featuring an agonising placed them onto a platform, arranging an almost ironic tone, with dialogues Rory Calhoun, gunslinger consumed by them in the shape of a square, thus fill - that may be interpreted as a parody of the gangrene. An unequal work, yet ing the entire frame. We filmed turning the historical genre. [...] The plot is marked by occasional inspired leaps». the lights on and off, so that some peo - based on the internal arguments among Christian Viviani, Edward Ludwig , ple remained in the shadow, while the the leaders of the post-revoultionary «Positif», n. 626, April 2013 others were vividly illuminated. It is period, modernised by some references like this that I filmed people’s reactions to the dictatorship and an ominous to Danton’s and Robespierre’s speech - blacklist (the film was released at the IL REGNO DEL TERRORE es. Twenty copies of the scene were time of McCarthy). In spite of this, the Reign of Terror then printed and screened together as a political issues are not truly central, whole background, so that the hundred since Mann, as usual, keeps the empha - Director: Anthony Mann; screenplay: people became two thousands». sis on love, speed and suspence». Philip Yordan, Aeneas MacKenzie; cin - Anthony Mann in Barrie Pattison, Jeanine Basinger, ematography: John Alton; editing: Fred Chris Wicking, Entretien avec Anthony Anthony Mann , Allen; music: Sol Kaplan; cast: Robert Mann , «Positif», n. 94, April 1968 From Il regno del terrore Twayne, Boston, 1979 60 61 IL SOTTOMARINO FANTASMA unravels through a lenghty flashback, ly in love with helicopter pilot Arthur Mystery Submarine during which Nazist officers, American Franz. Romance has its ups and downs agents, fake spies and actual scientists before she finally forgets her infatua - Director: Douglas Sirk; story: Ralph face each other in a sort of murky con - tion in favor of loyalty to her service Dietrich; screenplay: George W. George, flict. The character of von Molter career. [...] George F. Slavin; cinematography: (Robert Douglas), commander of a U Of questionable taste are several Clifford Stine; editing: Virgil W. Vogel; 64 German submarine, turns out to be sequences where atrocities of Chinese cast: Marta Toren ( voice Ly dia Simone - particularly incomprehensible, and it and North Korean Communists against schi), Macdonald Carey ( voice Giorgio actually is such ambiguity, along with United Nations troops are unreeled. Capecchi), Robert Douglas ( voice Marta Toren’s character, that makes this The American public as well as most Emilio Cigoli), Carl Esmond ( voice Au - film engaging». other peoples of the free world are gusto Marcacci), Ludwig Donath ( voice Patrick Brion, Dominique Rabourdin, already well acquainted with the inhu - Amilcare Pettinelli), Jacqueline Dalya Biofilmographie , «Cahiers du Cinéma», man practices of the Reds and an enter - Hilliard; production: R. Dietrich for n. 189, April 1967 tainment motion picture is scarcely a Universal; origin: USA, 1950 ; format : forum to refresh one’s memory on 35mm, b/w; length: 78’. gruesome war crimes». 16mm (from 35mm) from Penny Video. OPERAZIONE COREA Gilb., «Variety», November 4th, 1953 Flight Nurse «When I was able later to get free of Columbia, I took up that offer from Director: Allan Dwan; screenplay: Alan Le May; cinematography: Reggie Lan - BANDIERA DI COMBATTIMENTO Universal. Although I was hired to do The Eternal Sea comedy, strangely enough the first one ning; editing: Fred Allen; music: Victor I did was that submarine picture, Young; cast: Joan Leslie, Forrest Tucker, Director: John H. Auer; story: William Mystery Submarine . I got it, I suppose, Arthur Franz, Kristine Miller, Maria Pal - Wister Haines; screenplay: Allen Rivkin; because I had been in the Navy. It was mer; production: Republic; origin: USA, cinematography: John L. Russell; editing: alluring to shoot in a submarine, with 1953; format: 35mm, b/w; length: 90’. Fred Allen; music: Elmer Bernstein; cast: hand cameras and so forth. But it was 35mm from Penny Video. Sterling Hayden ( voice Emilio Cigo li), a miserable little story. Here the auteur - Alexis Smith ( voice Lydia Simoneschi), ship of the studio comes in. But I did «Flight Nurse is another in a series of Ben Cooper ( voice Massimo Turci), Dean want to do pictures about America». service pictures that Republic has been Jagger ( voice Lau ro Gazzolo), Virginia Douglas Sirk in Jane Stern, dishing up to exhibitors. Studio has Grey ( voice Dhia Cristiani); production: Michael Stern, Two Weeks in worked out an extensive promotion tie- J.H. Auer for Republic; origin: USA, Another Town , «Bright Lights», up with the U.S. Air Force. [...] 1955; format: 35mm, b/w; length: 103’. n. 6, winter 1977 This time Rep’s writing mill has ground 35mm from Penny Video. out a saga of one of the USAF’s uni - «Mystery Submarine marks the begin - formed femmes who administered to «Like Edgar G. Ulmer and Joseph H. ning of Sirk’s collaboration with the wounded on the Korean battle - Lewis, John H. Auer was a filmmaker of Universal. Mystery Submarine is built front. Such a basic theme has fine dra - high ambitions who discovered a cer - through the narration of Madeleine matic possibilities but the Alan LeMay tain freedom working on Poverty Row. Brenner (Marta Toren), accused of high screenplay curiously ignores them. Just as Ulmer at PRC and Lewis at treason by the American government. Instead, the script emerges as a maudlin Monogram and Columbia found that Similarly to Temporale d’estate , the film tale of nurse Joan Leslie who’s frantical - working without stars on microscopic From the film Bandiera di combattimento

62 63 Cécile Decugis, budgets allowed them a stylistic lati - captain who finds himself sidelined tude that no major studio would have after he loses a leg in combat). permitted, Auer discovered an unwit - Yet relief for these men comes only in the editing of life ting patron of his art in the form of accepting their confinement: Young by Herbert J. Yates, the founder and pres - taking his murdered father’s place on ident of Republic Pictures. the police force, Corey by dying to pro - Within the confines of Republic, Auer tect the wife (Evelyn Keyes) he has enjoyed a position analogous to that refused to acknowledge, Hayden – in a held by his fellow Hungarian, Michael scene written as triumph but staged as Curtiz, at Warner Bros. Fluent in a wide defeat – by resigning his commission to range of genres – urban thrillers and work with handicapped veterans». romantic comedies, melodramas and Dave Kehr, Inside Man , musicals – Auer was the house director «Film Comment», July-August 2011 of choice for Republic’s periodic pres - tige productions, to which he reliably lent rhythm, form, and visual polish. [...] At the most abstract level, his films are about constant mutation within a fixed structure. His characters are con - sistently inconsistent, defined by dual natures and disguised emotions. His plots are almost invariably driven by mistaken or assumed identities; seldom do his characters really know one another. His situations are fluid to the point of a dreamlike instability. [...] Vera Ralston characters find escape and relief when they are finally able to assume their true identities, though that kind of peace and certainty comes at a higher price for the male protagonists of Auer’s last three films for Republic: City That Never Sleeps , Hell’s Half-Acre (1954), and The Eternal Sea (1955). The Chicago cop played by Gig Young in City , the Honolulu racketeer played by Wendell Corey in Half-Acre , and the naval officer played by Sterling Hayden in Sea are typically driven, dissatisfied Auer heroes, each struggling to escape different forms of professional and emotional confinement (Hayden is a

