Rome Film Fest Press Conference

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FESTA DEL CINEMA DI ROMA | ROME FILM FEST 13th edition | October 18 – 28, 2018

PRESS CONFERENCE October 5, 2018 12 pm – Sala Petrassi Auditorium Parco della Musica, Rome

PRESS KIT CONTENT o Minister for the Cultural Heritage and Activities, Alberto Bonisoli o Mayor of Roma Capitale, Virginia Raggi o Governor of Regione Lazio, Nicola Zingaretti o President of Rome Chamber of Commerce, Industry, Handicrafts, and Agriculture, Lorenzo Tagliavanti o President of the Fondazione Musica per Roma, Aurelio Regina, and CEO of the Fondazione Musica per Roma, José R. Dosal o President and CEO of Istituto Luce-Cinecittà, Roberto Cicutto o Vice President of Fondazione Cinema per Roma, Laura Delli Colli o General Director of Fondazione Cinema per Roma, Francesca Via o Artistic Director of Rome Film Fest, Antonio Monda o 13th Rome Film Fest o Official Selection o Everybody’s talking about it o Special Events o Close Encounters o “Pre-opening” screenings – October with the Rome Film Fest o Retrospectives o Tributes and Restored Films o Riflessi o Films of our Lives o Other events at the Rome Film Fest o Rome UNESCO City of Film o Alice nella città – the lineup o General Information o How to attend the Rome Film Fest – Tickets, advance sales, prices, accreditations o How to get here o Guide to the venues o Venues and services for the press

MINISTER FOR THE CULTURAL HERITAGE AND ACTIVITIES ALBERTO BONISOLI

Ten more, intense, days to talk about cinema. The Rome Film Fest echoes – with increasingly consolidated international resonance – the quality of Italian events in this field, implements their dialogue and debate and expands audience involvement.

Fondazione Cinema per Roma has the merit of offering a dense programme of previews, conversations, events, exhibitions and debates, among these, I particularly appreciate the capacity of this 13th edition to extend the event beyond the boundaries of the Auditorium Parco della Musica, involving the Rebibbia prison complex, and its parallel attention to a lineup of films for kids. These, in fact, represent two of this Government's programmatic goals: to promote a far-reaching culture, that can bring city centres and suburbs, communities and territories together to regenerate a positive social fabric and stimulate the enjoyment of culture in the new generations.

The Rome Film Fest, like the many other initiatives that Italy expresses, is essential and functional to the promotion of the entire value chain of the national film industry, which needs new systems today to manage the evolution of the market, to foster a strong and competitive film industry in Italy that can showcase its creativity and professional value.

Another appreciable element is the context of encounter that distinguishes this event: it has meritoriously given the spectator the privilege of expressing judgment, as for an art which has the ultimate – and most noble – purpose of dialoguing with the spectator.

Best of luck to the organizers, and to the audience, enjoy!

(catalogue)

THE MAYOR OF ROMA CAPITALE VIRGINIA RAGGI

With its Film Fest, Rome continues to tell the world about the extraordinary bond it has always cultivated with this art. A profoundly emotional bond based on the passion for craftsmanship that has made Rome an international excellence in this field. It is no coincidence that Rome has been designated as a UNESCO "Creative City of Film", where cinema remains a founding element in the identity of the city, and represents a vital sector of its economy, which counts many fine companies.

The Rome Film Fest thus continues to be a most fascinating story, filled with surprises. A story that pays tribute to the great cultural tradition of cinema, where important screenings alternate with retrospectives and the many special events, the Close Encounters with the public, the experimentation with new languages and the conversations with the directors, actors and protagonists of Italian and international cultural landscape. A story that also includes moments of historical and social value, such as the evocation, seventy-five years after the round-ups in the Roman Jewish Ghetto and eighty years after the racial laws, of the persecutions, the deportations and the Holocaust.

Because this too is the purpose of cinema, to use its incredibly direct and effective language, its art and its culture to keep memory alive, to fight oblivion and to educate the hearts and the conscience of its audience. The Rome Film Fest makes this enormous legacy available to the Country and to our City. An important goal for us is to disseminate film culture to an audience that we hope to be as vast as possible, because it means gathering a community around the world of cinema and what it means, which thus becomes larger and more tight-knit.

With this goal in mind – aware of the entrepreneurial and economic value of the film industry in Rome – we have promoted and continue to promote meetings with cinema and audiovisual professionals with whom we have engaged in a constant and concrete dialogue to define new objectives that we can achieve together. We therefore dedicate this thirteenth Rome Film Fest to the people who love cinema, and we are certain that its protagonists will stir our most intense emotions, as they always do.

To each and every one, enjoy the Rome Film Fest.

(catalogue)

PRESIDENT OF THE REGIONE LAZIO NICOLA ZINGARETTI

In Rome and in the Lazio region, cinema is an identifying element and a fundamental factor of association and development. In Europe, we are one of the territories that produces and consumes the largest amount of film culture, and it was in responding to this vocation that the Rome Film Fest was founded. We are firmly convinced in our continued support for this event: once again this year it will transform Rome into a key stage for the finest national and international productions, actors and directors, a venue where professionals from all around the world can meet and exchange opinions. But most of all, it will transform the city into one great "piazza" for a popular celebration starring all those people who watch and love cinema.

In recent years, we have initiated a new cycle of investments in the sector of cinema and audiovisual production: we have given our support to the Fondazione Cinema per Roma and to the activities that promote our territory as a land of cinema; we work with associations and professionals; we take our companies abroad; we stand by those who produce film culture and those who promote cinema in the city, in the squares and in the schools. We are witnessing the first results of this action to support the sector: I am thinking of the rise in international co-productions, thanks to the calls of Lazio Cinema International, or the increase in youth employment in the audio-visual sector. Our committed support to the Rome Film Fest is part of that strategy.

Cinema is an extraordinary opportunity for growth and for broadening the community's horizons, particularly for younger generations. With this purpose in mind, the Regione Lazio this year will launch a special project dedicated to young people throughout the Lazio region, to help many of them participate in this event and get to know directors, actors and new perspectives onto the world. We want cinema to remain a vibrant element in our region, because this a cultural industry generates jobs and economies, but also because we consider films to be outstanding vehicle for memory, exchange of ideas and knowledge.

Enjoy the movies!

(catalogue)

PRESIDENT OF THE ROME CHAMBER OF COMMERCE, INDUSTRY, HANDICRAFTS, AND AGRICULTURE LORENZO TAGLIAVANTI

From October 18th to the 28th, the best of cinema will again be the protagonist at the Rome Film Fest, an event that is centred in the Auditorium but also involves many other locations and cultural bodies in the Italian capital.

Cinema represents a strategic sector for Italy, and it is one of the most deeply-rooted and long-standing productive traditions in Rome and its province.

The first Italian film production company, CINES, was founded in our city in 1905. The presence of various production studios, of the major Italian broadcasters and countless local companies and operators was instrumental in the development of an actual cluster with many small and medium-size companies that employ tens of thousands of workers. Our territory also boasts a lengthy tradition of creative craftsmanship, internationally recognized thanks to the talent of our set and costume designers, who have several Oscars®. In recent years, the Rome Film Fest has become a prestigious showcase for the products of the Italian film industry, and at the same time, a precious chance for professionals in the field to meet. Thanks to the important opportunities for contact with the national and international leading figures in the field, it serves an indisputable role in stimulating the Italian film industry.

The Rome Chamber of Commerce is well-aware of the considerable importance of the film industry and of the audio-visual production chain, and is committed to a plan of action aimed at maximizing their impact, with the goal of activating an essential driver of growth and economic and social prosperity for Rome. Hence, our Institution has promoted the Rome Film Fest since its very first edition. The significant results that the event has achieved, in terms of positive downstream effects on the economy of the city and the Country, confirm the validity of our commitment.

The work of the Rome Chamber of Commerce, which aims to create a regional context of creative and cultural vitality at the highest level, is also achieved through the participation and support of the great cultural Foundations of our Capital city: not only Cinema per Roma, but Musica per Roma and the Teatro dell'Opera di Roma as well.

(catalogue)

PRESIDENT OF THE FONDAZIONE MUSICA PER ROMA AURELIO REGINA CEO OF THE FONDAZIONE MUSICA PER ROMA JOSÉ R. DOSAL

Once again this year the Fondazione Musica per Roma is proud to offer the venues of the Auditorium to the Rome Film Fest for an event that in its thirteen editions has established itself as one of remarkable cultural value with high-quality films, as well as lectures, panels, exhibitions and conversations organized for schools that make it, not only a golden occasion for professionals in the field, but also an identity feature of the city.

This film fest has always been an opportunity for growth, creativity and the exploration of the universal language of the "seventh art", a fundamental educational experience for the girls and boys of participating schools, a means to promote tourism for the city of Rome, as well as a prestigious showcase for our Country's film production, which over the years has given new life to Italian cinema. An event which we have always observed with great attention, especially for its international scope and for the enthusiasm and competence it displays to its audiences, and for its capacity to leverage the economic and social development of the territory.

Rome itself is an open-air film set, and its artistic and cultural heritage has always been used by the world's greatest directors to tell the stories that brought Italian cinema international fame. It is our firm belief that there is no place more suited than the Auditorium for an event of this nature, because in Rome, it is here that the arts intersect in many directions, some of them complementary. This is a space that the Romans recognize as a space of celebration, because it is perceived and experienced as the beating heart of the city's cultural and social network.

We are therefore pleased to shine the spotlights on one of the most popular and important red carpets in the world, fully convinced that this year we will enjoy again what will be a real Fest for the pleasure of all fans, tourists and Romans alike, thanks to this unmissable appointment with the wonderful art of cinema.

(catalogue)

PRESIDENTE AND CEO OF ISTITUTO LUCE-CINECITTÀ ROBERTO CICUTTO

I was a witness to the birth of the Rome Film Fest from the very moment that then-Mayor Walter Veltroni summoned film professionals to gather their opinions on the project for a film festival in Rome. In the years ever since, I have served in several operative roles as the director of what was then called The Business Street (the Audiovisual market now known as MIA) which was a part of the Fondazione Cinema per Roma, and for several years I have sat at the table with the Founding Partners (and the Board of Directors) representing the Ministry of the Cultural Heritage and Activities together with Roma Capitale, Regione Lazio, the Chamber of Commerce and the Fondazione Musica per Roma.

I might thus be among the official historians of this institution, which has now come to the thirteenth edition of its fest, and has known fluctuating phases, some of them contradictory. Starting with the name: at its foundation it was "Festa" (Italian for celebration), then "International Festival" then Festa again. An uncertainty caused by a lack of clear identity as some journalists have said? An attempt to "take its distance" from the competition with Venice, that has been so controversial? I believe that the real reason is that the Rome Film Fest is a mirror of the city in which it is hosted. Rome does not stand any definition. It goes from the sublime to horror, from harmony to chaos, from genius to underdevelopment. And from an artistic point of view, this blend always generates something powerful and unique. Certainly, the directors that have succeeded one another have left their personal mark; the politicians have sometimes used it as a vehicle for communication; Italian producers wanted it as a showcase for Italian cinema; the world of cinema has compactly transformed it into a stage to protest the budget cuts for culture over the years.

Managing all of this is no simple matter. But the real strength lies in the power of the Rome Film Fest and of the city to attract the entire world and in the ability they have developed to become a place of discovery and business, sustained by indisputable professional qualities at every level, and by an atmosphere steeped in tradition and innovation. Rome, appointed as UNESCO Creative City for Cinema, its institutions, artists and entrepreneurs, must learn how to "use" the Rome Film Fest as the tool for cultural and economic growth that it is, and the fest in turn must learn how to return always better the trust that is placed in it.

Despite many uncertainties, the drivers for the development of the audiovisual industry in Italy have now grown in number: a new law that increases funding and at the same time rationalizes interventions; the Film Commission's great power of attraction and organization; Cinecittà returning under public management, and dedicated not only to production services (film sets, post-production laboratories, etc.) but open to new languages and new technologies and to training for the film trades, a meeting ground for professional associations, institutions and schools for education at the national and international level. The Rome Film Fest takes place in Rome, which is the centre and a part of all this, and is not merely a local phenomenon but opens to the convergence of a thousand international realities.

(catalogue)

LAURA DELLI COLLI

Elegant, refined yet pop at the same time, but above all, rich in quality. This is the thirteenth Rome Film Fest, which opens this year in the name of the noir, and starting with the icon chosen for the poster, which features Peter Seller as the legendary Inspector Clouseau, seals an edition that promises, more than any year before it, to be a marathon of absolute entertainment. Between premieres and events, Close Encounters and Retrospectives, the Artistic Director and his team have again broken the mold for film competition and for the fourth time prepared a surprising menu, with ingredients of the highest quality. Respecting the mission of Fondazione, Rome Film Fest thus reconciles – with an international quality – a great cultural and entertainment event for Rome, which has always been a city of cinema in a Region that has always had cinema in its DNA. It may therefore be unorthodox, but I will start the list of acknowledgments with Antonio, who I believe has demonstrated extra zeal in building the Rome Film Fest this year, with an evident new approach to Italian cinema: his invitation to the new and highly anticipated films by Paolo Virzì and Edoardo De Angelis makes me particularly happy. I would also like to thank him for having built a “Fest”, with the help of his selection committee, that despite the ironic male icon of the poster, has much to do with women: matching Isabelle Huppert's class and talent with Martin Scorsese's genius for the two Lifetime Achievement awards sends an important signal. As does the participation in Rome of outstanding stars also known for their personal commitment, such as Cate Blanchett or Sigourney Weaver, who is not only 'Captain Ripley' fighting against the Alien but an icon of women's strength, independence, and courage that perfectly embodies what women in cinema – auteurs, stars, technicians and journalists, even in the name of a Fondazione composed prevalently of women – will bring to the Rome Film Fest red carpet.

Returning to the programme, thanks not only to Monda and the Programming Office, but above all to the General Manager Francesca Via, who is responsible for this architecture of daily effort: like the backstage of a set, the home base that gives rise to an event that now expresses the unbreakable bond between Rome and worldwide cinema. And finally, I must mention Cristiana Caimmi and her impassioned, creative work for the Communication of the Rome Film Fest: as a journalist, I am fully aware of the effort she puts in with her perfectly trained team to cultivate an intensive relationship with journalists that has made the Rome Film Fest grow in terms of image and visibility.