64 65 «Don’t let technical CÉCILE DECUGIS the images from the point of view of our Born in 1930, she makes her debut in present, without any ostentation. (Bernard 1953 as assistant editor for Les Petites filles Eisenschitz) issues stop us ». modèles , unfinished film by Éric Rohmer, and subsequently for Madame de... by Max Ophüls. In 1957 she edits together RENÉ OU LE ROMAN DE MON PÈRE A Rossellinian tribute the first short film by Truffaut, Les Mistons , Director, screenplay, editing, voice: Cécile while she helps Godard complete Tous les Decugis; origin: France, 2016; format: to Franco Basaglia garçons s’appellent Patrick . Then Fino video, col.; length: 28’. all’ultimo respiro comes, revolutionising DVD from Garance Decugis. the idea of editing itself, for which Decugis gives credit to Godard. She dies The raspy voice, somewhat harsh and on June 11 th , 2017. devoid of indulgence of Decugis com - ments this “novel” dedicated to her father, a photo story, with the only exception of LA DISTRIBUTION DE PAIN some cinematographic shot. It starts as a Director, cinematography, editing, voice: photographic chronology of her parents, Cécile Decugis; production: Hedy Ben characters just like “all the others”, and Khalifa; origin: Tunisia/France, 1957-2011; therefore unique. The sense of that time format: video, b/w; length: 14’. is given by the evolution of the bodies, of DVD from Garance Decugis. the clothing, of the accessories chosen for self-representation - cars, airplanes. A The film, initially called Les Réfugiés , was detour takes us to the foundation realised by Cécile Decugis and the d’Hyères, twenty-five centuries before: Tunisian film-maker Hedy Ben Khalifa in Nothing to cause concern in the specta - June 1957, and commissioned by the tor, not any more than the meticulous young Tunisian Republic, which present - description, which evokes the Nouveau ed it to the UN, at the moment of its Roman, of the cars and the airplanes, of admission, in the June of that year, in the trees that shape the garden. (Bernard order to request support. It is shot in the Eisenschitz) ‘restricted area’ where the refugees gath - er, which is also used as base by the ALN (Armée de libération nationale). When, PARALLEL CONVERGENCES about a dozen years ago, Decugis recov - HOW WHEN WHY ers the negative (without sound) of Les POURQUOI ? C ONTE AVEC MORT INOPINÉE DE Réfugiés , she decides to resume it, adding SON AUTEUR meeting with Marc Scialom: o a new comment, which she herself reads, Presentation of his book (illustrations by r a p and she takes the freedom to question Marcel Delmas, Artdigiland editions, s a G the images of 1957 once again. The film 2018) and anticipation of the forthcoming a v is released in 2011 under the title La book by René Vautier. e N Distribution de pain . The voice provides ©

o the factual informations, necessary yester - t o h

day as much as today, but it also shows p 66 67 BODIES , GAZES AND SILENCES The problem is that the patient in ques - aware of the extent and the effects of the opening of the psychiatric hospi - by Michele Zanetti tion is an abstract patient; I cannot give the piece of legislation they voted. We tal’s gates. Basaglia himself, promoter Silence too, just like the gaze, is a an answer, since it would still be an must not forget that the legislative text of the initiative, represents the second pause in which human beings “catches institutionalised answer. The issue real - was written in some haste in order to fragment of this large, dramatic mosaic. their breath” in order to take posses - ly lies within the specific condition of avoid the holding of the revocatory ref - The flow of Zavoli’s questions, sion of themselves and their world. the individual. erendum of the law concerning mental Basaglia’s slow and calm speech, as institutions proposed in 1904 by Marco well as some of his emblematic phras - Corpo, sguardo e silenzio , in Franco Conference in Belo Horizonte, Basaglia, Scritti I , Turin, 1981, p. 300 in Franco Basaglia, Conferenze Pannella’s radical party, referendum es that are thus indelebly imprinted in brasiliane , op. cit., p. 178 which would have most likely con - the heart and the conscience of mil - In the history of psychiatry it proved Franco Basaglia’s words, as well as giv - firmed the old law, postponing and lions of Italians: “In Calabria, there is necessary to objectify the insane per - altering the entire healthcare reform quite an interesting proverb that says son: the illness was defined to coincide ing the title to this year’s edition of the Festival, better illustrate this little show already in the homestretch under the who has not is not . And this contradic - with the behavioural disorder, organic tion that expresses, as a whole, the proposed on the occasion of the 40 th guide of the health minister Tina body and social body were conformed. Anselmi. contradictions of our society, is most Both the patient of the organic body anniversary of the law 180. The words from the Conferenze brasiliane (of which evident in our psychiatric hospitals”. and that of the social body cannot The interview is closed by Zavoli’s we present the new expanded edition express their sick subjectivity. Instead, question: “Honestly, professor Basaglia, in preview, once again curated by I GIARDINI DI ABELE they express their objectivity of sick what interests you the most? The illness Maria Grazia Giannichedda) are direct, things. Director: Sergio Zavoli; cinematogra - or the ill?” Basaglia’s splitting answer: immediately comprehensible to every - Conference in Belo Horizonte phy: Marziano Lomiry, Franco Tonini; “The ill, definitely”. The third fragment th body, even those who are not well- November 17 , 1979, in Franco Basaglia, editing: Vasco Micucci; production: of the reportage explains the choice of versed in the issue of mental health. Conferenze brasiliane , Raffaello Cortina RAI; origin: Italy, 1969; format: 16mm, the title. Showing the magnificent gar - Editore, Milan, 2000, p. 173 Sergio Zavoli’s footage on the mental b/w; length: 26’ dens around the hospital, Zavoli institution in Gorizia represents a mon - Similarly to how medicine was estab - Digital copy (from 16mm) from Anno declares: “in these parks of anachronis - lished on a dead body, psychiatry was umental emblem of the specific jour - uno. tic beauty, absurdly vast and inviting, built on a dead mind ... the behavioural nalistic TV language that was continu - takes place the hypocrisy behind disorder was included into the bodily ously getting refined, and contains a «On January 3 rd , 1969, Zavoli’s inquiry which, generally speaking, people take disorder, body and behaviour became poetic touch reminiscent of his coun - on the mental illness is broadcast on cover from a case of conscience. The the same thing, both within the posi - tryman Federico Fellini; today it is also “Tv7”. Seizing the opportunity repre - luxuriant gardens in which we observe tivistic logic of the cause-effect rela - used as formative material for mental sented by the opening of the gates of the patients through the railings as they tionship. health operators. the mental institution in Gorizia, Rai’s live their lives freely and serenely are in Conference in San Paulo The amateur footage of Basaglia’s inter - cameras, led by the author of Viaggio reality the gardens of the problematic st June 21 , 1979, in Franco Basaglia, views to the political personalities in intorno all’Uomo , enter the rooms of brothers, Abel’s Gardens”. On May 13 th , Conferenze brasiliane , op. cit., p. 61 charge of the healthcare sector as well suffering to provide documentary of 1978, the law 180, in regard to “manda - Founding a new medical science con - as to a party leader on the day after the the courage of Franco Basaglia, the tory and voluntary inspections”, is scious of the fact that human beings, approval of the law 180 is unpublished. illustrious psychiatrist behind the law promulgated. The law is universally besides being bodies, are the product It also contains some humourous impli - that in a few years will sanction the known as Basaglia law, in honour of of battles, social bodies as well as cations that hint at how many of the permanent closure of the psychiatric professor Basaglia and his battle for the organic bodies. members of the parliament and the hospitals. [...] The introduction shows recognition of the basic rights of the ill». Conference in San Paulo, senators who approved the law, few the discussion among the nurses during Damiana Spadaro, Sergio Zavoli tra in Franco Basaglia, Conferenze days after the finding of Aldo Moro’s a meeting in the ward, their comments, silenzio e rumore , Rai/Eri, Rome, 2014 brasiliane , op. cit., p. 73 slaughtered body, were not actually but most importantly their reactions to 68 69 Anno uno Award