I would like to add, that having taken the leadership position less than six months ago from the Board of Directors, a leadership that will end its term in a few months, I could certainly not have addressed this moment that was intense to say the least, in continuity with Piera Detassis, without being able to count on the trust for which I thank the Founding Partners: Roma Capitale, Regione Lazio which nominated me three years ago to the Board of Directors, Istituto Luce Cinecittà, Chamber of Commerce, Fondazione Musica per Roma. If they have confirmed their support during a year that has been extremely difficult for everyone, it is because they appreciate the value of 'our' event.

My thanks must also go to the MiBAC, to BNL BNP Paribas Group, our traditional sponsor, to Rai our media partner, to SIAE which returns to our bouquet of institutional partners and offers us, as a closing event, a wonderful concert dedicated to Cinema, and to Nuovo Imaie, to Roma Lazio Film Commission, to MAXXI Museum and Casa del Cinema. And to all the private sponsors, including JTI, Mazda, Acea, Alitalia. I would like to conclude with a personal consideration: because I feel so deeply about belonging to the family of cinema and to that of Film Journalists, to me the leadership of the Fondazione represents the pleasure of an absolute commitment to my city by means of the Rome Film Fest, a marathon that will speak – as always to everyone including children and adolescents – not only of great cinema but of craftsmanship and professions as well, in the past and the future. As Rome has always done throughout its history and in its everyday life.

Innovation therefore, but within the tradition. That is what this Rome Film Fest will demonstrate through its events thanks to Luce Cinecittà, with the film restorations and the contribution of the Foundations

that work to enhance the history of Cinema and of the Centro Sperimentale di Cinematografia which trains the directors, actors and technicians of tomorrow. I could conclude with a coded message for Peter Sellers fans, a farewell in The Party style, but rather than the unforgettable 'birdie birdie num num' mumbled by the legendary Indian in Hollywood, I prefer the words of a great master such as John Huston. In a tribute to the genre celebrated by the Rome Film Fest this year, of his cinema noir, from The Maltese Falcon which he directed to the remarkable Chinatown by Roman Polanski, in which he stars with Jack Nicholson, the great John Huston says: "I don't even try to imagine what people might like. It's hard enough to know what I like". In truth, watching his films that continue to enthrall generations of spectators, he knew it very well. In the same way that today, the Rome Film Fest knows well what its objective is and will prove it again in the days to come.

Enjoy the Rome Film Fest.

Vice President, Fondazione Cinema per Roma (catalogue)

FRANCESCA VIA

The Rome Film Fest is back, once again, and celebrates its thirteenth edition. Its unique history is behind us, and the time is ripe to re-encounter this film event that since 2006 has been lighting up its main venue, the Auditorium Parco della Musica, and the entire city, with culture, show business and entertainment. The strength of the event, in fact, lies in the original concept: serving up a ‘Festa’ (i.e. Italian for Party) rather than a traditional festival, a festive, one-of-a-kind occasion getting the whole city into the act and celebrating cinema in all its forms, from auteur films to popular releases. The audience is the star of the show: a rich and diverse audience, the lifeblood of the event, from children and teens who enliven the Auditorium in the morning, to cinephiles lining up for the conversations with film personalities from the world over; from film professionals seeking out the most original, sophisticated fare to public crowding the screenings just to see a good movie. And, of course, fans greeting star after star on the red carpet, one of the most fascinating in the world. This varied pool of festivalgoers is proof of the wealth of our cultural offerings, and through our pricing policy we guarantee our events will be accessible to them all.

We are not alone in this commitment. The first to whom the Fest owes its success are our founding members: Roma Capitale, Regione Lazio, Rome Chamber of Commerce, Fondazione Musica per Roma, and Istituto Luce Cinecittà. To them I send my warmest thanks, extended to the members of the Board of Fondazione and our invaluable Statutory Auditors. And naturally, there is our main partner, BNL BNP Paribas Group, which has supported us since our very first edition, and is connected to our Audience Award for Best Film. Alongside all the above, there are the many institutional partners who support us, such as MiBAC, Centro Sperimentale di Cinematografia/National Film Library, SIAE, Roma Lazio Film Commission, MAXXI Museum and Casa del Cinema. With them, private sponsors help us bring such a complex event into being, starting with our historic partners Mazda, JTI, Acea, Poste Italiane, Rai, and Pino Chiodo Cinema Engineering, and up to the new partners betting on the Rome Film Fest’s success, like Alitalia, Ferrarelle, Campari, Wella and Rakuten.

The Rome Film Fest represents the centerpiece of all the initiatives arranged year-round by Fondazione Cinema per Roma under the aegis of CityFest and, in the quality and international profile of its offerings, it sums up the goals towards which the Fondazione is striving, 365 days a year: to promote and disseminate cinema in all its forms; to raise awareness of the appeal of the film medium, especially among young people, who seem attracted to other forms of communication at this time in history. In 2018 we have continued our long-standing collaboration with MAXXI Museum, consolidated our partnership with Alice nella città, once again obtained the open-air summer screenings at the Forlanini hospital, in collaboration with Regione Lazio. We have also promoted the showcase “Le vie del Festival” with ANEC, stepped up initiatives for the network of Roman public libraries, launched a project to fight violence against women, along with the Presidency of the Council of Ministers’ Department for Equal Opportunities, and intensified the activities of Rome UNESCO City of Film, of which Fondazione Cinema is the executive body. Bringing several initiatives to the city – the whole city, from its center to the outskirts – has always been a hallmark of the Rome Film Fest as well. A simple glance at all the locations and venues where the event takes place beyond the Auditorium attests this commitment: from glamorous Via Condotti to Rebibbia Prison.

Right up on the front line with me, in this most fascinating and demanding mission, until a few months ago I had Piera Detassis, who has moved on to new professional challenges, and I look back fondly on our many intense years together. The new head of the Fondazione is Laura Delli Colli, as generous and experienced a leader as one could hope for; and, naturally, there is our Artistic Director Antonio Monda, with whom I have built a relationship based on mutual esteem and common goals. Yet above all, there is every single person on the Fondazione staff, a veritable gold mine of competencies and experience and a smoothly-oiled machine producing the fest and other events. A group of people who have become my second family. I’d like to thank them here, one by one, in each office: Accreditations and Ticket Office, Technical, Administration, Programming Office, Communications and Publishing, Protocol, Legal, Human Resources, ITC, Marketing, Hospitality, Production, Planning and Installation, Development of

Promotional Initiatives, Press Office, and my own office staff. A special thanks goes to all our interns and volunteers, just starting out on their careers, yet whole-heartedly committed to this challenge. Lastly, at the risk of repeating myself, the warmest of thanks to my guardian angel, Chiara, who has (very) patiently, enthusiastically and competently been at my side every day since I first started working at the Auditorium.

General Manager, Fondazione Cinema per Roma (catalogue)

ANTONIO MONDA

AN IDENTITY CONQUERED AND RECOGNIZED Before starting to write anything about the thirteenth Rome Film Fest, the fourth for which I serve as Artistic Director, I feel it is my duty to warmly thank those who have worked by my side and those who have renewed their trust in me for a second mandate. Thus, my heartfelt thanks go to the Founding Partners and the Board of Directors on the one hand, and on the other to the programming office and the entire staff of Fondazione Cinema per Roma. If I cannot name everyone individually it is because the list would be too long, but I want you to know how happy I am to work with you and how wonderful it is to feel such mutual esteem. I also wish to send my warmest feelings of gratitude and friendship to the consultants who select the lineup with me. I would like to express special thanks to Laura Delli Colli, who took over the leadership of the Fondazione at a very complex moment, and instantly brought serenity and wisdom to a course guided by unwavering loyalty. To the General Manager Francesca Via, for the openness and patience she has shown in addressing the most complicated issues. To the head of the press office Cristiana Caimmi, for always making me feel protected, with irony, warmth and competence. And to Alessandra Fontemaggi, for the extraordinary spirit of self-sacrifice she has shown working at all hours of the day and night, and for having always sought the success of the Rome Film Fest. I also wish to thank her, gratefully and affectionately, for the respect with which she has accepted my decisions on the very few occasions when she disagreed with them. I could not conclude my acknowledgments without expressing my gratitude to the MiBAC, Istituto Luce Cinecittà and all our sponsors, in particular BNL BNP Paribas Group. The figures over these past three years speak for themselves: from 2015 to the present, there has been an increase in audiences and proceeds of over 20 per cent. And the quality of the films presented at the Rome Film Fest has been acknowledged by the press around the world. I will mention only three titles, one for each year that I have served as director: 2015 They Call Me Jeeg, 2016 Moonlight, 2017 I, Tonya. These are only three examples: I could add many other films to the list, starting with Manchester by the Sea and Detroit, not to speak of the long list of excellent movies from oft-forgotten film industries. The list of great stars who have chosen to come to Rome is just as long. In this case too, I will mention only a few names: Meryl Streep, Tom Hanks, David Lynch, Wes Anderson, Frances McDormand, Joel Coen, Roberto Benigni, Jude Law and Jake Gyllenhaal. I could draw up a similar list of the top directors who have chosen to bring their films to Rome, believing in this project: Steven Soderbergh, Paolo and Vittorio Taviani, Kathryn Bigelow, Werner Herzog, Barry Jenkins, Paul Thomas Anderson, Stephen Frears, Andrzej Wajda… this year we are equally pleased to welcome the new works of many indisputable masters of the seventh art. I am particularly proud of the successful outcome of the idea of opening the Rome Film Fest to personalities from other fields who have come to talk about cinema: Don DeLillo, Renzo Piano, Donna Tartt, Daniel Libeskind, Phil Jackson, Riccardo Muti... Even in this case the list could go on and on, and I will simply mention the triumph of popular events such as the nights with Fiorello and Jovanotti: the Rome Film Fest reveals its intimate essence by opening to an extremely broad range of suggestions and proposals. I am equally proud to have brought to Rome, as our opening night feature, an Academy Award- winning work of art such as Moonlight, and no less so for having let myself be coerced by Fiorello into singing Stayin' Alive. This variety represents the ultimate significance of a “Festa” (i.e. Italian for party, celebration) that has won over not only an audience that continues to grow, but also those who were initially somewhat disoriented by an identity that was so different from those events that, not coincidentally, have a different name: Festival. Within this identity that has been conquered, and now unanimously recognized, there is one element that should be emphasized: our success in building a truly international experience, that definitively breaks our event free of local bonds. In addition to the quality and quantity of the guests and films I have listed, the proof lies in the growing attention and respect on the part of the foreign press. We have opened the doors not only to art, but to poetry as well, with an event that analyses its relationship with cinema, while we continue to consider the role of critics today, with the participation, once again this year, of critics from some of the most important newspapers in the world, starting with the New York Times.

The structure of the Rome Film Fest will be similar to the one we have tested over our first three years, and I am pleased to welcome again so many stars, many of whom are women, starting with the wonderful Cate Blanchett. We have dedicated our utmost attention to the selection of the films, and I am proud of the result we have achieved: this year too I can assert that the quality is very high. It would not be proper for me to highlight some titles rather than others, but I wish to thank the filmmakers and producers who have not hesitated to choose Rome as a launchpad for their work. An obvious sign of a universally appreciated experience is the fact that a Hollywood major has chosen the Rome Film Fest for the world premiere of The Girl in the Spider's Web, a film that the studio considers to be one of its most important of the year. And the same must be said of Canal Plus, which has banked on the Fest for Mia et le Lion Blanc. We feel equally great satisfaction for those who return to the Rome Film Fest after the success they achieved in recent years. I am thinking of Barry Jenkins in particular, to whom we dedicated our opening night two years ago, when he was a semi-unknown director of a film that was considered difficult and aimed at a very niche audience. That film, as you know, triumphed at the Oscars over other rich, more powerful and mainstream productions. The audiences of the Rome Film Fest will enjoy his excellent new work, adapted from a novel by James Baldwin. I would also like to add how happy I am this year that the number of Italian films is greater than in the past, in both the Official Selection and in other sections. The two retrospectives, curated by Mario Sesti, will celebrate a great but too often neglected master such as Maurice Pialat, and a genius of comedy (and more) such as Peter Sellers, to whom I also chose to dedicate the official poster of this edition. While for the first three years I opted for images that conveyed the idea of class and sophistication, this time I wanted to give irony its rightful due: a fest cannot be a fest if it doesn't include this essential element. For this I would like to thank Serena Parpaglioni and her staff for once again having interpreted exactly what I was looking for. There will be many tributes, in some cases dedicated to artists who are at the height of their careers, such as Adriana Asti and Flavio Bucci, and others to those who have sadly left us: Carlo Vanzina, Nelson Pereira Dos Santos, Claude Lanzmann, Milos Forman, Ermanno Olmi and Vittorio Taviani. We have furthermore focused great attention on the documentary: many are the films that will be presented in the Official Selection. This year there will again be an appointment with contemporary art, in an exhibition that is both powerful and wrenching: La Prigioniera by Marina Sagona, on display in the spaces of the Fondaco. I am also pleased to publish the magnificent essay written by Claire Messud about this work: a confirmation of our attention to the dialogue between different forms of expression. Once again, film screenings will spread in other neighborhoods and venues in Rome: from the Policlinico Gemelli Hospital to many other locations in the city center, from Rebibbia Prison to the Palladium. At this point I must convey my most affectionate gratitude to the institutions that have stood by our side, such as the MAXXI Museum, WeGil, Casa del Cinema and Casa del Jazz. I have chosen to exercise my faculty to confer two lifetime achievement awards: the first will go to Isabelle Huppert, whom I define as a queen of international cinema, the second to Martin Scorsese, for whom it is superfluous to add any adjective, though it is worth spending a few words on his participation. This remarkable filmmaker will come to Rome to talk about his great passion for Italian cinema: he has chosen sequences from nine classic films which he will talk about during the onstage conversation that will take place before the award ceremony. Furthermore, like Bertolucci last year, he will select two films - the restored versions of legendary films - that he will present as a special curator. Furthermore, he has chosen a third cult film never released in Italy and will present the restored version of Saint Michael Had a Rooster by Paolo and Vittorio Taviani. To him I extend my most sincere thanks. I have chosen to list all these activities to highlight how the presence of this film legend in Rome has nothing to do with the promotion of a film but arises simply from a desire to generously share his time and efforts, believing as he does in the project for the Rome Film Fest. And this makes the event that I have the honour of directing different from any other: the same desire to generously share time and effort, independently of any sort of promotion, may be attributed to most of the magnificent guests who will come to Rome from October 18th to the 28th. I will mention one name for all: one of the major talents in international literature, Jonathan Safran Foer, will come to the Rome Film Fest to talk about how cinema has influenced his life and his literature, again independently of any personal interest or promotional activity. And I would again like to confirm my satisfaction for the

synergy that has been established with Videocittà regarding the conversations with Pierre Bismuth and Shirin Neshat: my warmest special thanks go to Francesco Rutelli. Along with our usual spotlight on film genres, this year we have paid particular attention to powerful and crucial themes, such as the memory of the Holocaust (there will be three previously unreleased documentaries as well as a tribute to Claude Lanzmann), and racism, the political debate and the certainty of an authentically just justice: those who know me are aware of my extreme concern for elegance, levity and as I mentioned earlier, irony, but I also know that cinema is memory, commitment, and testimony. The films of our lives and the opening sequences that will precede the films will be dedicated to the noir, and for this I would personally like to thank Giuseppe Tornatore for accepting to share his favourite noir film in a conversation with the audience. It is from this genre, one of the most specifically cinematographic, that we have chosen the film for our opening night: the ironic, elegant and surprising Bad Times at the El Royale. I finally wish to thank the General Delegate of Cannes Thierry Frémaux, who will come to the Fest to talk about his idea of Festivals and the future of this type of event. With the advent of Netflix, what is happening in cinema is radically changing the spectatorship, production and distribution of films: few people in the world have as privileged a point of view on these changes as Frémaux. I will have the honour of moderating this conversation and will certainly have much to learn: in the meantime, as I review the list of films, retrospectives, onstage conversations, tributes and special events, I believe that what I have before me is a rich and varied panorama. As always, the audience will have the last word, but I believe I can state, without being presumptuous, that the Rome Film Fest confirms the strong identity it has built over the course of these three exciting years.