[MATERIALI DA UN PROGETTO DI FRANCO CONFERENZE BRASILIANE BASAGLIA DEL 1979] FRANCO BASA- Meeting with Maria Grazia Gianniched - GLIA INTERVISTA I POLITICI SULLA da, featuring the presentation of the “LEGGE 180” E LA RIFORMA SANITARIA book Conferenze brasiliane by Franco Director: Franco Basaglia; origin: Italy Basaglia, in its new complete edition, 1979-2018; format: col.-b/w; length: 40’. Raffaello Cortina Editore, Milan, 2018 Digital copy from Fondazione Basaglia. (already curated with Fran ca Ongaro Basaglia). Franco Basaglia, who has left Trieste after having been appointed consultant of the Lazio Region, starts, in the autumn PARALLEL CONVERGENCES of 1979, the project of interviewing TROPICS, I prominent political leaders concerning the reasons that led them to vote the MIRAGE OF A FILM . D E CASTRO -R OSSELLINI - “law 180” and the healthcare reform, ZAVATTINI CHART WORK and how they intended to rule such From the idea of shooting a film inspired reforms. Along with some film-makers by Geopolítica da Fome (1952 - translated of the “Maestranze e tecnici del cine - in Italy in 1954 under the title Geografia ma” cooperative as well as two collab - della fame ), one of the best known orators, Paolo Crepet and Maria Grazia books by the Brazilian sociologist Josué Giannichedda, Basaglia interviews the De Castro, emerges a project of interna - Christian democrats Paolo Cabras and tional significance whose protagonists are Bruno Orsini, the social democrat Pie- the leading lights of the Italian neoreal - tro Longo, the socialist Claudio Signo- ism, Zavattini, Rossellini and Sergio rile. The project is interrupted by the Amidei. But how can a humanitarian mission, born from the desire to raise disease that will carry Basaglia to his the awareness of the world population death on the 29 th of August 1980. towards the critical situation of food From the video recordings after inter - shortage that still affects a large propor - views, Maria Grazia Giannichedda and tion of mankind, represent an occasion of Renato Parascandolo derived, in 1986, cultural renewal and new cinematograph - a 35-minute-long film, which was pre - ic perspectives as well? sented for the first and only time in Rome, on June 5 th of the same year, in the Hall of Parliamentary Groups, on PARALLEL CONVERGENCES the occasion of the convention Tutela, diritti, controllo sociale promoted by TRIBUTE TO UGO GUARINO the parliamentary group Independent In the lobby of the Teatro Miela, a small Left, of which Franca Ongaro Basaglia exhibition of the illustrator who has artis - was part, elected in Senate for the first tically accompanied Franco Basaglia’s time in 1984. The current edition is the events in Trieste. Selection of works, restored version of that of 1986. unpublished as well, from the collection of Michele Zanetti. 70 «Franco has a secret»: who knows the identity of the pleasant woman Franco Giraldi, from Trieste who replied in this manner to a young Tullio Kezich, curious about Franco Giraldi’s reputation of tombeur de femmes ? The a master of European anonymous woman, back when Franco was not yet a filmmaker, was able to foresee with critical eye his future cinema, of which today we understand much more than the mere “culture”, “reader’s intelli - cinema behind the corner gence”, “sensitivity regarding one’s places”... Among the many things we understand of his cinema, there is certainly a will to listen to the feminine force, and not for dull progessivism, but rather as a conse - quence of something that he must have absorbed early in his life from the maternal – and Slovene – presence. When Franco makes, in the canonical 1968, a film inspired by Alba de Céspedes about a female figure, La bambolona , featuring the unknown Isabella Rei in her only cinematographic role, he entrusts her with a provocation towards the Italian cinema dominated by the comedy, shortly after welcoming the tender Soledad Miranda in Sugar Colt . The co-protagonist is the great Tognazzi who, two years later in Cuori solitari , comedy edited by the brilliant Kim Arcalli, is just as much bewildered by a wonderful Senta Berger. And in the equally canonical 1977, in the intimate as well as staggering Un anno di scuola , it is the flamboyant Laura Lenzi, with her attraction towards the Viennese psychology, to introduce the more and more rhabdomantic Berger, who will once again appear two years later in La giacca verde ; film preceded by the ultimate film on Trieste La città di Zeno , where the leading presence is Franco Basaglia. La giacca verde (which we arrange for the award, and not only for our beloved Berger) represents an unicum of the Italian cinema, film of rare conceptual force when it comes to demolishing any form of power: that of an orchestra conductor who turns out to be loser towards his ignorant fake master, a wonderful Renzo Montagnani with the sharpness of his Ciceronian comedies. And while Luis Bacalov twists Verdi and Chopin with secret love, Giraldi puts himself along with Garboli at the service of Soldati. Art cinema never belongs to a single author.