Artistic Director, Rome Film Fest (catalogue)

THE 13TH ROME FILM FEST

The 13th Rome Film Fest will take place from October 18 to 28, 2018, at the Auditorium Parco della Musica and in other venues in the city of Rome. The building complex designed by Italian architect Renzo Piano will host screenings, exhibitions, onstage conversations, events, conferences, and panels. The 1,300 square metres of the avenue leading to the Cavea (an open-air theatre square) will become one of the largest red carpets in the world.

The 13th Rome Film Fest is produced by Fondazione Cinema per Roma. The event is promoted by Roma Capitale, Chamber of Commerce, Industry, Handicrafts, and Agriculture of Rome, Regione Lazio, Fondazione Musica per Roma, Istituto Luce Cinecittà (representing the Ministry for the Cultural Heritage and Activities). Laura Delli Colli is the Vice-President of the Fondazione Cinema per Roma and the Board of Directors is composed of Roberto Cicutto, José R. Dosal and Lorenzo Tagliavanti. Francesca Via is the General Manager of Fondazione Cinema per Roma, Antonio Monda is the Artistic Director of Rome Film Fest, supported by a selection committee coordinated by Mario Sesti and composed of Richard Peña, Giovanna Fulvi, Alberto Crespi, Francesco Zippel and Valerio Carocci.

The Main Partner is BNL BNP Paribas Group. The Institutional Partners are the Ministry for the Cultural Heritage and Activities and SIAE. Rome Film Fest takes place in collaboration with Alice nella città, Centro Sperimentale di Cinematografia (Experimental Cinematography Centre), MAXXI - National Museum of XXI Century Arts. The Official Sponsor is JTI. The Official Car is Mazda. Acea is a Partner. Alitalia is the Official Carrier. Rai is Main Media Partner; Rai Movie is the Official TV Channel. Rai 1, Rainews24, Rai Radio2, Rai Radio3 and Getty Images are Media Partners. Pino Chiodo is a Technical Partner supplying projection equipment (film and digital).

The Official Selection of the Rome Film Fest includes 38 films, with the aim of offering quality and excellence in film: from independent to genre productions, from renowned auteurs to emerging talents, experimental cinema and films with a clear vocation for entertainment, animation, visual art, and documentaries. This year again, the “Close Encounters” with directors, actors and protagonists of the Italian and international cultural panorama will play an important role with Retrospectives, Restored Films, Tributes and several other events that compose the Rome Film Fest’s programme. The parallel and independent sidebar Alice nella città will present a selection of youth-oriented films, following its own regulations.

ROME FILM FEST IN THE CITY The audience will have a choice of several movie theatres: those at the “Parco della Musica” (Sinopoli, Petrassi, Teatro Studio Gianni Borgna SALA SIAE, AuditoriumArte), the Auditorium at the MAXXI - National Museum of XXI Century Arts, Casa del Cinema, Casa del Jazz, Cinema Trevi, My Cityplex Savoy, Barberini Multiplex, Museo dell’Ara Pacis, Palazzo delle Esposizioni, Rebibbia Prison (Nuovo Complesso and Casa Circondariale Femminile di Roma Rebibbia), Fondazione Policlinico Universitario Agostino Gemelli IRCCS, Palladium Theatre, Via dei Condotti, Via Veneto, Piazza San Lorenzo in Lucina, Via della Frezza with the Fondaco Gallery, Galleria Alberto Sordi, Spazio WeGil. Next to the Auditorium, the Cinema Village - featuring pavilions and stands made of steel, glass, and wood, created specifically for this event and its visitors – and Cinema Hall, carried out with the support of MiBAC’s Directorate-General for Cinema.

THE SOCIAL COMMITMENT In 2018 the Rome Film Fest’s social commitment continues with Telethon, supporting the research into rare genetic diseases. Funds will be raised to support two Italian projects devoted to children’s health: the paediatric emergency room at Rome’s Policlinico Umberto I hospital, and Casa di Timmi, a residential facility for children who are victims of abuse and are removed from their families, if only temporarily. In the spirit of continuity with last year’s commitment, the 13th Rome Film Fest, as part of the project promoted by the Presidency of the Council of Minister’s Department for Equal Opportunities aimed at

preventing and halting violence against women, will be devoting special attention to this issue through a series of dedicated events. Moreover, screenings will be held at the Fondazione Policlinico Universitario Agostino Gemelli IRCCS, Rebibbia Prison’s New Annex and the prison’s Women’s Ward. A specific project will be unveiled, involving occupational training in audio-visual technology for Roma juvenile offenders who are subject to disciplinary measures. The Rome Film Fest will also host the first film starring professional actors with disabilities that will not have a disability theme. Lastly, the Fondazione Umberto Veronesi, which has long supported scientific research, has chosen to promote its activities at the Rome Film Fest, and has made the 2018 bags for badge holders for the 13th edition.

THE POSTER OF THE 13th ROME FILM FEST The official poster of the thirteenth Rome Film Fest features Peter Sellers. Beloved by extremely diverse audiences, who have admired his extraordinary comic talent, the brilliant unpredictability of his performances and his excellent portrayal of dramatic roles, Peter Sellers is pictured as his most famous character, Inspector Jacques Clouseau, lead character of “The Pink Panther” series. The shot was taken by British photographer Terry O'Neill, renowned internationally for his portraits of countless figures from the worlds of music and film, from the Beatles to the Rolling Stones, from the British Royal Family to Hollywood stars. In the official poster of the 2018 Rome Film Fest, Peter Sellers is caught red-handed by O'Neill, who captures the full range of his irony and astonishment: Inspector Clouseau faces the audience squarely and makes it the star of the event.

THE BNL AUDIENCE AWARD The audience will be the protagonist of the 13th Rome Film Fest and will award the BNL People’s Choice Award, in collaboration with Main Partner BNL BNP Paribas Group. The audience will be able to cast its votes thanks to myCicero, the official Rome Film Fest app by PlusService, and on the website www.romacinemafest.org

THE NUMBERS

38 films and documentaries in the Official Selection | 4 Everybody’s talking about it section

6 Special Events

14 Close Encounters

7 Preopening screenings

13 Tributes and Restored films | 2 Retrospectives

12 Riflessi

7 Films of our Lives

28 Other events at the Rome Film Fest

From 30 Countries: Albania, Argentina, Belgium, Brazil, Cambodia, Canada, China, Colombia, Croatia, Denmark, Finland, France, Germany, India, Italy, Lithuania, Luxembourg, Mexico, New Zealand, Netherlands, Poland, United Kingdom, Czech Republic, Russia, Slovakia, United States, South Africa, Sweden, Ukraine, Hungary

OFFICIAL SELECTION

AMERICAN ANIMALS by Bart Layton, United States, United Kingdom, 2018, 116’ Cast: Evan Peters, Barry Keoghan, Blake Jenner, Jared Abrahamson, Udo Kier, Ann Dowd

OPENING FILM BAD TIMES AT THE EL ROYALE by Drew Goddard, United States, 2018, 141’ Cast: Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Cailee Spaeny, Lewis Pullman, Nick Offerman e Chris Hemsworth

BAYONETA by Kyzza Terrazas, Mexico, Finland, 2018, 95’ Cast: Luis Gerardo Méndez, Brontis Jodorowsky, Joonas Saartamo, Laura Birn, Ilkka Koivula, Ville Virtanen

BEAUTIFUL BOY by Felix Van Groeningen, United States, 2018, 112’ Cast: Steve Carell, Timothée Chalamet, Maura Tierney, Amy Ryan

CORLEONE IL POTERE ED IL SANGUE CORLEONE LA CADUTA by Mosco Levi Boucault, France, 2018, 151’ (81’+70’)

CORRENDO ATRÁS | RUNNING AFTER by Jeferson De, Brazil, 2018, 86’ Cast: Aílton Graça, Juan Paiva, Juliana Alves, Lellêzinha, Lázaro Ramos, Rocco Pitanga, Tonico Pereira, Francisco Gaspar, Dadá Coelho, Nicole Bahls, Teka Romualdo, Antonio Pitanga

DIARIO DI TONNARA by Giovanni Zoppeddu, Italy, 2018, 70’

ETER | ETHER by Krzysztof Zanussi, Polonia, Ukraine, Hungary, Lithuania, Italy, 2018, 118’ Cast: Jacek Poniedziałek, Andrzej Chyra, Ostap Vakuliuk, Zsolt László, Maria Riaboshapka, Małgorzata Pritulak, Stanislav Kolokolnikov, Rafał Mohr

FAHRENHEIT 11/9 by Michael Moore, United States, 2018, 120’

FØR FROSTEN | BEFORE THE FROST by Michael Noer, Denmark, 2018, 104’ Cast: Jesper Christensen, Magnus Krepper, Elliott Crosset Hove, Ghita Nørby, Gustav Dyekjær Giese

FUNAN by Denis Do, France, Luxemburg, Belgium, Cambodia, 2018, 86’ | Animation | Voice cast: Bérénice Bejo, Louis Garrel

THE GIRL IN THE SPIDER'S WEB by Fede Álvarez, United Kingdom, Germany, Sweden, Canada, United States, 2018, 110’ Cast: Claire Foy, Sverrir Gudnason, Lakeith Stanfield, Sylvia Hoeks, Stephen Merchant, Claes Bang, Christopher Convery, Synnøve Macody Lund, Vicky Krieps

GREEN BOOK by Peter Farrelly, United States, 2018, 130’ Cast: Viggo Mortensen, Mahershala Ali, Linda Cardellini, Sebastian Maniscalco, P.J. Byrne, Don Stark

HALLOWEEN by David Gordon Green, United States, 2018, 109' Cast: Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Virginia Gardner, Nick Castle

THE HATE U GIVE by George Tillman Jr., United States, 2018, 132’ Cast: Issa Rae, Anthony Mackie, Amandla Stenberg, Regina Hall, Sabrina Carpenter, Common, K.J. Apa, Russell Hornsby, Lamar Johnson, Algee Smith

HERMANOS | BROTHERS by Pablo Gonzaléz, Colombia, 2018, 89’ Cast: Alejandro Buitrag, Rodrigo Hernández Jerez, Emilia Ceballos, Jairo Camargo, Ana Maria Sánchez

THE HOUSE WITH A CLOCK IN ITS WALLS by Eli Roth, United States, 2018, 105’ Cast: Jack Black, Cate Blanchett, Owen Vaccaro, Renée Elise Goldsberry, Sunny Suljic, Colleen Camp, Lorenza Izzo, Kyle Maclachlan

IF BEALE STREET COULD TALK by Barry Jenkins, United States, 2018, 119’ Cast: KiKi Layne, Stephan James, Colman Domingo, Teyonah Parris, Michael Beach, Aunjanue Ellis, Dave Franco, Diego Luna, Pedro Pascal, Emily Rios, Ed Skrein, Finn Wittrock, Brian Tyree Henry, Regina King

AN IMPOSSIBLY SMALL OBJECT by David Verbeek, Taiwan, Netherlands, Croatia, 2018, 100’ Cast: Lucia, Chung Chen-Hung, David Verbeek, Klara Mucci, Lisa Lu

JAN PALACH by Robert Sedlácek, Czech Republic, Slovakia, 2018, 124’ Cast: Viktor Zavadil, Zuzana Bydžovská, Denisa Barešová, Kristína Kanátová, Jan Vondrácek, Michael Balcar

KURSK by Thomas Vinterberg, Belgium, Luxemburg, 2018, 117’ Cast: Matthias Schoenaerts, Léa Seydoux, Colin Firth, Peter Simonischek, August Diehl, Max von Sydow

LIGHT AS FEATHERS by Rosanne Pel, Netherlands, 2018, 85’ Cast: Eryk Walny, Ewa Makula, Klaudia Przybylska

THE LITTLE DRUMMER GIRL by Park Chan-wook, United Kingdom, 120’ (episodes 1-2) Cast: Alexander Skarsgård, Michael Shannon, Florence Pugh

MERE PYAARE PRIME MINISTER | MY DEAR PRIME MINISTER by Rakeysh Omprakash Mehra, India, 2018, 105’ Cast: Anjali Patil, Om Kanojiya, Niteesh Wadhwa, Atul Kulkarni, Syna Anand, Prasad, Adarsh, Makrand Deshpande, Rasika Agashe, Nachiket Pumapatre, Neela Mulhekar, Sonia Albizuri, Firdaus Mevawalla, Kavita Pias

MIA ET LE LION BLANC | MIA AND THE WHITE LION by Gilles de Maistre, France, Germany, South Africa, 2018, 97’ Cast: Daniah De Villiers, Mélanie Laurent, Langley Kirkwood, Ryan Mac Lennan, Lionel Newton, Lillian Dube