Associazione Anno uno September 2018 73 FRANCO GIRALDI , A MASTER OF CINEMA flaunted his convictions his works were a film moving with ostensibly nothing SUGAR COLT BEHIND THE CORNER always popular: films from the people, happening. Lots of stuff is happening in by Olaf Möller for the people – the kind of left-wing Giraldi’s Westerns, ditto in the come - Director: Franco Giraldi; story: Augusto spirit only too rarely found in arts. That dies he’d soon prefer to focus on: La Finocchi, Giuseppe Mangione; screen - It was high time that the Premio Anno said: If needed he’d fly his colors: bambolona (1968), Cuori solitari (1970) play: Sandro Continenza, Fernando Di Uno went to a filmmaker whose art is a Giraldi was involved with the making ... Sure, his Westerns were also Leo, A. Finocchi, G. Mangione; cinema - more popular one: A director as much of L’addio a Enrico Berlinguer (1984) comedic in tone but Giraldi was too tography : Alejando Ulloa; editing: Rug - at ease with genres of all kinds as with as well as Un altro mondo è possibile respectful of the genre to go all-out gero Mastroianni; music: Luis Bacalov; the culture deemed “high” by the (2001), two collective efforts, the for - fun ny. Let’s say: If in the Westerns cast: Hunt Powers ( voice Sergio Gra - arbiters of taste. All of I mille occhi has mer looking backwards in mourning, laughter found its counterpoint in gun - ziani), Soledad Miranda ( voice Fla mi- been about erasing these borders that the latter forward in anger. play and some such, Giraldi’s comedies nia Jandolo), Gina Rovere ( voice Rita serve nobody but whose who like to Should one say that Giraldi took for his are above all remarkable for qualities Savagnone), Erno Crisa ( voice Massimo be in control. We don’t. We like the films the best of de Santis and not fundamentally associated with the Foschi), Victor Israel, George Rigaud; fleeting, the disposable, everything that Pontecorvo as well as what little one gen re: what remains in the mind of eg. production: Eva Film/Mega Film; origin: is in flux. Thinking about borders and could use of the others’ examples, but Cuori solitari is its sensitivity, a feeling Italy/Spain, 1966; format: 35mm, col.; what they did to people comes natural - cleansed it of all its baroque braggado - closer to melodrama; it’s almost as if length: 93’. ly in a town like Trieste. Should we cio, surface splendor? For Giraldi’s is the film just cannot persuade itself to be 35mm from Cineteca Lucana. maybe suggest that the genius of Fran- above all an art of humility and demi- obvious and loud – excessively direct. co Giraldi, born in Comeno now Komen tones, a particular quietness in the Off-hand, casual, lively, concerned, «Fresh of the success of 7 pistole per i to a Slovene mother from Trieste and a midst of Western sound and comedy alert to the dangers and pitfalls of his- MacGregor , Franco Giraldi signs a con - father from Istria, is that of all things fury. Already 7 pistole per i MacGregor tory: These are the qualities that make tract for a new western film, a comedy and matters indefatigably defiant and (1966), his solo debut, shows that his lose trilogy La rosa rossa (1973), Un for the producer Ugo Santalucia. The restless and creative about this town Giraldi was not out to impress with for - anno di scuola (1977) and La frontiera sequel about the MacGregor, therefore, where cultures meet and cross-breed? malist flamboyance but cheek and (1997) but also La giacca verde (1979), will have to wait. However, the writing Giraldi’s was an exemplary way into smarts – a true storyteller who consid - Il corsaro (1985), Voci (2000) shine and staging times are extremely short. cinema: First he wrote reviews; then he ers his characters as the one and only brightly. Commonly it’s pointed out “That time I had some real fun” recalls also got involved with screening films guides through their worlds, fates and that all these are literary adaptations, Franco Giraldi in the monograph curated (alongside Tullio Kezich and Callisto circumstances. ’66 is an interesting almost as if to say that their qualities by Luciano De Giusti. “The keynote was Cosulich); finally, he moved from moment for the Italian Western: The come from writers like Pier Antonio irony, shooting serious and authentic Trieste, where he grew up, to Rome, spaghetti model isn’t yet the one and Quarantotti Gambini, Giani Stuparich, scenes without taking ourselves too seri - the capital of Italian cinema, at a time only to follow – works closer to an Franco Vegliani, Mario Sol dati, Joseph ously. We were already writing it, and when it was in fact the lone true inter - American spirit are still made. 7 pistole Contrad or Dacia Maraini respectively; we started with the shootings few national movie hub besides per i MacGregor , like Sugar Colt and 7 but maybe it’s more like this: by leav - months later. At that time, things used to Hollywood. There, he became part of a donne per i MacGregor (both 1967) are ing genre and its rules behind, Giraldi proceed quickly. I didn’t choose the circle well described as one of commu - imbued with that: marvel at their won - was finally able to be fully himself: a actor among the American actors who nist entertainers: Giuseppe de Santis derfully laconic air, laid-back sense of grandmaster of cinema whose values used to hang around Rome, since they was certainly the center, primus inter speed, and a rhythm clockwork precise today seem ever more precious and were all quite rough, not very flexible, pares, with Gillo Pontecorvo, Carlo while never feeling forced (or worse: desperately needed. whereas I needed someone worldy- Lizzani and Giuliano Montaldo as laws mechanical); Walsh comes to mind, but wise, somewhat dandy, so I went to Los of their own; politically speaking, these more urgently second-echelon masters Angeles in order to look for him [...]”. were the right kind of people to con - like Heisler, Garnett or Parrish whose And there you have it, the first spaghetti sort with – for even if Giraldi rarely excellence lies in the way they can keep Western with Hunt Powers, whose real