MONSTERS AND MEN by Reinaldo Marcus Green, United States, 2018, 95’ Cast: John David Washington, Kelvin Harrison Jr., Anthony Ramos, Chanté Adams, Nicole Beharie, Rob Morgan

LA NEGRADA | BLACK MEXICANS by Jorge Pérez Solano, Mexico, 2018, 102’ Cast: Magdalena Soriano, Juana Mariche Domínguez, Felipe Neri Acevedo Corcuera, Sara Gallardo, Ángela Hortencia Baños, Noé Corcuera Herrera

LAS NIÑAS BIEN | THE GOOD GIRLS by Alejandra Márquez Abella, Mexico, 2018, 94’ Cast: Ilse Salas, Cassandra Ciangherotti, Paulina Gaitán, Johanna Murillo, Flavio Medina

THE OLD MAN & THE GUN by David Lowery, United States, 2018, 93’ Cast: Robert Redford, Casey Affleck, Danny Glover, Tika Sumpter, Tom Waits, Sissy Spacek

POWRÓT | BACK HOME by Magdalena Łazarkiewicz, Poland, 2018, 106’ Cast: Sandra Drzymalska, Agnieszka Warchulska, Mirosław Kropielnicki, Stanisław Cywka, Katarzyna Herman, Tomasz Sobczak

A PRIVATE WAR by Matthew Heineman, United States, 2018, 106’ Cast: Rosamund Pike, Jamie Dornan, Stanley Tucci, Tom Hollander

SANGRE BLANCA | WHITE BLOOD by Barbara Sarasola-Day, Argentina, 2018, 97’ Cast: Eva De Dominici, Alejandro Awada, Negro Prina, Rakhal Herrero

STAN & OLLIE by Jon S. Baird, United Kingdom, 2018, 97’ Cast: Steve Coogan, John C. Reilly, Nina Arianda, Shirley Henderson, Danny Huston

THEY SHALL NOT GROW OLD by Peter Jackson, United Kingdom, New Zealand, 2018, 100’

THREE IDENTICAL STRANGERS by Tim Wardle, United States, 2018, 96’

TITIXE by Tania Hernández Velasco, Mexico, 2018, 62’

IL VIZIO DELLA SPERANZA | THE VICE OF HOPE by Edoardo De Angelis, Italy, 2018, 90’ Cast: Pina Turco, Massimiliano Rossi, Marina Confalone, Cristina Donadio, Odette Gomis, Juliet Esey Joseph

WATERGATE by Charles Ferguson, United States, 2018, 260’ (4 episodes)

EVERYBODY’S TALKING ABOUT IT

This section includes a selection of films to be screened at the Rome Film Fest after a remarkable international debut.

BOY ERASED by Joel Edgerton, United States, 2018, 114' Cast: Lucas Hedges, Nicole Kidman, Joel Edgerton

DA XIANG XI DI ER ZUO | AN ELEPHANT SITTING STILL by Hu Bo, China, 2018, 234’ Cast: Zhang Yu, Peng Yuchang, Wang Yuwen, Liu Congxi

DEAD IN A WEEK: OR YOUR MONEY BACK by Tom Edmunds, United Kingdom, 2018, 86’ Cast: Tom Wilkinson, Aneurin Barnard, Freya Mavor, Christopher Ecclestone, Marion Bailey

THE MISEDUCATION OF CAMERON POST by Desiree Akhavan, United States, 2018, 91’ Cast: Chloë Grace Moretz, John Gallagher Jr., Sasha Lane, Forrest Goodluck, Jennifer Ehle, Marin Ireland, Owen Campbell, Kerry Butler, Quinn Shephard, Emily Skeggs

SPECIAL EVENTS

CLOSING FILM NOTTI MAGICHE by Paolo Virzì, Italy, 2018, 110’ Cast: Mauro Lamantia, Giovanni Toscano, Irene Vetere, Roberto Herlitzka, Marina Rocco, Paolo Sassanelli, Annalisa Arena, Eugenio Marinelli, Emanuele Salce, Andrea Roncato, Giulio Berruti, Ferruccio Soleri, Paolo Bonacelli, Regina Orioli, Ludovica Modugno with Giulio Scarpati, Simona Marchini, Tea Falco, guest star Ornella Muti, with Jalil Lespert, Giancarlo Giannini

NEVER FORGET WHO WILL WRITE OUR HISTORY By Roberta Grossman, United States, 2018, 96’

CINEMA & MUSICA FACCIO QUELLO CHE VOGLIO Conversation with Fabio Rovazzi

CINEMA & MUSICA IL FLAUTO MAGICO DI PIAZZA VITTORIO by Mario Tronco, Gianfranco Cabiddu, Italy, France, 2018, 83’ Cast: Violetta Zironi, Ernesto Lopez Maturell, Petra Magoni, Fabrizio Bentivoglio, El Hadij Yeri Samb

CINEMA & MUSICA NOI SIAMO AFTERHOURS by Giorgio Testi, Italy, 2018, 103’

CINEMA & MUSICA VERO DAL VIVO. FRANCESCO DE GREGORI by Daniele Barraco, Italy, 79’

CLOSE ENCOUNTERS

The 13th Rome Film Fest devotes an ample section of its programme to the onstage conversations with directors, actors, and important cultural and sport figures.

LIFETIME ACHIEVEMENT AWARD 2018 MARTIN SCORSESE The thirteenth Rome Film Fest will celebrate Martin Scorsese, one of the finest figures in the history of the seventh art, bestowing him with the Lifetime Achievement Award presented by Paolo Taviani. On this occasion, the American filmmaker, author of a remarkable series of masterpieces from Mean Streets and Taxi Driver to Raging Bull, from Goodfellas to Casino, from Gangs of New York to The Departed, from The Wolf of Wall Street to Silence, will take part in a Close Encounter with the audience. During the event, Scorsese will review his fifty-year career and discuss a selection of clips from Italian films that have had a long-lasting effect on his life and his work.Scorsese’s ties with Italy have marked his entire career. Born in Little Italy into a family of Sicilian immigrants, his passion for Italian movies has accompanied him since childhood, when after school, he would run to the dilapidated movie theatres in his neighborhood to see the Italian films that arrived at the time, the masterpieces by Rossellini, De Sica, Antonioni and especially Fellini. In a dedicated event to be held during the Fest, the Oscar®- winning director will also present the restored version of San Michele aveva un gallo by the Taviani brothers, a tribute to the memory of Vittorio, who recently passed away. Scorsese, who is personally committed to the battle for the preservation of cinema, has selected three films for the audience in Rome, restored by The Film Foundation. The restored films are: Detour by Edgar G. Ulmer, 1945. Restoration by Academy Film Archive and The Film Foundation co-financed by the George Lucas Family Foundation; One-Eyed Jacks by Marlon Brando, 1961. Restoration by Universal Studios with the support of The Film Foundation and supervised by Martin Scorsese and Steven Spielberg; Ganja & Hess by Bill Gunn, 1973. Restoration by The Museum of Modern Art with the support of The Film Foundation. The Close Encounter with Martin Scorsese is supported by Campari. The director will be the guest of honour at an exclusive evening event organized at Villa Medici in collaboration with Vanity Fair.

LIFETIME ACHIEVEMENT AWARD 2018 ISABELLE HUPPERT Claude Chabrol's muse, ever since she appeared on the screen for the first time in 1971 in Nina Companéez's Faustine et le Bel Été, it was obvious that Isabelle Huppert would never be an actress like the others. The Rome Film Fest has chosen to pay tribute to her talent and versatility by presenting her with the Lifetime Achievement Award, which she will receive from the hands of Italian actor Toni Servillo. The Parisian actress will also attend an onstage conversation, during which she will comment on a series of clips selected from the films that have had the greatest influence on her life as an artist. The indisputable queen of European film, blessed with unparalleled charm and talent, unequalled in her capacity to appear aristocratic, sensual and dark, Huppert has conquered audiences with her performances playing roles characterized by unconventional complexity and depth, always restless and anti-conformist. Throughout the course of her career, she has worked with some of the greatest European and American filmmakers: from the above-mentioned Chabrol to Jean-Luc Godard, Marco Ferreri, the Taviani brothers, Marco Bellocchio, Michael Haneke, Michael Cimino, David O. Russell and Maurice Pialat (the Rome Film Fest retrospective dedicated to the French director will include Loulou starring Huppert). She has won awards around the world for her performances, including a Golden Lion for Lifetime Achievement in Venice in 2005 and a Golden Globe in 2017 for Elle by Paul Verhoeven - a film that won Huppert her first Academy Award nomination. She has brought instinctive acting to a level never achieved by any other actress, offering her audiences characters driven by intense inner contradictions and deep fragilities. The Close Encounter is organized with the support of Poste Italiane.

PIERRE BISMUTH – A project of Videocittà in collaboration with Rome Film Fest Not just Cinema, but all the visual arts will be the focus of the conversation with Pierre Bismuth, which will take place at the MAXXI Museum, organized in collaboration with Videocittà. A post-conceptual artist, Bismuth creates works in which thought, concepts and ideas become images, visions and sounds, works that reflect and explore relationships and the boundaries between perception and reality, between make-believe and reality, halfway between fiction and documentary, mixing genres, styles and means of communication. Born in 1963 in Neuilly-sur-Seine, he studied art first in Paris, then in Berlin with Georg Baselitz. The created installations using various media, such as painting, sculpture, video and collage, and ventured into cinema, winning the Oscar for Best Original Script with Charlie Kaufman and Michel Gondry in 2005 for Eternal Sunshine of the Spotless Mind, a film that is perhaps one of the finest portrayals of the mechanisms and landscapes of the human brain and soul. In 2016 he debuted as a director with Where is Rocky II? Cinema appeared in deconstructed form in some of his earlier installations previous to the script of Eternal Sunshine of the Spotless Mind, whereas art is the protagonist of Where is Rocky II? In fact, like in a play of mirrors, the title of his first feature film does not refer to the boxer played by Sylvester Stallone, but to a mysterious work of art, a fake stone made of resin created in 1979 by Ed Ruscha and hidden by the artist among the very real rocks of the Mojave Desert. This work has never appeared in any official catalogue and the film follows Bismuth's own search for this work of art, with a private detective he paid for himself, and two Hollywood scriptwriters who want to write a film about this sort of treasure hunt.

CATE BLANCHETT The 2018 Close Encounters series includes the onstage conversation with one of the most intense and refined actresses of contemporary cinema, two-time Oscar® winner Cate Blanchett. Honored by the Academy for her roles in The Aviator by Martin Scorsese and Blue Jasmine by Woody Allen, the Australian actress boasts an exceptional roster of collaborations with directors such as Steven Spielberg, Peter Jackson, Wes Anderson, Ron Howard, David Fincher, Steven Soderbergh and Todd Haynes. After enrolling in the Department of Economics of the University of Melbourne, Cate decided to leave the university to study acting at the National Institute of Dramatic Arts in Sydney and, after graduating, became a member of the Sydney Theatre Company. In 1997, she made her cinematic debut beside Glenn Close in Paradise Road directed by Bruce Beresford. But it was the following year that she was catapulted to the pantheon of the stars, for her performance as the haughty and resolute Queen Elisabeth in Shekhar Kapur's Elizabeth, the role for which she earned her first Academy Award nomination and went on to win the Golden Globe. From then on, her career soared inexorably on the wings of her performances in very different roles, all played with style and elegance. Blessed with aristocratic allure and the magnetic appeal of a diva from days gone by, in 2016 the United Nations High Commissioner for Refugees appointed her Goodwill Ambassador for her humanitarian commitment.

THIERRY FRÉMAUX Thierry Frémaux has been the General Director of the Lumière Institute in Lyon since 1997, at the head of the Cannes Film Festival since 2001, first as the Artistic Director and then as General Delegate. As curator of one of the most prestigious film festivals in the world, he has been able to reconcile the two souls of cinema: business and art. He has spent his life viewing more than a thousand films a year, searching for and selecting films around the world, convincing actors, directors and artists to serve as members of the juries. He has told the story of this life in his biography "Sélection officielle", published in France in 2017 (Éditions Grasset): 600 pages of memories and anecdotes about glitches, conversations and diplomatic solutions to solve the most complicated situations. Recently, his rigorous decisions - some of which against the tide – whipped up controversy. The Rome Film Fest onstage conversation with Thierry Frémaux will be an opportunity to discuss the meaning of film festivals today and their possible future evolution.

MARIO MARTONE Conversation with Italian writer Concita De Gregorio on global literary sensation, Elena Ferrante Mario Martone started out directing for the stage before making his directorial debut with Morte di un matematico napoletano (Death of a Neapolitan Mathematician, 1992), the story of Renato Caccioppoli that earned him the Grand Jury Prize at the Venice Film Festival, as well as a David di Donatello and Silver Ribbon Award for Best New Director. The following year Martone was in his native city Naples to film the medium-length film Rasoi (1993), inspired by a play he had previously staged at the Teatro Mercadante. Known for his lean, unsparing films, such as L’amore molesto (Nasty Love, 1995, David di Donatello Award for Best Director), Teatro di guerra (Rehearsal for War, 1998) and L’odore del sangue (The Scent of Blood, 2003), all of which premiered at Cannes, more recently he shifted gears to make a film about Italy’s Risorgimento, Noi credevamo (We Believed), starring Luigi Lo Cascio, which won several awards. After Il giovane favoloso (Leopardi, 2014) about the life of poet Giacomo Leopardi, Mario Martone has recently directed Capri-Revolution, set on the island in the Bay of Naples in 1914. The filmmaker will attend the 13th Rome Film Fest for a Close Encounter during which he will discuss with Concita De Gregorio about international publishing sensation Elena Ferrante, now that she is famous the world over for her series “The Neapolitan Novels”. The two artists intersect in the screen adaptation of Ferrante’s novel L’amore molesto (Nasty Love), which will screen at the Rome Film Fest in a newly restored version.