74 75 name is Jack Betts. He was freshly out of still open. In the window, a cover CUORI SOLITARI di dollari ); and finally the direction. But the General Hospital TV series. It is the caught me eye: La bambolona by Alba the extremely modest, ordinary direc - only western film for Soledad Miranda de Céspedes. It had a detail of a paint - Director: Franco Giraldi; story: Ruggero tion of a homemade Western , signed too, cult actress for the Spanish horror ing by Manet printed on it, I believe. I Maccari; screenplay: R. Maccari, F. Gi- with the English pseudonym ( 7 pistole films by Jesus Franco (as well as Ursus read the book during the night and the raldi; cinematography: Dario Di Palma; per i MacGregor ) Frank Grafield. Then editing: Franco Arcalli; music: Luis Ba - by Carlo Campogalliani), passed away following morning I immediately went Frank Grafield’s Western became Fran- calov; cast: Senta Berger, Ugo Tognaz- in 1971 at the young age of twenty- to Ugo Santalucia, the producer of co Giraldi’s Western , they told romantic zi, Silvano Tranquilli, Clara Colosimo, seven in a car accident on the motor - Sugar Colt . [...] The one big problem desperate stories (over the background Edda Ferronao; production: Mega Film; way to Lisbon. “I chose her” remem - was the choice of the protagonist, who music by Gustav Mahler), they searched origin: Italy, 1970; format: 35mm, col.; bers Giraldi “because of her intense, had to be attractive, but also embar - for unprecedented sceneries across the length: 121’. almost spiritual look, but also full of rassing to show around. This lawyer already threadbare Spanish Sierra. Lastly, 35mm from Cineteca del Friuli. personality, of spice. She perfectly Broggini, successful man, interpreted they diverted from the ordinary, mak - contrasted the solemn Gina Rovere. by Tognazzi, who begins stalking her, ing way for the films worthy of such «“A young, modern couple, in search of “Soledad Miranda is the beautiful bar - on one hand is infatuated with the name ( La bambolona and this Cuori so - contacts with other couples with the maid in the saloon of the town where, body of this girl in a fetishistic way, litari )». purpose of naturism and photography” disguised as a doctor, Hunt Powers is while on the other hand he is incapable ... : Two people who have nothing more Callisto Cosulich, Swapping investigating in the role of a gunslinger of introducing her to his doorman. The all’italiana , «Cinema 60», n. 77, to say to each other decide, on the who promised to solve a mystery to his young woman gradually becomes July-August 1970 man’s initiative, to explore the world of dying friend. Some time before, a mili - aware of the cynicism and the violence swapping . The situation is typical of an tary contingent disappeared around with which this man is watching her Italian-style comedy of manners which, Snake Valley. Are they still alive? And and eventually punishes him. If I had LA ROSA ROSSA chosen a pretty actress for the role of however, evolves into a study of char - who holds them hostage?». Director: Franco Giraldi; story: from the the girl, the film would have been acters: The titillating game stops work - Marco Giusti, Dizionario del western novel by Pier Antonio Quarantotti Gam - ruined. The girl I needed could even ing as soon as the man realises that the all’italiana , Mondadori, Milan, 2007 bini; screenplay: Dante Guardamagna, have been pretty, but not in the way rules also take the equality of the sexes F. Giraldi; cinematography: Marcello someone like, I don’t know, catherine into account. The drama is avoided by Masciocchi; editing: Giuseppe Giaco- Spaak would be considered pretty. In pretending to let it go unnoticed or, in LA BAMBOLONA bino; music: Luis Bacalov; cast: Alain my Imagination, she had wide hips, a other words, by embracing the only Cuny, Elisa Cegani, Giampiero Bat- Director: Franco Giraldi; story: from the quaint charm, a somewhat melancholic lifeline provided by hypocrisy. There- tistella, Giampiero Albertini, Susanna novel by Alba de Céspedes; screenplay: look [...]. This search lasted 6 months: I fore, it is assumed that the two will live Martinkova; production: CEP/RAI; ori - Ruggero Maccari, F. Giraldi; cinematog - travelled all over Europe. [...] I was des - together happier than before, having raphy: Dario Di Palma; editing: Rug - perate, when a 16 years old girl came discovered the advantages of unfaith - gin: Italy, 1973; format: 35mm, col.; gero Mastroianni; music: Luis Bacalov; along with her agent: It was her, it was fulness. This, in short, is Cuori solitari , length: 93’. cast: Isabella Rei, Ugo Tognazzi, Corra - written all over her face. She audi - sixth film by Franco Giraldi. Giraldi is a 35mm from Cineteca del Friuli (Franco do Sonni, Lilla Brigno ne, Marisa Bartoli, tioned for formality sake, but it was not cultured author, who comes from the Giraldi library). Susy Andersen; production: Ugo really necessary». critics and, most significantly, from the Santalucia for Mega Film; origin: Italy, militant critics. In order to establish «Few weeks before his premature death, Franco Giraldi in Luciano De Giusti 1968; format: 35mm, col.; length: 107’. (curated by), Franco Giraldi, lungo himself, he took the longest way: The in a poem dated 9 march 1965 and 35mm from Cineteca Nazionale. viaggio attraverso il cinema , technical training as assistant of several included in the posthumous anthology Kaplan, Turin, 2006 experienced directors (De Santis, Leo- Al sole e al vento , Pier Antonio Qua ran- «One night, walking down Via Veneto ne, etc.); the management of the sec - totti Gambini revisited characters and around midnight, I noticed a bookshop ond troupe ( Le soldatesse , Per un pugno settings of his early novel La rosa rossa