MICHAEL MOORE Oscar®-winning American filmmaker and political activist Michael Moore, who present his latest film, Fahrenheit 11/9, at the 13th Rome Film Fest, will also takie the stage for a Close Encounter. Born in Davison, a suburb of Flint, Michigan, in 1954, and expected to work at the General Motors factories (like his father and grandfather), at age 22 Moore decided to try his hand at journalism, and founded the local paper The Flint Voice, where he worked for ten years as its editor. In the late 1980s, he turned to documentary filmmaking, and from that moment on, the insight and sagacity of this “working-class hero” who declared war on the system would change the approach to the documentary genre forever. Known for being able to combine in his films a straightforward style, free from artifice and particularly well- suited to describing the political and economic dynamics at play in the United States, with a heavy dose of irony, over the years Moore has investigated a variety of issues deemed terribly inconvenient by the establishment. They include: the insatiable greed of the automobile industry (Roger & Me), the roots of America's predilection for gun violence (Bowling for Columbine, Oscar® for Best Documentary in 2003), the controversial Republican reaction to 9/11 (Fahrenheit 9/11, Palme d’Or at Cannes in 2004), the rampant corruption in the healthcare system (Sicko), the ‘greed-is-good’ of Wall Street (Capitalism: A Love Story), and American military policy as compared with that of European nations (Where to Invade Next). The power of raw facts, handled with pragmatism and consummate skill: these are the hallmarks of Michael Moore’s style.

SHIRIN NESHAT – A project of Videocittà in collaboration with Rome Film Fest Iranian photographer, video artist and director Shirin Neshat, winner of an award at the Venice Art Biennale in 1999, and of the Silver Lion for Best Director at the 66th Venice International Film Festival in 2009 for her debut feature film Women Without Men, will attend an onstage conversation organized at the MAXXI Museum in collaboration with Videocittà. Internationally renowned as one of the most representative contemporary artists, in her exploration of the complexity of social conditions within the Islamic culture, Neshat has always turned her gaze to the role of women. The condition of women and the complex forces rooted in tradition and religion that regulate this condition, as well as the relationship between the Islamic and the Western culture have become, over the years, the core around which she has developed her artistic research. Following her early years of study in Teheran, she moved to the United States in 1974 to pursue a Master of Fine Arts at the University of Berkeley, where she began her career as a photographer, progressively turning to film and video art. Her return to Iran at the end of the revolution influenced her career, though since 1996 she has been prohibited from returning to her native country. In 2017, she directed her second feature-length film, Looking for Oum Kulthum, and was commissioned the artistic direction of the Aida staged at the Salzburg Festival and directed by Riccardo Muti. Today Shirin Neshat lives in New York and her art, appreciated around the world, continues to range between tradition and modernity, free from all constraints.

ALBA ROHRWACHER AND ALICE ROHRWACHER It certainly cannot be said that the Rohrwacher family lacks talent, as Alba and Alice demonstrate: the former an actress, the latter a director and screenwriter. The two sisters attend a Close Encounter on the closing day of the Rome Film Fest. Following her early studies at the Accademia dei Piccoli in Florence, her native city, Alba graduated from the Centro Sperimentale di Cinematografia in 2003. The following year she made her film debut in L'amore ritrovato by Carlo Mazzacurati, immediately capturing the attention of critics and audiences. The fresh and discreet quality that distinguishes each of her characters set her apart from other actresses of her generation, as shown by her rising career studded with successes. She has starred in films such My Brother is an Only Child, Days and Clouds (David di Donatello as Best Supporting Actress), Giovanna's Father (Best Actress at the David di Donatello) and Hungry Hearts by Saverio Costanzo, which won her the Coppa Volpi for Best Actress in Venice in 2014. Alice, who is two years younger, took only two films to establish her reputation as one of rising talents in European cinema: Heavenly Body, presented at the Quinzaine in Cannes, for which she won the David di Donatello as Best Debut Director and The Wonders, Grand Jury Prize at Cannes (starring, among others, her sister). Her cinema moves between memory and nostalgia, and is rich in fairy-tale and folk elements, which convey to the public the magic and disenchantment of worlds that are on the verge of disappearing. In 2018, again at Cannes, she won the Award for Best Screenplay for Happy as Lazzaro, starring Alba.

JONATHAN SAFRAN FOER Italian writers Primo Levi and Italo Calvino are two of his favorites, his true masters. With Levi he shares his Judaism, with Calvino his taste for imagery and surrealism. At the age of forty, Jonathan Safran Foer is considered one of the greatest and most original talents of world fiction. The American novelist will attend an onstage conversation and, starting from his own works, he will explore the relationship between literature and cinema. His first novel "Everything is Illuminated", published in 2002, was an unusual existential pilgrimage through memory, inspired by the trip to Ukraine he really took in 1999, searching for traces of his ancestors, in particular his grandfather (Safran Foer's mother is the daughter of Holocaust survivors). The book became an international best-seller, acclaimed by literary critics. His second book, "Extremely Loud and Incredibly Close", published in 2005, explores the post-9/11 era in the United States, from an original and disconcerting point of view. Both novels were adapted for film: the first, in

2005, directed and written by Liev Schreiber; the second, in 2011, directed by Stephen Daldry, starring Sandra Bullock and Tom Hanks. In 2009, he wrote the essay "Eating Animals", a dramatic accusation against eating meat and intensive animal husbandry, and a formidable account of the writer's moral decision to be a vegetarian. A long interval of eleven years – which, as Foer has explained, he spent exclusively taking care of the children he had with novelist Nicole Kraus – went by before his next novel "Here I Am", published in 2016. "Here I Am" is a profound examination of the life of a couple whose marriage is on the rocks, that courageously addresses the theme of family and identity in the present time.

GIUSEPPE TORNATORE Giuseppe Tornatore is one of the most beloved and awarded Italian filmmakers. He has built his career on a cinema that nostalgically evokes the past - profoundly Italian yet an easy export abroad - with a power that lies in telling small and simple stories of a lost world, with a delicacy and a blend of melancholy and irony that give the tale an aura of lyrical magic. At the upcoming Rome Film Fest, the filmmaker will attend a Close Encounter in which he will discuss with the audience his passion for the noir genre, in literature and cinema. Tornatore began his artistic career as a photographer. Before directing his debut film Il camorrista in 1986, he was a director for the theatre and television, and for a series of documentaries. His sophomore feature film Cinema Paradiso marks a turning point in his career. The film won the Oscar® for Best Foreign Language Film in 1990, the Grand Prix Special du Jury at the Cannes Film Festival, a Golden Globe and five BAFTA awards. In 1995, he was nominated again for the Oscars® for The Starmaker. Tornatore's cinema is one of memory, from Malèna to Baarìa, from La leggenda del pianista sull'oceano to The Unknown Woman, through the more recent The Best Offer and Correspondence, he has consolidated an identity by using a language that is as universal as it is personal, and always extremely poetic. The Close Encounter is organized with the support of Poste Italiane.

SIGOURNEY WEAVER With her magnificent performances, Sigourney Weaver has established her reputation through the image of a secure and determined, staunch and resolute woman, who can embody characters that reveal an energy and freshness uncommon in Hollywood. Gifted with unquestionable stage presence, charisma and a significant measure of allure, the actress will review her brilliant career during an onstage conversation. Born in New York into a family in the entertainment business (her father, Sylvester Weaver, was an established television producer), Susan Alexandra Weaver decided to take the stage name Sigourney after seeing The Great Gatsby by Elliott Nugent. In high school, she attended acting classes, and in 1977 she made her debut as an extra in Woody Allen's Annie Hall. Two years later, Ridley Scott offered her the passport to success, giving her the lead in the first chapter of the cult sci- fi saga Alien. She will star in the three Alien sequels: Aliens (1986) was a huge success, and she was nominated for both a Golden Globe Award and an Oscar. She earned two more Academy Awards nominations: in 1988, for her intense portrayal of researcher Dian Fossey in Gorillas in the Mist by Michael Apted (for this role, she won a Golden Globe), and in 1989, for her portrayal of a brilliant and ambitious businesswoman in Working Girl by Mike Nichols. The list of directors who chose her to star in their films is truly remarkable, from Ivan Reitman to Ang Lee, Roman Polanski, David Fincher and James Cameron, to name a few.

Cinema Professions | Cinematographer ARNALDO CATINARI – LUCIANO TOVOLI The cinematographer is a key figure in the making of any film, and over the decades, the ‘Italian school’ has pulled extraordinary “masters of light” out of its hat, with several of them have winning international acclaim. Directors of photography Luciano Tovoli and Arnaldo Catinari will discuss their work in an onstage conversation curated by Mario Sesti. Tovoli, winner of two Natro d’Argento Awards, in 1976, for The Passenger by Michelangelo Antonioni, and in 1989 for Splendor by Ettore Scola; and Catinari, the cinematographer of films such as Light of My Eyes, The Caiman, Tell Me About Love, The Demons of Saint Petersburg and Angels of Evil. Tovoli was born in 1936 and got his start as a cinematographer on the film Something Like Love by Enzo Muzii in 1968. He has worked with several directors in Italy and abroad: Luis Buñuel, Valerio Zurlini, Marco Ferreri and Dario Argento. His cinematography for Suspiria is still considered one of the most innovative and disturbing ever produced. A leading exponent of the reinvention of the canons for Italian cinema in the 1970s, Luciano Tovoli is a true wizard with lighting, gifted with the ability to use shadows to shape light, creating associations in viewers’ minds that remain indelible. Catinari has over eighty credits to his name as a cinematographer to Italy’s best-known contemporary filmmakers, such as Gabriele Muccino, Nanni Moretti, Luciano Ligabue, Paolo Virzì and Riccardo Milani. His style is a sophisticated combination of innovation and classical technique; indeed, his every frame manages to contain both tradition and revolution.

Cinema Professions | Editor ESMERALDA CALABRIA – GIOGIÒ FRANCHINI Stanley Kubrick said, "everything that precedes editing is merely a way of producing film to edit". Editing is the last and definitive act of writing a film, after the screenplay and the shooting, and will be the focus of a conversation curated by Mario Sesti, that will bring together two influential Italian film editors: Giogiò Franchini and Esmeralda Calabria. An editor who works "from the gut", as Giogiò Franchini likes to define himself, a magician of sound, he has worked with directors such as Paolo Sorrentino, Jonathan Demme and Valeria Golino, and won a David di Donatello award for La ragazza del lago by Andrea Molajoli. Over the years, Franchini has advanced the concept of film editing as a tool to startle and awe the viewer, with the sole purpose of capturing and keeping the spectator's attention. Esmeralda Calabria has served as editor for auteurs such as Nanni Moretti, Francesca Archibugi and Giuseppe Piccioni. Winner of a David di Donatello and a Nastro d'Argento awards for Romanzo criminale by Michele Placido, she is also a director: she made her debut behind the camera in 2007 with Biùtiful cauntri followed, in 2017, by the documentary film Lievito madre – Le ragazze del secolo scorso, co-directed with Italian journalist and writer Concita De Gregorio. She believes film editing to be a powerful tool for enhancing poetry and imagination that can supersede the narrative structure of the text in favor of the images.

“PRE-OPENING” SCREENINGS – OCTOBER WITH THE ROME FILM FEST

NEVER FORGET On October 16th, 1943, the German Gestapo rounded up the Jews in the Roman Ghetto. Seventy-five years after those dramatic events and eighty years after the racial laws were passed, the Rome Film Fest, in collaboration with Roma Capitale, Fondazione Museo della Shoah and Istituto Luce Cinecittà, devotes three screenings to be held before opening night to the commemoration of the racial persecutions and the Holocaust. Furthermore, during the Rome Film Fest, the Special Events section will include the screening of Who Will Write Our History directed by Roberta Grossman and produced by Nancy Spielberg.

15 October 9 pm | Barberini Multiplex 1938 – QUANDO SCOPRIMMO DI NON ESSERE PIÙ ITALIANI by Pietro Suber, Italy, 2018, 78’

16 October 6 pm | Casa del Cinema Claude Lanzmann Tribute SOBIBÓR, 14 OCTOBRE 1943, 16 HEURES | SOBIBÓR, OCTOBER 14, 1943, 4 P.M. by Claude Lanzmann, France, 2001, 95’

16 October 9 pm | Casa del Cinema LA RAZZIA, 16 OTTOBRE 1943 by Ruggero Gabbai, Italy, 2018, 60’

Ahead of its opening, the Rome Film Fest will also present four brilliant original projects.

15 October 6 pm | Casa del Cinema DONS OF DISCO by Jonathan Sutak, United States, 2018, 84’

15 October 9 pm | Casa del Cinema L'UOMO CHE COMPRÒ LA LUNA | THE MAN WHO BOUGHT THE MOON by Paolo Zucca, Italy, Argentina, Albania, 2018, 102’ Cast: Jacopo Cullin, Stefano Fresi, Francesco Pannofino, Benito Urgu, Lazar Ristovski, Angela Molina

17 October 6 pm | Casa del Cinema QUESTO È MIO FRATELLO by Marco Leopardi, Italy, 2018, 80’

17 October 9 pm | Casa del Cinema IN VIAGGIO CON ADELE by Alessandro Capitani, Italy, 2018, 83’ Cast: Alessandro Haber, Sara Serraiocco, Isabella Ferrari, Patrice Leconte, Anna Ferruzzo, Elena Cantarone, Achille Missiroli

RETROSPETTIVE

The 13th Rome Film Fest will devote two retrospectives - curated by Mario Sesti – to two paramount figures of European cinema: Peters Sellers (in collaboration with British Embassy in Rome and British Council) and Maurice Pialat (with Cineteca di Bologna and French Embassy and Institut Français Italia).

PETER SELLERS In collaboration with British Embassy in Rome and British Council British artist Peter Sellers, featuring in the official poster of the 2018 Rome Film Festa as his worldwide famous character inspector Clouseau, is beloved for his extraordinary comic talent, the brilliant unpredictability of his performances and his excellent portrayal of dramatic roles. This retrospective is first of all an act of love for an actor/filmmaker whose filmography is more akin to a continent. A land inhabited by characters, fantastic and fantastical locations – small provinces and large metropolises - powerful aristocrats and anonymous office clerks, mad scientists and extras who are more lethal than an earthquake, not to mention bumbling investigators and butlers unwittingly turned into radical chic gurus. Chaplin may have embodied the forgotten man, the have-not cut off from the wealth above, a side product of capitalism, but Sellers left us infinite variations of the modest middle-class citizenry, grappling with life’s enigmas and power’s anarchy and chaos – never failing to get a laugh, with those half-closed eyes, that extravagant smile, and that absurdly optimistic stride of his.

THE FILMS

BEING THERE by Hal Ashby, United States, 1979, 130’ Cast: Peter Sellers, Shirley MacLaine, Melvyn Douglas, Jack Warden, Richard Dysart, Richard Basehart

DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB by Stanley Kubrick, United States, United Kingdom, 1964, 95’ Cast: Peter Sellers, George C. Scott, Peter Bull, Sterling Hayden, Slim Pickens, Keenan Wynn

I'M ALL RIGHT JACK by John Boulting, United Kingdom, 1959, 105’ Cast: Ian Carmichael, Terry-Thomas, Peter Sellers, Richard Attenborough, Dennis Price

LOLITA by Stanley Kubrick, United Kingdom, 1962, 154’ Cast: James Mason, Sue Lyon, Shelley Winters, Peter Sellers, Marianne Stone, Diana Decker

MR. TOPAZE by Peter Sellers, United Kingdom, 1961, 97’ Cast: Peter Sellers, Nadia Gray, Herbert Lom, Leo McKern, Martita Hunt

MURDER BY DEATH by Robert Moore, UNITED STATES, 1976, 94’ Cast: Alec Guinness, Peter Falk, Peter Sellers, Eileen Brennan, Truman Capote, David Niven, Maggie Smith, Elsa Lanchester

THE LADYKILLERS by Alexander Mackendrick, United Kingdom, 1955, 91’ Cast: Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers, Danny Green

THE MILLIONAIRESS by Anthony Asquith, United Kingdom, 1960, 90’ Cast: Sophia Loren, Peter Sellers, Alastair Sim, Vittorio De Sica, Dennis Price

THE MOUSE THAT ROARED by Jack Arnold, United Kingdom, 1959, 83’ Cast: Peter Sellers, Jean Seberg, William Hartnell, David Kossoff, Leo McKern

THE PARTY by Blake Edwards, United States, 1968, 99’ Cast: Peter Sellers, Claudine Longet, Marge Champion, Buddy Lester, Denny Miller, Gavin MacLeod

THE PINK PANTHER by Blake Edwards, United States, 1963, 113’ Cast: David Niven, Peter Sellers, Claudia Cardinale, Capucine, Robert Wagner, Riccardo Billi

WHAT'S NEW PUSSYCAT by Clive Donner, United States, France, 1965, 108’ Cast: Peter O'Toole, Peter Sellers, Woody Allen, Ursula Andress, Romy Schneider, Paula Prentiss, Capucine

MAURICE PIALAT With Cineteca di Bologna, French Embassy and Institut Français Italia Maurice Pialat, the French filmmaker, winner of the Palme d’Or at Cannes for Sous le soleil de Satan (Under the Sun of Satan), is an auteur whose cinema deliberately eschews labels, but always deals with themes and feelings charged with exceptional emotional tension. His films defy all attempts to categorize them. They did so when they were made. They will do so fifty years from now. Pialat’s films are powerful and unique, and their absolute uniqueness lies in their dogged way of ripping film out of real life, using nothing other than the medium itself, to an extent so extreme as to be unheard of. First of all, the editing: the action in Pialat’s films involves no anticipation, preparing of the terrain, or continuity. Every scene disrupts the flow and hurls the viewer into the story mid-stream, with no preliminaries. Then the shooting: every account of Pialat’s sets reports his obsession with a search for the truth, which makes his films a fanatical application of Rivette’s famous saying that every film is a documentary of its own making. His films are hard on our eyes, hostile, unsparing. In the uneven texture of Pialat’s shots, in the shrill cacophony of his lovers’ fights; in the imminence of death, or daily lives made up of impasses, scorn, submission and bad feeling; in his marvellous, exhausted casts, or his off-centre camera shots – there is a radical conception of cinema that will never be repeated.

THE FILMS

À NOS AMOURS | TO OUR LOVES by Maurice Pialat, France, 1983, 99’ Cast: Sandrine Bonnaire, Maurice Pialat, Christophe Odent, Dominique Besnehard, Cyril Collard, Jacques Fieschi

L’ENFANCE NUE | NAKED CHILDHOOD by Maurice Pialat, France, 1968, 83’ Cast: Michel Terrazon, Linda Gutemberg, Raoul Billerey, Pierrette Deplanque, Marie-Louise Thierry, René Thierry

LE GARÇU by Maurice Pialat, France, 1995, 102’

Cast: Gérard Depardieu, Géraldine Pailhas, Antoine Pialat, Dominique Rocheteau, Fabienne Babe, Elisabeth Depardieu

LA GUEULE OUVERTE | THE MOUTH AGAPE by Maurice Pialat, France, 1974, 82’ Cast: Nathalie Baye, Hubert Deschamps, Philippe Léotard, Monique Mélinand, Henri Saulquin, Alain Grestau Sceneggiatura

LOULOU by Maurice Pialat, France, 1980, 110’ Cast: Isabelle Huppert, Gérard Depardieu, Guy Marchand, Humbert Balsan, Bernard Tronczyk, Christian Boucher

NOUS NE VIEILLIRONS PAS ENSEMBLE | WE WON’T GROW OLD TOGETHER by Maurice Pialat, France, Italy, 1972, 106’ Cast: Marlène Jobert, Jean Yanne, Christine Fabréga, Patricia Pierangeli, Jacques Galland, Maurice Risch

PASSE TON BAC D’ABORD... | GRADUATE FIRST by Maurice Pialat, France, Canada, 1979, 86’ Cast: Sabine Haudepin, Philippe Marlaud, Annik Alane, Michel Caron, Christian Bouillette, Jean- François Adam

POLICE by Maurice Pialat, France, 1985, 113’ Cast: Gérard Depardieu, Sophie Marceau, Richard Anconina, Pascale Rocard, Sandrine Bonnaire, Franck Karoui

SOUS LE SOLEIL DE SATAN | UNDER THE SUN OF SATAN by Maurice Pialat, France, 1987, 98’ Cast: Gérard Depardieu, Sandrine Bonnaire, Maurice Pialat, Alain Artur, Yann Dedet, Brigitte Legendre

VAN GOGH by Maurice Pialat, France, 1991, 159’ Cast: Jacques Dutronc, Alexandra London, Bernard Le Coq, Gérard Séty, Corinne Bourdon, Elsa Zylberstein

TRIBUTES AND RESTORED FILMS

TRIBUTES

Tribute to Adriana Asti DONNA FABIA by Marco Tullio Giordana, Italy, 2018, 37’ Cast: Adriana Asti, Andreapietro Anselm The marchioness Fabia Fabroni complains to don Sigismondo, the family priest, about the general decadence of society and its mores. As they wait for supper to be served, Donna Fabia tells him about the humble prayer she addressed to God asking him to pardon the derelicts who offended her. Inspired by the poem "Offerta a Dio (La preghiera)" by Carlo Porta.

Tribute to Flavio Bucci FLAVIO! TRIBUTO A FLAVIO BUCCI by Riccardo Zinna, Italy, 2018, 80’ The story of the man and the artist, in a journey on the road through places and people who had an influence on his personal and artistic life. A star in a league of his own who shunned the trappings of stardom, he interpreted an infinite number of character types, co-produced Nanni Moretti's first film, married a real princess, and dubbed Travolta, Depardieu and Stallone. Flavio's story has to be told!

Tribute to Carlo Vanzina SAPORE DI MARE | TIME FOR LOVING by Carlo Vanzina, Italy, 1983, 92’ Cast: Jerry Calà, Christian De Sica, Marina Suma, Virna Lisi, Karina Huff, Isabella Ferrari Just a few months after his untimely passing, the Rome Film Fest pays tribute to Carlo Vanzina, the cult director of Italyn-style comedy of the ‘80s and ‘90s, with his brother Enrico, with whom over the years he wrote the screenplays for dozens of box-office hits. On this occasion, one of their greatest successes, Time for Loving, will screen thirty-five years after it was first released. At Forte dei Marmi, in a summer of the 1960s, the stories of several different characters cross paths. There is the wealthy Carraro family from Northern Italy, with the exuberant brothers Luca and Felicino. Then from Naples comes the Pinardi family, with the naive siblings Marina and Paolo. There is Gianni from Genoa, the beautiful and inexperienced Selvaggia, the mature and attractive Adriana, bourgeois and bored; and finally the two inseparable aristocratic Pucci brothers, Maurizio, known as Ciccio; Cecco the photographer... Time for Loving has become a cult film, with its soundtrack of hits from the 1960s, its stock characters and character actors who remain indelibly impressed in the memory of audiences, revitalizing the 1950s vacation-movie genre. We are left with the memorable heart-wrenching finale, the last glance between Jerry Calà and Marina Suma, which echoes a "celestial nostalgia" for the passing of youth, for lost opportunities, for a love that will never be.

ONSTAGE CONVERSATION | THE VANZINA BROTHERS HOLD UP A MIRROR TO ITALY Two best-selling authors who also capture the changing social scene in their books, Chiara Gamberale and Diego De Silva, will take the stage to dialogue with film critic Alberto Crespi and author Paolo Di Paolo about the Vanzina brothers’ ample filmography. They will choose their favorite scenes and discuss on whether, for better or worse, in their entertaining if at times irritating way, the Vanzinas’ films hold up a mirror to some of Italy’s (oft inconvenient) truths. On the same day, as part of the “It All Happens on the Red Carpet” events, via Condotti will pay homage to the late filmmaker with a photography exhibition that shows him on the set and at home and features posters from his famous films. The exhibition has been organized with the help of the director’s brother Enrico Vanzina, and Medusa Film.

Tribute to Vittorio Gassman "SONO GASSMAN!" VITTORIO RE DELLA COMMEDIA by Fabrizio Corallo, Italy, 2018, 90’ Eighteen years after his death, Vittorio Gassman’s remarkable career as an actor onscreen and onstage is re-evoked in this film tribute that looks at the golden years of the “Italian-style” comedies in Italian cinema. Reminiscences by colleagues and family are combined with film clips and recordings of stage performances and TV shows to create this portrait of an exuberant entertainer but also a man, with his more hidden, vulnerable side.

Tribute to Nelson Pereira dos Santos VIDAS SECAS | BARREN LIVES by Nelson Pereira dos Santos, Brazil, 1963, 103’ Cast: Átila Iório, Maria Ribeiro, Orlando Macedo, Joffre Soares, Gilvan Lima, Genivaldo Lima The Rome Film Fest pays tribute to Nelson Pereira dos Santos, the Brazilian director who recently passed away, presenting one of his most famous films. Vidas Secas is one of the key films from the Brazilian Cinéma Nôvo movement, which arose during the presidency of Joao Goulart (1961-64), and included authors such as Pereira dos Santos and Glauber Rocha. The Cinéma Nôvo movement was characterized by its close ties to the culture of Brazil, by its militancy, its search for new themes and languages that sought to make cinema a tool for political action. By casting light on the underdevelopment, the poverty, violence and reality of Brazil, borrowing and developing the third-worldist rhetoric through a provocative "aesthetic of hunger", Cinéma Nôvo wanted to make the public "conscious of its own misery" (Rocha), and cultivate a critical and revolutionary awareness within the people. Vidas secas, set in the Brazilian Nordeste plagued by a dramatic drought, where a family of farmers wanders desperately to escape hunger and thirst, follows these principles, using raw realism to depict a swath of humanity suffering from appalling poverty but still filled with pride and dignity, and denouncing the ills of the agrarian situation under the Goulart government.

On the 100th Anniversary of World War I (2014-2018) LA GRANDE GUERRA | THE GREAT WAR by Mario Monicelli, Italy, France, 1959, 135’ Cast: Vittorio Gassman, Alberto Sordi, Silvana Mangano, Folco Lulli, Romolo Valli, Bernard Blier One hundred years after the end of World War I, the Rome Film Fest commemorates the date screening La grande guerra (The Great War) by Mario Monicelli, winner of the Golden Lion in 1959 ex-aequo with Roberto Rossellini’s General Della Rovere. Monicelli's was one of the first Italian films to address a theme that until then was considered taboo: the massacres in the conflict that raged from 1914 to 1918. He did so with a sweeping perspective balanced between the realism of tragedy and the jeering cynicism of comedy, between epic and anti-rhetoric. He observed the war from the trenches, recounting both amusing and bitter anecdotes, speaking in a range of dialects - at a time when a unitary language was just beginning to spread in Italy - and focusing on characters who are types, personalities, parodies and human beings at the same time. Like the two protagonists, Giovanni from Milan and Oreste from Rome (played respectively by Vittorio Gassman and Alberto Sordi), two infantrymen who are always trying to lie low, two lazy and cowardly opportunists who are captured by the Austrians and die as heroes, finding redemption in a burst of pride, in a display of personal dignity. Monicelli's film reveals battlefields for what they are, dirty and muddy butcheries, and expresses a caustic and at the same time heartfelt rejection of a war that was as bloodthirsty and absurd as are all wars.

A TRIBUTE TO THE CINECITTÀ FUTURA

On July 3, 2017, after being privately owned for twenty years, the Cinecittà film studios and post- production laboratories returned under public management. With this acquisition, Istituto Luce Cinecittà became the most important Italian player to combine activities of general interest (historical archives, promotion of Italian films abroad, distribution of first and second Italian films, film library, etc.) with the industrial operations at the historical studios founded in 1937. Cinecittà is where Italy’s film classics were made, at the dawn of Italian cinema, followed by the era of ‘Hollywood on the Tiber’, the international triumphs of Fellini and Sergio Leone, just to name two of our film legends; and Cinecittà hosted mega-productions such as Scorsese’s Gangs of New York or Terry Gilliam’s The Adventures of Baron Munchausen. Today the studios’ credits include films and TV series such as The Name of the Rose, directed by Giacomo Battiato, The Pope by Ferdinando Meirelles, and The New Pope by Paolo Sorrentino. Significant investments in modernizing the historic studios, building new infrastructure and welcoming new media (including video games) and new digital technologies have once again placed Cinecittà on the cutting edge of international film production, perfectly equipped to meet the toughest of demands. Therefore, we wish to celebrate the first anniversary of Cinecittà’s return to the public management with the screenings of some of the most iconic films ever made within its walls. I wish to thank MiBAC’s Directorate-General for Cinema and Fondazione Centro Sperimentale di Cinematografia for having accompanied us on this brief journey into our history, and we thank the Leone family for allowing the us to screen Sergio Leone’s masterpiece, C’era una volta in America (Once Upon a Time in America). (Roberto Cicutto – Istituto Cinecittà Luce President and CEO).

C’ERA UNA VOLTA IN AMERICA | ONCE UPON A TIME IN AMERICA by Sergio Leone, Italy, United States, Canada, 1984, 229’ Cast: Robert De Niro, James Woods, Elizabeth McGovern, Joe Pesci, Burt Young It took nine months to shoot Sergio Leone’s masterpiece. At the Cinecittà studios, set designer Carlo Simi reconstructed the Lower East Side, New York’s historic Jewish quarter, and the backdrop to the raids by the street kids’ gang headed by Max and Noodles in the Roaring Twenties.

8½ by Federico Fellini, Italy, France, 1963, 138’ Cast: Marcello Mastroianni, Anouk Aimée, Sandra Milo, Claudia Cardinale, Rossella Falk, Barbara Steele, Guido Alberti “Fellini was only happy when he was holed up in Cinecittà inventing his own world. And when he couldn’t do it, he missed it,” Goffredo Fofi remarked. An indissoluble bond linked the director, who was from Rimini, to Cinecittà. In 8½, the sets by Piero Gherardi, mounted in Studio 5, give a concrete form to Fellini’s private, dream-like, surreal universe, and that of his alter ego Guido Anselmi, played by Marcello Mastroianni.

BELLISSIMA by Luchino Visconti, Italy, 1951, 114’ Cast: Anna Magnani, Walter Chiari, Tina Apicella, Gastone Renzelli, Alessandro Blasetti, Corrado Mantoni Cinecittà seen as a dream factory that also conjures up illusions and bitter disappointments. The frantic pursuit of success, which most Italians longed for at the time, offers Visconti the occasion to craft a ruthless, grotesque portrayal of cinema’s false myths, halfway between melodrama and neo-realism.

RESTORED FILMS

L’AMORE MOLESTO | NASTY LOVE by Mario Martone, Italy, 1995, 104’ Cast: Anna Bonaiuto, Angela Luce, Peppe Lanzetta, Licia Maglietta, Gianni Cajafa, Lina Polito The Rome Film Fest brings back a film that is a perfect example of cross-pollination between film and literature, L’amore molesto (Nasty Love), the second film by Mario Martone, based on Elena Ferrante’s first novel. From a book written in the first person - like all of Ferrante’s novels - and in the intimate form of a diary that switches back and forth between the present and the past and focuses on a woman’s body and on maternity as a form of identity, Martone creates a film that is instinctual, material, and carnal. A film that probes the inner life by means of the outer life, penetrating the soul of a character through her body, skin and clothing. At the same time, it is a portrait of the city of both Martone and Ferrante, as seen in its mazes of alleyways and subterranean pathways: a city teeming with life, chaotic, raucous, and unsettling. The protagonist of both the novel and the film is Delia, a spinsterish forty-year- old who returns to Naples after many years, for the funeral of her mother Amalia who drowned, a possible suicide. Delia tries to find out about the last days of her life to shed light on this mysterious death. As she delves into her mother’s remote past, memories of Amalia’s youth emerge: a sensual, exuberant, joyous woman oppressed by a jealous husband and an array of other bullying male figures. Delia is on a voyage of self-discovery that will lead her to unearth secrets, lies, traumas, guilt complexes, and abuse long denied. By identifying with her mother, she finds herself. L’amore molesto by Mario Martone is being re-released in Italy on the occasion of a 2K restoration by Lucky Red in collaboration with 64 Biz and Augustus Color. The restored version of the film features interventions by Martone and the cinematographer to present the scenes from the past in black and white, as per the original screenplay.

ITALIANI BRAVA GENTE | ATTACK AND RETREAT by Giuseppe De Santis, Italy, Soviet Union, 1964, 146’ Cast: Arthur Kennedy, Zhanna Prokhorenko, Raffaele Pisu, Tatyana Samoylova, Andrea Checchi, Riccardo Cucciolla The Rome Film Fest presents Attack and Retreat, by Giuseppe De Santis, one of the most important filmmakers of neorealist cinema, in the copy restored by Genoma Films in collaboration with Cineteca Nazionale. The film tells the story of the Italian campaign in Russia, the Italian participation in the German offensive against the Soviet Union in 1941, which ended with the Italian defeat in 1943. The historical events are told through the odyssey of an Italian regiment composed of soldiers from various regional and social backgrounds, sent to the Soviet Union to back up the German troops. The journey towards the Eastern Front is accompanied by joyful optimism, soon to be broken by a reality that is far different from what they hoped for, by the extreme weather conditions, by the violence of the Nazis, and the increasingly strained relationship between the Germans and the Italians. Collective History merges with the small individual stories of the men in the regiment. De Santis built his narrative on several voices, episodes, tableaux and on a gallery of expressive characters. With Attack and Retreat he pursued his idea of cinema as an art that reinterprets genres, styles and the forms of popular art and culture in an ideological and educational key, that opens the doors to the themes of worker and farmer internationalism and to the values of solidarity and brotherhood.

SAN MICHELE AVEVA UN GALLO | ST. MICHAEL HAD A ROOSTER by Paolo Taviani, Vittorio Taviani, Italy, 1972, 90’ Cast: Giulio Brogi, Daniele Dublino, Renato Cestiè, Vito Cipolla, Virginia Ciuffini, Renato Scarpa The Rome Film Fest pays tribute to Vittorio Taviani, who recently passed away, with one of the masterpieces he directed with his brother Paolo, in the version restored by the Centro Sperimentale di Cinematografia – Cineteca Nazionale. This film by the Taviani brothers, "utopian, exaggerated" (as Lino Miccichè defined them), the "subversives" (borrowing the title from another film of theirs) of Italyn cinema, will be introduced at the Rome Film Fest by Martin Scorsese, who will celebrate their work on this occasion.

In 1870, bourgeois anarchist Giulio Maineri organizes a revolt in a small town, but the plan fails and Maineri gets a life sentence. Ten years later, as he is being transferred to another prison, Maineri meets a group of incarcerated young rebels, who reject and make fun of his utopian idealism, preferring a more rational, concrete and pragmatic revolutionary strategy. Maineri is devastated as he is forced to face reality and History. He feels useless, and seeing that his ideals have become irrelevant, commits suicide. A rigorous and austere reinterpretation of the events of 1968 and the years that followed, San Michele aveva un gallo is a film about the dialectical contrast between Utopia and History, between imagination and reality, between past and present: it is a funeral dirge for the figure of the romantic revolutionary and the dream of a failed and lost revolution.

IL TEMPO SI È FERMATO | TIME STOOD STILL by Ermanno Olmi, Italy, 1963, 83’ Cast: Natale Rossi, Roberto Seveso, Paolo Quadrubbi The Rome Film Fest pays tribute to Ermanno Olmi, who recently passed away, screening Il tempo si è fermato (Time Stood Still) in the version restored by the Cineteca di Bologna. After making his debut directing industrial documentaries for the Edisonvolta Film Department, Olmi transformed one of his many documentaries into his first feature film, Time Stood Still. Released in 1963, the film tells the story, in rigorous style, of the creation of a human bond, on the backdrop of the majestic solitude of the mountains, in a silence broken only by the gusting wind and the short sentences spoken by the two main characters, in a world far removed from the din of modernity. On Mount Adamello, in the Lombardia region, during the winter break in the construction of a dam, guardians Natale and Salvetti must watch over the construction site; the latter returns to the valley were his wife has given birth and is replaced by Roberto, a young student. The young man is boisterous and extroverted, and at the beginning, the taciturn Natale can barely tolerate him, but after some initial quarreling, a bond of fondness and solidarity arises between them. Time Stood Still is a parable of the relationship between man and nature, a film that - as would be true of Olmi's later films - finds the sacred in real life. A cinematic work that ponders on time, which, like in the Confessions of Saint Augustine, is perceived as an extension of the soul: "O human soul, whether present time can be long; for to thee is it given to perceive and to measure periods of time".

RIFLESSI

L’ANTI-SCIENZA – IL CASO ILARIA CAPUA by Stefano Pistolini, Massimo Salvucci, Italy, 2018, 54’

AS TIME GOES BY - L’UOMO CHE DISEGNAVA SOGNI by Simone Aleandri, Italy, 2018, 75’

GIOSETTA FIORONI - POP SENTIMENTALE by Gabriele Raimondi, Italy, 2018, 55’

THE KING OF PAPARAZZI RINO BARILLARI by Giancarlo Scarchilli, Massimo Spano, Italy, 2018, 75’

LINFA by Carlotta Cerquetti, Italy, 2018, 52’

MUSE E DEI by Gianfrancesco Lazotti, Italy, 2018, 78’

LA STORIA QUASI VERA DI STEFANO BENNI – LE AVVENTURE DEL LUPO by Enza Negroni, Italy, 2018, 70’

IL MARE DELLA NOSTRA STORIA by Giovanna Gagliardo, Italy, 2018, 94’

TRE QUARTINE E UN ADDIO | THREE QUATRAINS AND A FAREWELL by Fariborz Kamkari, Italy, 2018, 65’ Cast: Elettra Falzetti, Manuela Cossu, Fabio Massimo Falzetti, Daniela Belletti

TRENO DI PAROLE by Silvio Soldini, Italy, 2018, 58’

LE VIETNAM SERA LIBRE by Paolo Pisanelli, Cecilia Mangini, Italy, 2018, 30’

WOMANITY by Barbara Cupisti, Italy, 2018, 90’

FILMS OF OUR LIVES

Again, this year the artistic director Antonio Monda and the members of the selection committee – Mario Sesti (Artistic Coordinator), Richard Peña, Giovanna Fulvi, Alberto Crespi, Francesco Zippel, Valerio Carocci – will offer the audience a brief but suggestive anthology of “films to love”. After westerns and musicals, in 2018 they will select their favourite noir films. Each noir film will be introduced by a conversation featuring directors, actors, and other guests. Furthermore, before each screening at the upcoming Rome Film Fest, a scene from the most famous and beloved noir films of all times will be screened.

Antonio Monda CHINATOWN by Roman Polanski, United States, 1974, 130’ Cast: Jack Nicholson, Faye Dunaway, John Huston, Perry Lopez, John Hillerman, Darrell Zwerling, Diane Ladd

Giovanna Fulvi JU DOU by Zhang Yimou, China, Japan, 1990, 95’ Cast: Gong Li, Li Baotian, Li Wei, Zhang Yi, Zhen Ji-an

Richard Peña KISS ME DEADLY by Robert Aldrich, United States, 1955, 106’ Cast: Paul Stewart, Ralph Meeker, Cloris Leachman, Albert Dekker, Juano Hernandez, Wesley Addy

Francesco Zippel IN A LONELY PLACE by Nicholas Ray, United States, 1950, 94’ Cast: Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith, Jeff Donnell

Alberto Crespi LE SAMOURAÏ by Jean-Pierre Melville, France, Italy, 1967, 107’ Cast: Alain Delon, François Périer, Nathalie Delon, Cathy Rosier, Jacques Leroy

Mario Sesti SWEET SMELL OF SUCCESS by Alexander Mackendrick, United States, 1957, 96’ Cast: Tony Curtis, Burt Lancaster, Martin Milner, Susan Harrison

Valerio Carocci WHO FRAMED ROGER RABBIT by Robert Zemeckis, United States, 1988, 104’ Cast: Bob Hoskins, Christopher Lloyd, Joanna Cassidy, Stubby Kaye, Alan Tilvern, Richard LeParmentier

OTHER EVENTS AT THE ROME FILM FEST

EXHIBITIONS

THREE MINUTES | PHOTOGRAPHY EXHIBITION BY RICCARDO GHILARDI Auditorium Parco della Musica – Foyer Sala Sinopoli and Foyer Sala Petrassi | 18-28 October, 9 am 12 am Photographer Riccardo Ghilardi’s passionate eye guides us through a journey punctuated with the most well-known faces of cinema stars and catches them in those iconic locations that year after year showcase the dream factory of cinema: Cannes, Venice, Berlin, and Los Angeles, home of the Academy Awards and the Golden Globes, as well as Toronto, Rome, New York and many more. The exhibition, held in the Foyer Sinopoli at the Auditorium Parco della Musica, features fifty portraits Ghilardi shot during his career spent travelling to international film festivals as a portrait photographer for the international agency Contour by Getty Images. Ghilardi’s camera has always caught the stars at those very moments just before the lights go up on the red carpet, or right after they have been turned off: when the celebrities reclaim their intimacy and humanity, loading up on them, it seems, to steel themselves for the next round in the spotlight. As Ghilardi himself has observed: “Those were my moments, when I tried to catch their essence. I had the honour of having my own ‘slots’ in the packed festival schedule, and I took these portraits of the ‘people’ behind the celebrity.” During the Rome Film Fest, festivalgoers will be able to admire the quality of these portraits and share the emotions they arouse.

FIGHTING VIOLENCE AGAINST WOMEN Once again this year, as part of the project promoted by the Presidency of the Council of Ministers’ Department for Equal Opportunities aimed at preventing and halting violence against women, for its 2018 edition the Rome Film Fest is devoting special attention to this issue.

“Riso Amaro” Exhibition Auditorium Parco della Musica - Villaggio del Cinema | 18- 28 October, 12 – 10 pm As well as hosting a series of films in its Official Selection that are sensitive to women’s issues, the Rome Film Fest presents “Riso Amaro”, an exhibition of illustrators, graphic artists and humorists from around the world. The title of the show borrows the title of the 1949 film by Giuseppe De Santis which portrayed the harsh conditions of the women laboring in Italy’s rice paddies, with the main character being victim of a rape. The exhibition wields the arms of creativity and satire to tackle an issue of utmost importance and currently the subject of heated debate, in the belief that satire, in the form of graphic art, can play a key role in generating discussion and exposing abuse, representing a genuine manifesto that says “Violence against women: never again”. The exhibition organized by Associazione Culturale Festival Grafico, is curated by Julio Lubetkin, assisted by arts consultant Marilena Nardi, and will be held in the Cinema Village.

Cuori al buio In addition, during the Rome Film Fest there will be a screening of the finalist short films featured in the competition “Cuori al buio”. The competition appealed to filmmakers to make short films on the theme of violence against women, with the aim of changing sociocultural behavior to weed out prejudices, customs, traditions and practices based on gender stereotypes and prevent abuses of power and discrimination. The shortlist was selected by a jury headed by actress Maria Pia Calzone and including Roberto Andò, director, screenwriter and author, with journalist and philosopher Ida Dominijanni. The winner will receive a prize consisting in €2,000, wherease the shortlisted directors will receive an accreditation to attend the Rome Film Fest screenings and events.