76 77 [...]. Precisely during those days, the tures. Tenderly provincial at first sight, careful, because we don’t have much LA CITTÀ DI ZENO . A T RIESTE CON fifth edition of the book was released, the subject of La rosa rossa (book and money”. We are talking about ITL 140 ITALO SVEVO at that time already 30 years old and film) actually concerns the reality of all millions, not much to make a vintage deemed the highest literary testimony Europe: it is a chapter of the “Finis film, in costume, but I was ready to Director: Franco Giraldi; collaboration: of the society of the Istrian province Austriae”, a codicil about the pathetic anything in order to make it. As it Tullio Kezich; cinematography: Guido wiped out by the fury of two World sunset of the imperialregio myth that always happens with any film, the Bertoni; editing: Giancarlo Raineri; Wars. The film La rosa rossa is con - marked for our Continent the begin - phase of preparation, the research, the contributions: Franco Basaglia, Fulvio ceived as illustration as well as medita - ning of the longest night». finding of potential survivors was Anzellotti, Letizia Svevo Fonda Savio, tion of the pages of Quarantotti Tullio Kezich, Un film europeo , extremely stimulating and enjoyable. Stelio Mattioni, Fulvio Tomizza, Vittorio Gambini, “capable of reviving some in Mario Di Francesco, Giorgio Guarino, [...] From this research, from these frag - Vidali, Giorgio Voghera, Omero Anto- peculiar atmospheres/ of the Istria of Luciana Tissi (curated by), La rosa rossa ments of life that came out from the let - nutti ( voice ); production: RAI; origin: the late 1800s/ (from the 18th century di Franco Giraldi , RAI, Rome, 1974 ters, a strong, passionate male genera - Italy, 1978; format: 16mm, col.; length: they came, towards 20th century/ so tion was born. They were all young 87’. faint, they came!)...” (it is still the people who used to revolve around the Digital copy (from 16mm) from Anno UN ANNO DI SCUOLA Author’s voice). Until then, novels such figure of Scipio Slataper. They were uno. as L’onda dell’incrociatore and La Director: Franco Giraldi; story: from a torn between their love for D’Annunzio calda vita , although entrusted to story by Giani Stuparich; screenplay: and Carducci on one side, and Scho- «La città di Zeno , realised in collabora - remarkable film-makers, had not man - Lucio Battistrada, F. Giraldi, Lucile Laks; penhauer, Nietzsche, Otto Weininger tion with Tullio Kezich and Claudio aged to reflect on the screen the poet - cinematography: Dario Di Palma; edit - on the other. They were inside a men - Magris, is an affectionate inquiry con - ic world of the Istrian writer. For La ing: Gabriella Cristiani; music: Luis tal whirlwind. They were profoundly cerning the 50th anniversary of the rosa rossa , Franco Giraldi ( La bam - Bacalov; cast: Laura Lenzi ( voice Mad- nationalist even though most of them death of Italo Svevo (happened in bolona , Cuori solitari ) ventured along dalena Crippa), Stefano Patrizi, Mar - were not of Italian origins. Moreover, 1928). Introduced by Magris himself, the itinerary of memory, recreating the gherita Guzzinati, Juliette Meyniel, such nationalism was in contrast with the inquiry involves a multitude of tes - Koper of Gambini through the most Mario Adorf, Mario D’Arrigo, Franco their deeply European, cosmopolitan timonies, places, memories, in search intact images, architecture and land - Garofalo, Paolo Morosi, Giovanni Vi - culture. [...] I wanted to postpone the of those sentimental geographies - an scape of today’s Istria (the old city of sentin, F. Giraldi; production: Arturo La events of 1913-1914 by producing a emotional tangle full of solicitations Rovigo, the Bembo hall in Bale, a Pegna for CEP/RAI; origin: Italy, 1977; fabrication of history but, at the same and incomprehensions - capable of square in Labin, the lyrical theatre in format: 16mm, col.; length: 120’. time, giving more authenticity to the connecting the illustrious writer to Pula). Alain Cuny translated into 16mm from RAI Sede Regionale of episode, to coincede with the news of Trieste. After a brief historical introduc - Austro-Hungarian his noble melan - Friuli Venezia Giulia. the murder of the Archduke Ferdinand tion to the town, in which Giraldi high - choly of Claudelian character, Battistella in Sarajevo. Such fabrication of history lights the instability of the sense of recovered and conveyed through a «I read Un anno di scuola after the high put the film on a well-defined track: It belonging, the constant torment of the mimetic vivacity the Venetian roots of school, before moving to Rome. Since all made perfect sense, everything people of Trieste, in a sort of neurotic his temperament, Elisa Cegani was then, I have always had the desire to seemed justified, because it was with identity crisis, the gallery of memories capable of blending naivety and resig - see it on the screen. In 1976, after the those news that the passionate fury of is made explicit through a series of nation. Actualised in dedicated, real completion of Il lungo viaggio , which those young people exploded. Many interviews: to writers, such as Fulvio and unique places, the rite that had been a strenuous but successful would then cross the border illegally Tomizza, Giorgio Voghera or Vittorio involved the makers of this film has effort, RAI accepted my requests, with and die, as Slataper heroically did on Vidali (communist leader during the more than a mere value of sentimental which Tullio Kezich totally sympa - the front of World War I». post-war period); visual artists, such as pilgrimage; it is also a way to rediscov - thised, to realise an adaptation of the Franco Giraldi in Luciano De Giusti Marcello Mascherini or Livio Rosigna- er some unknown links of our tradition novel by Stuparich. As usual, the (curated by), Franco Giraldi, lungo no; historians, such as Bruno Mayer or to seemingly distant and different cul - inescapable condition was: “Ok, but viaggio attraverso il cinema , cit. Roberto Damiani; relatives (daughter, 78 79 granddaughter, descendants...) and nating player, a timpanist to be exact, him also because it belonged to an melancholy of the character, a feeling psychiatrists, such as Franco Basaglia, meet each other. Both are on the run environment that he had known per - that dominates him after having lived in those years protagonist of a move - from Rome, occupied by the Germans, fectly back when, as film-maker, he an epic life. [...] The privateer’s return ment capable of taking the issue of and waiting for the arrival of the Anglo- directed Piccolo mondo antico . I was to his homeland after years of adven - anti-psychiatry to the scene of national American troops located along the impressed by the fact that Giraldi looked tures in search of the taste of life, his debate by openly promoting the dis - Garigliano. However, while the tim - at my screenplay not from the point of return to the “warm life”, as Saba used mantling of the mental institutions and panist, who wears a ridiculous green view of the author who inspired it, but to call it, causes him profound distress, the defence of the patient against the jacket, pretends to be a famous con - rather from that of the viewer of a in its simplicity, forcing him to under - prison-like system. The interview to ductor in front of the friars, master W., future film. Since he identified with the take an even more epic action in order Basaglia, who passed away only two who is the actual “star” of the situation, character of the conductor, he was to escape: suicide. I was deeply years after the making of Giraldi’s film, pretends to be a bank clerk. Why? First ready to live the adventure of his “dou - enthralled by the subject. Furthermore, encourages the viewer to analyse the and foremost because, being Jewish on ble” in a new, surprising way». the encounter with Philippe Leroy situation of Svevo’s Trieste in terms of his mother’s side, he fears the fascist Franco Giraldi in Luciano De Giusti turned out to be an actual revelation, psycho-social malaise». police, and secondly because, little by (curated by), Franco Giraldi, lungo essential to the success of the film. He Marco Bertozzi, Feriti, alla frontiera: little, he becomes captivated, in an viaggio attraverso il cinema , cit. himself tells today that the character of tre documentari di Franco Giraldi , almost morbid way, by that paradoxical the privateer is the best one he has ever in Luciano De Giusti (curated by), identity swap according to which the interpreted. He had joined the military Franco Giraldi, lungo viaggio king (master W.) becomes the buffoon, IL CORSARO for the foreign legion, he had had com - attraverso il cinema , cit. whereas the buffoon (the timpanist) parable experiences, he had been in Director: Franco Giraldi; story: from the becomes the king. To think of it, this is Indochina along with Dien Bien Phu, novel by Joseph Conrad; screenplay: also a model typical of Dostoevskij. But he had lived some extraordinary right- LA GIACCA VERDE Nicola Badalucco; cinematography: Da - let’s stay on topic. At some point, the wing vicissitudes, therefore it was like rio Di Palma; editing: Massimo Latini; Director: Franco Giraldi; story: from a two fugitives ask a lady for hospitality he had already experienced that char - story by Mario Soldati; screenplay: (the displaced character of the story), music: Luis Bacalov; cast: Philippe acter, like he already knew it to the Lucio Battistrada, Sandra Onofri, F. Gi - the only one in the village who lives in Leroy, Laura Morante, Ingrid Thulin, core. During the events, the privateer is raldi, Cesare Garboli; cinematography: a privileged and comfortable condition. Alain Cuny, Fabrizio Bentivoglio; pro - distressed by the new family life: the Dario Di Palma; editing: Raimondo I presumed that this female character duction: Arturo La Pegna for RAI/ girl, the Napoleonic lieutenant with Cro ciani; music: Luis Bacalov; cast: would be a Hungarian actress, one of Taurus/Télécip/Jadran; origin: Italy/ whom she falls in love, their sentimen - Jean-Pierre Cassel, Renzo Montagnani, the many who in those years, in France/Yugoslavia 1985; format: 35mm, tal story, all this makes him understand Senta Berger, Laura Trotter, Vittorio Cinecittà, used to act in those films col.; length: 167’. that his life is already spent. The priva - Sanipoli, Adriano Russo; production: reminiscent of the sophisticated Digital copy from Anno uno. teer, in fact, does not leave because of Arturo La Pegna for CEP/RAI/TVR3; American comedy, also because I had jealousy, but rather he chooses suicide origin: Italy/France, 1979; format: in mind the actress for such role, name - «The film was a late release because over a fight with already deteriorated 16mm, col.; length: 103’. ly the Austrian Senta Berger, nine years RAI expected something fundamentally weapons, because old age is simply old 35mm from Cineteca del Friuli (Franco before protagonist of one of my own different from what I did. The fact is age. For him it is too hard to live what Giraldi library). films, Cuori solitari . I was sure that this that Conrad has three different keys to Svevo used to call “the horrid real life”». actress, interpreting this character with interpretation: the plot, namely the Franco Giraldi in Luciano De Giusti «The events, as everybody know, take her Middle-European accent, would structure, the events; then the symbol (curated by), Franco Giraldi, lungo place in the autumn of 1943 on the add appeal and substance to the story. and, lastly, the mystery. The less rele - viaggio attraverso il cinema , cit. mountains in Molise: In a convent, a Soldati, to my surprise, was immediate - vant one is the plot, which they wished young and fascinating orchestra con - ly interested; enthusiastic, actually, I would favour. What I found fascinat - ductor and a way less young and fasci - about the idea. The character intrigued ing about Conrad, instead, was the

80 81 Parallel events LA FRONTIERA not be able to report her. On the bor - der, whenever you know, whenever Director, screenplay: Franco Giraldi; you understand, you cannot act. Raoul story: from the novel by Franco Veglia- Bova, whose name in the fiction is ni; cinematography: Cristiano Pogany; Olrich, identifies as Austrian, yet he Tuesday 18 September – 6pm editing: Antonio Siciliano; music: Luis speaks Italian at home; he experiences Il Duce a Trieste , Istituto Luce production, 1938, 37’. Bacalov; cast: Raoul Bova, Omero an ambiguous situation, as he loaned Replicated from a previous edition of the festival, the film is presented at the Antonutti, Marco Leonardi, Giancarlo some Italian literature books to a Teatro Miela on the occasion of the anniversary of the historical event and the Giannini, Vesna Tominac, Claudia Pan- Slovene nationalist who is then execut - completion of the film, on September 18 th , curated by the Istituto regionale per dolfi; production: Mario Gallo for ed, for which he is afraid and feels la storia della Resistenza e dell’Età contemporanea nel Friuli Venezia Giulia, in Filmalpha-Factory/RAI; origin: Italy, guilty, and therefore he faces a prob - collaboration with the Istituto Luce in Rome as well as the Archivio della 1996; format: 35mm, col.; length: 107’. lem of belonging, of recognition of an Resistenza in Turin. 35mm from Cineteca del Friuli (Franco universal identity». Featuring a speech of the historian Marcello Flores and the archivist Paola Giraldi library). Franco Giraldi in Luciano De Giusti Olivetti. (curated by), Franco Giraldi, lungo «I knew, having learned it the hard viaggio attraverso il cinema , cit. way, that on the border no one is born as “univocal”, that everybody are born Casa del Cinema di Trieste presents “themselves plus something more”, and ESTERNO /G IORNO . G UIDED TOURS TO DISCOVER THE FILMS SETS IN TRIESTE that if one wants to reject this addition - al part, then conflicts and tragedies take Saturday 15 September – 11am place. The identity pluralism of the bor - Porto Vecchio and cinema der, if subject to the will of reducing it An itinerary completely dedicated to one of the most evocative locations in to a single identity, cannot but lead to Trieste. The Porto Vecchio is an open-air set often used by productions ( Il conflict, tragedies, massacres, as it hap - ragazzo invisibile , La porta rossa , The English Patient ...). Participants will pened in the Balkans in those years. have the opportunity to visit the area usually inaccessible to the public and, For me it was a necessary film. [...] thanks to some devices, see some scenes of the films shot inside the Porto When the protagonist of La frontiera Vecchio. arrives to the Dalmatian island where From Casa del Cinema di Trieste he learned to swim, he is welcomed as Sunday 16 September – 3pm guest at a friend’s house – which, by Coach Trip: Around Trieste, Carso area the way, is lieutenant Orlich’s house – A coach trip to discover the peripheral locations of Trieste that have hosted and the girl with whom he speaks is a several productions such as Va’ dove ti porta il cuore by Cristina Comencini, girl who, rightly, is fighting against the La ragazza di Trieste by Pasquale Festa Campanile or Giulia e Giu lia by Peter Italian army, which in her eyes is noth - Del Monte. A way to get to know other striking locations in Trieste through ing but an army of occupation. She is the cinema. born in the island, just like him, but he From piazza Oberdan came back as occupier and, as such, he ticket 10 € cannot know how she feels about it. information and booking: [email protected] +39 3394535962 That is where the right amiguity of the border is born: when she will take action against the Italian army, he will