MARCELLO MASTROIANNI EXHIBITION Ara Pacis Museum (Lungotevere in Augusta) | 26 October 2018 – 6 January 2019 Marcello Mastroianni’s life was “a life lived between intervals”, or at least, that is how he defined it. Intervals between one set and another or one stage and another, over the course of a career packed with countless films, shows and characters. Now an exhibition shows how tightly interwoven the actor’s personal life and career really were: “Marcello Mastroianni” opens on October 26, on the occasion of the Rome Film Fest, at the Museum of the Ara Pacis in Rome, and runs through January 6. “There’s still a lot to learn about Marcello,” says curator Gian Luca Farinelli, “and to find out everything we can, we need to stick close to his filmography, which is the mirror image of his own life.” Marcello Mastroianni’s whole life and career shine through a selection of the most celebrated portraits of the actor, clips from his films, recordings of his shows and a variety of mementos, in a visual and narrative tour de force that constitutes a full immersion in Italy’s most famous film icon. The exhibition is promoted by Roma Capitale and the Councillorship for Cultural Development – Capitoline Superintendency for Cultural Heritage; it is co-produced and curated by the Cineteca di Bologna, with the support of the Ministry for Cultural Heritage and Activities and Istituto Luce – Cinecittà. Museum services by Zetema Progetto Cultura, management coordination by Camilla Morabito’s Equa.

PIERO TOSI. EXERCISES IN BEAUTY: HIS YEARS AT CSC. 1988-2016 Palazzo delle Esposizioni, Rome (via Nazionale, 194) | 16 October 2018 – 20 January 2019 | Info: www.palazzoesposizioni.it/ The exhibition “Piero Tosi. Exercises in Beauty: His years at CSC. 1988-2016” reconstructs the teaching career of the great costume designer at Italy’s oldest and most important film school. For decades, Piero Tosi was one of the most brilliant creators of costumes for the cinema, for stage and for opera productions, and television, as the Oscar© for Lifetime Achievement he received from the Academy of Motion Pictures Arts and Sciences in 2013 attests. Moreover, in twenty-eight years teaching at the CSC - Experimental Cinematography Centre (from 1988 to 2016), Tosi trained dozens of talented film students, such as Massimo Cantini Parrini, Daniela Ciancio, Andrea Cavalletto and Andrea Sorrentino, and worked with all the young actors and directors who studied at CSC while he was there. The exhibition describes Tosi’s job and mission as a teacher, inextricably intertwined with his career on sets and stages all over the world. The exhibition will be held at the Palazzo delle Esposizioni in Rome (via Nazionale 194), and will run from October 16 to January 20, 2019.

THE PRISONER | EXHIBITION BY MARINA SAGONA Fondaco Gallery (Via della Frezza 49-51, Rome) | 17 October – 17 November, 11 am – 7.30 pm The new exhibition by Marina Sagona, “The Prisoner”, will open on October 17th at Fondaco (Via della Frezza 50-51, Rome). In a series of drawings and sculptures, as well as a sound piece, the artist will illustrate the pain and claustrophobia of bad relationships. As author Claire Messud writes in her essay introducing this work: “We are always ready to give, believing that sooner or later our sacrifices will be recognized; we always put the needs and desires of others before our own; we are proud of our ability to stand steadfast in the midst of the flames, and to burn”. The exhibition is organized in collaboration with Hdrà and Municipio Roma I Centro.

SCREENINGS AND EVENTS

CINEMA TREVI – FILM PROGRAMMES Cinema Trevi (vicolo del Puttarello, 25) | 18 – 28 October During the Rome Film Fest, the Cineteca Nazionale will organize three film surveys dedicated to three protagonists of the Seventh Art: actress Antonella Lualdi (18-21 October), screenwriter-adapter Roberto De Leonardis, who passed away in 1984 (23-24 October), and director Luigi Magni, ninety years after his birth and five after his death (25-28 October). A graceful diva, a commander at the court of Walt Disney and a director who sang the praises of Rome, its beauty and its epic history: three different angles from which to appreciate the greatness of Italian cinema, from the 1950s to the end of the Millennium.

THE ROME FILM FEST AT THE TEATRO PALLADIUM Teatro Palladium, Piazza Bartolomeo Romano | 24-27 October The Teatro Palladium, a historic Roman theater owned by the Università Roma 3 for several years now, will be hosting some screenings from the Rome Film Fest lineup. The initiative was made possible by an agreement establishing a collaboration between Fondazione Roma Tre Teatro Palladium and Fondazione Cinema per Roma, aimed at promoting films selected for the Rome Film Fest lineup and expanding their audiences to include university students in particular. indeed, Fondazione Roma Tre Teatro Palladium is committed to supporting education and training in the fields of film, theater, music and dance, with a special focus on initiatives developed by young people themselves. The screenings at the Palladium will run from October 24 to 27 at an admission price of 5 euros. The lineup will feature titles from the “Riflessi” section, mainly featuring documentaries, and this year also biographies of Italian artists and intellectuals. Info: teatropalladium.uniroma3.it

SOLDATI D’ITALIA by Andrea Salvadore, Italy, 2018, 60’ MAXXI (Via Guido Reni, 4a) | 24 October, 9.15 am The Rome Film Fest devotes a morning event to Italy’s military missions abroad, screening the documentary Soldati d’Italia, based on a six-part series created by Rai Italia, the RAI television channel for Italians living abroad. The film takes the form of immersive storytelling, quite different from a news- oriented approach and from an in-depth journalistic report. Soldati d’Italia shows us an anusual portrait of Italy abroad, one to be proud of. The international missions of over seven thousand Italian soldiers operate in areas of the world that are essential to the planet’s stability. In the film, the soldiers tell their stories as they come to represent Italy’s image abroad. They are part of the ‘brain drain’, crossing the fine line between youth and adulthood, in places that are in limbo, places that will leave their mark on the soldiers’ lives forever. In reality, they are select troops who volunteer for these missions, choosing a way of life that allows others to live their own with less fear, in peace. The screening will be followed by remarks by: Elisabetta Trenta (Minister of Defense), Marcello Foa (President, Rai), Marco Giudici (Director, Rai Italia), Andrea Salvadore (author and filmmaker), and Antonio Monda (Artistic Director, Rome Film Fest).

DONBASS. BORDERLAND by Renat Davletyarov, Russia, 2018, 96’ Auditorium Parco della Musica – Sala Petrassi | 23 October, 5.30 pm The Rome Film Fest presents the world premiere screening of Donbass. Borderland, by Russian filmmaker Renat Davletyarov. The film tackles the issue of the four-year-long armed conflict in Eastern Ukraine: a civil war that has caused over ten thousand deaths, both combatants and civilians. “The tragedy of this war,” the director declares, “is the fact that the people who are killing each other speak the same language and wear the same uniforms.” August 2014. The suburbs of Donetsk. Andrey Sokolov, a young Ukrainian solider and driver on a mission in the combat zone of Donbass, seeks shelter from the grenades in the basement of an apartment building where he meets people from diverse social backgrounds, each with their own story and their own vision of the world. They all share the same dream: for the war to end as soon as possible.

DETECTIVE PER CASO Villaggio del Cinema – Cinema Hall | 21 October, 3.30 pm The making of the feature film Detective per caso, directed by Giorgio Romano and produced by L’Arte nel Cuore Onlus and Addictive Ideas srl, marks the first time a film starring professional actors with disabilities is not actually about disability. The idea is to send a message and give it a completely new image, even at the level of film and television. Starring actors both with and without disabilities from the Accademia L’arte nel Cuore, the film is a comedy that handles social issues with a light touch, in order to highlight the talent of the cast members with disabilities. The aim of this film is to move the goalposts: there are no roles, no hierarchies, no distinction between healthy and ill. Just human beings with their personal ambitions and their own dreams.

ACCADRÀ SUL RED CARPET | IT WILL HAPPEN ON THE RED CARPET A red carpet running down some of Rome’s most famous streets. From October 17 to 28, on the occasion of the 13th Rome Film Fest, Via Veneto, Piazza San Lorenzo in Lucina, Via della Frezza and Galleria Alberto Sordi in downtown Rome will all be the backdrop to “It All Happens on the Red Carpet”. The event combining music, dance, art and culture that celebrates the world of film and its relationship with Rome. With its art shows, concerts, performances and book presentations, this will be a “festival alongside the festival” that leaves the Auditorium Parco della Musica to spread deep into the heart of the city. The event was created and organized with Municipio Roma I Centro and Hdrà, Italian group headed by Mauro Luchetti and Marco Forlani that specializes in ATL and BTL communications, media relations, public affairs, social networks and event planning. Two of Hdrà’s subsidiaries, Mad Entertainment and Skydancers, won a David di Donatello in 2017 for Crazy for Football, for Best Documentary, and again in 2018 for Cinderella the Cat, for Best Producer and Best Digital Effects.

MEDICINEMA AND FONDAZIONE POLICLINICO UNIVERSITARIO AGOSTINO GEMELLI IRCCS Policlinico Universitario A. Gemelli di Roma (largo Agostino Gemelli, 8) The collaboration between MediCinema Italia Onlus and the Fondazione Policlinico Universitario A. Gemelli IRCCS continues for the second year in a row. Concurrently with the screenings at the Auditorium Parco della Musica, patients will be able to watch a series of films selected from the official lineup of the Rome Film Fest, carefully chosen for a very special audience. Since April 2016, the Policlinico Universitario A. Gemelli di Roma hospital has had a real movie theatre inside, which began operating regularly in September of that year with a bi-weekly schedule of screenings dedicated to making the patients feel better, on Tuesdays for all patients and on Thursdays reserved for the pediatric wards. The screenings of the films, concurrent with their release in movie theatres around the city - thanks to the committed cooperation of film production and distribution companies – are dedicated to the hospital's patients and their family members and friends: an innovative therapeutic instrument that combines with traditional therapies to offer inpatients a "pause", the relief of feeling back in everydays’ life. The methods and management of the programme, now being developed at the national level, is entrusted to MediCinema Italia Onlus, which is also promoting a scientific research project in collaboration with Fondazione Policlinico Universitario A. Gemelli IRCCS in Rome, Grande Ospedale Metropolitano Niguarda in Milan and hospitals in other cities where MediCinema already operates. www.medicinema-italia.org | Communication: Enrico Ercole [email protected] | Nicola Cerbino [email protected]

IO MI RIPRENDO | AUDIOVISUAL WORKSHOP FOR ROMA ADOLESCENTS INVOLVED IN THE CRIMINAL JUSTICE CIRCUIT Auditorium Parco della Musica – AuditoriumArte | 24 October ore 12.30 pm The project “Io mi riprendo” (‘I take back control of my life’) has the support of Fondazione Cinema per Roma in collaboration with Arci Solidarietà Onlus, IT Roberto Rossellini in Rome, and the Center for Juvenile Justice in Lazio, Abruzzo and Molise. Ten Roma teenagers aged 14 to 19 and involved in the juvenile criminal justice circuit participated in the project. The training programme, which culminated in the making of an audiovisual project, was a valuable educational opportunity for the rehabilitation of the young people involved, based on inclusion and cultural expression, providing them with the tools to create an alternative narrative for their life stories and make a fresh start. Not only was this a stimulating

experience that gave these young Roma occupational training; it also allowed them to make a film that would capture the social, environmental and cultural conditions of Roma adolescents and break out of the hyper-narrative of the ‘deviant’ Roma, culturally isolated and criminalized, as the mass media portrays them. The project and its results will be presented at the Rome Film Fest.

ROME FILM FEST AT REBIBBIA PRISON Auditorium – Rebibbia Prison (Via Raffaele Majetti, 70) | 24, 25 and 26 October | Free admission – mandatory online accreditation by and no later than October 16, 2018, on the website www.enricomariasalerno.it At 24 frames per second, films can shift reality and reveal horizons even in cramped spaces where walls rise up on all sides. For years now, the Auditorium in Rebibbia Prison’s New Annex has let cinema in, thanks to a collaboration between Fondazione Cinema per Roma, the Enrico Maria Salerno Historical Archives, and the Department of Drama, Art and Music Studies at the Roma Tre University. The event is supported by the Department of Penitentiary Administration and the Management of Rebibbia Prison. • October 24, 4:30 pm - Screening of the film La stoffa dei sogni by Gianfranco Cabiddu. The film is inspired by the reworking in the seventeenth-century Neapolitan dialect of Shakespeare’s The Tempest by playwright Eduardo De Filippo. The director and cast will attend the screening. • October 25, 4:30 pm - Screening of the film Trek Point by Tommaso Cavallini, with a soundtrack by Italian pop band I Nomadi, who will perform some of the tracks they wrote for the film after the screening. • October 26, 4:30 pm - A tribute to the late Vittorio Taviani with the screening of the film Cesare deve morire (Golden Bear at the Berlin Film Festival). The film was actually filmed at Rebibbia Prison. The Taviani family along with the leading actors from the film, who are no longer in prison, will attend the screening.

CASA CIRCONDARIALE FEMMINILE DI ROMA REBIBBIA (WOMEN’S WARD) The 2018 Rome Film Festival will be back again with its screenings at the Rebibbia Women’s Ward with a lineup curated by Giulia Merenda and supported by the Management of the Women’s Ward. On Monday, October 22 at 11 am, in the “Melograno” screening theater (screening reserved for inmates), and at the MAXXI Museum Auditorium at 3 pm (for the general audience), there will be the screening of the documentary Prove di libertà. Roma, quelli dell’articolo 21 by Carlo Bolzoni and Guglielmo Del Signore. The screening will be preceded by Parole in semilibertà, a stage monologue by Daniela Savu, a former inmate and actress with the theatre company “Le donne del muro alto”. This account of a female inmate in the Women’s Ward now on day release is directed by Francesca Tricarico. The inmates appearing in the documentary have obtained special leaves to attend the screening, accompanied by city councillor Daniele Frongia and Roma Capitale’s guarantor for the rights of persons deprived of liberty, Gabriella Stramaccioni; both have supported the project, together with the Department of Penitentiary Administration.

CINEMADAMARE Auditorium Parco della Musica – AuditoriumArte | 26 October ore 5.30 pm Cinemadamare continues to promote young filmmakers and their films. Thanks to a collaboration with Fondazione Cinema per Roma and Roma Lazio Film Commission, Cinemadamare will be providing a space for aspiring filmmakers to present their work during the 13th Rome Film Fest. The aim is to provide needed visibility for films made outside the usual professional channels that are nevertheless remarkable achievements, and to do so during one of the most high-profile events in the national and global film industry. On the same occasion, Cinemadamare will guarantee the directors, writers, actors and other figures involved in films production that there will be film professionals in the audience who will be able to offer feedback on the films and advice about their potential market.

RARE GENETIC DISEASES REASEARCH AT THE ROME FILM FEST Villa Miani (via Trionfale, 151) | 19 October Once again, this