82 83 Authors in Alphabetical Order

John H. Auer 63 Claude Autant-Lara 43-44 Franco Basaglia 67-70 Carmelo Bene 52 Giorgio Bianchi 49, 50 Du ško Brala 34 Vedran Ćupi ć 34 Damiano Damiani 54 Cécile Decugis 65-66 Vittorio De Seta 48, 49 Allan Dwan 58, 62 Ivan Faktor 32 Fabrizio Ferraro 46 Marco Ferreri 51 Ivan Ladislav Galeta 32 Pietro Germi 49, 50, 55 Franco Giraldi 71-82 Jean-Luc Godard 41, 66 Edward Ludwig 59 Luis 56 Anthony Mann 60, 61 Ivan Martinac 33, 34 Stefano Morandini 46 Zdravko Musta ć 33 Ermanno Olmi 53 Mihovil Pansini 32 Pawel Pawlikowski 35 Eckhart Schmidt 17-28 Douglas Sirk 18, 62 Lazar Stojanov ić 34-39 Enrico Verra 40 Sergio Zavoli 68, 69 Vlado Zrn ić 34

84 85 Films in Alphabetical Order 21 La mia estate più bella (Mein schönster Sommer ), 2016-2017, Eckhart Schmidt 34 Most , 1977, Ivan Martinac 62 Operazione Corea (Flight Nurse ), 1953 [vers.it. 1954], Allan Dwan 24 Amor sacro, Amor profano , 2017, Eckhart Schmidt 32 Pismo , 1993, Ivan Ladislav Galeta 26 Angel’s Flight , 2016-2017, Eckhart Schmidt 32 Pismo iz Hrvatske , 1991, Mihovil Pansini 78 Un anno di scuola , 1977, Franco Giraldi 46 Portis deve rinascere qui , 2018, Stefano Morandini 50 Assicurasi vergine , 1967, Giorgio Bianchi 37 Pribli žno Srbi , 1998, Lazar Stojanov ić 76 La bambolona , 1968, Franco Giraldi 24 Princess – Voices from Hell , 2016-2017, Eckhart Schmidt 63 Bandiera di combattimento (The Eternal Sea ), 1955 [vers.it. 1955], John H. Auer 77 La rosa rossa , 1973, Franco Giraldi 28 Broken Hearts. Verlieb Dich nie in eine Mafia-Tochter , 1996, Eckhart Schmidt 60 Il regno del terrore (Reign of Terror ), 1949 [vers.it. 1949], Anthony Mann 55 Le castagne sono buone , 1970, Pietro Germi 66 René ou le roman de mon père , 2016, Cécile Decugis 53 Un certo giorno , 1968, Ermanno Olmi 40 Scemi di guerra. La follia nelle trincee , 2008, Enrico Verra 79 La città di Zeno. A Trieste con Italo Svevo , 1978, Franco Giraldi 49 Sedotti e bidonati , 1964, Giorgio Bianchi 28 Colore d’amore , 2018, Eckhart Schmidt 35 Serbian Epics (Srpska epika ), 1992, Pawel Pawlikowski [e Lazar Stojanov ić] 28 Colour of Love , 2018, Eckhart Schmidt 56 ’77 No commercial use , 2017, Luis [Fulvio Baglivi] 81 Il corsaro , 1985, Franco Giraldi 35 Škorpioni – spomenar , 2007, Lazar Stojanov ić 77 Cuori solitari , 1970, Franco Giraldi 54 Il sorriso del grande tentatore , 1974, Damiano Damiani 41 Dans le noir du temps , 2002, Jean-Luc Godard 62 Il sottomarino fantasma (Mystery Submarine ), 1950 [vers.it. 1951], Douglas Sirk 32 Das Lied ist aus , 2001-2002, Ivan Faktor 22 Stella , 2016-2017, Eckhart Schmidt 27 Der Sandmann , 1993, Eckhart Schmidt 22 Stella Reloaded , 2016-2017, Eckhart Schmidt 66 La distribution de pain , 1957-2011, Cécile Decugis 75 Sugar Colt , 1966, Franco Giraldi 52 Don Giovanni , 1970, Carmelo Bene 59 Texas selvaggio (The Fabulous Texan ), 1947 [vers.it. 1952], Edward Ludwig 83 Il Duce a Trieste , 1938, Istituto Luce 46 Les Unwanted de Europa / Gli indesiderati d’Europa , 2018, Fabrizio Ferraro 70 Franco Basaglia intervista i politici sulla “legge 180” e la riforma sanitaria , 48 Un uomo a metà , 1966, Vittorio De Seta 1979-2018, Maria Grazia Giannichedda 39 Uspon i pad generala Mlad ića, 2005, Lazar Stojanov ić 82 La frontiera , 1996, Franco Giraldi 58 La valle dei forti (Trail of the Vigilantes ), 1940, Allan Dwan 80 La giacca verde , 1979, Franco Giraldi 33 Zadar nije za dar , 1992, Zdravko Musta ć, Vlado Zrn ić, Vedran Ćupi ć, 69 I giardini di Abele , 1968, Sergio Zavoli Du ško Brala 44 Gloria , 1977, Claude Autant-Lara 37 Život i priklju čenje Radovana Karadži ća, 2005, Lazar Stojanov ić 33 Grad u sivom , 1992, Ivan Martinac 51 L’harem , 1967, Marco Ferreri 50 L’immorale , 1966, Pietro Germi 49 In Calabria , 1993, Vittorio De Seta 26 It’s Me , 2017, Eckhart Schmidt 46 Je suis Simone (La condition ouvrière ), 2009, Fabrizio Ferraro 41 Je vous salue, Sarajevo , 1993, Jean-Luc Godard 21 Love and Death in the Afternoon. An Elegy , 2016, Eckhart Schmidt 22 Loving Valeria , 2017, Eckhart Schmidt

86 87 Summary

6 Fuggiamo insieme by Sergio M. Grmek Germani

17 All the colours of love. Eckhart Schmidt and Italy as female seduction: preview of nine films, with two flashbacks and one flashforward 29 Castles of sand, II. The last bridge (Nikad više) 43 Autant qu’était Lara. A woman’s presence in a furious film-maker, I 45 I ask for the floor. Can Italian cinema become young again? 47 A certain year. 68 between 67 and 69 (Seedlings. Correspondence between Italian film-makers, II) 57 Flowers in the mud. Universal and Republic gems (Nobody’s stepchildren, I. The most flamboyant American cinema, spoken by the Italian cinema) 65 Cécile Decugis, the editing of life 67 «Don’t let technical issues stop us». A Rossellinian tribute to Franco Basaglia 71 Franco Giraldi, a master of European cinema behind the corner 83 Parallel events

85 Authors in Alphabetical Order 86 Films in Alphabetical Order Stefano Coluccio, Canestrelli - Venice Mirrors www.venicemirrors.com.

The Associazione Anno uno awaits you at the XVIII edition of I mille occhi International Arts and Film Festival

www.imilleocchi.com @IMilleOcchi I Mille Occhi nglish version of the 2011 festival catalog on: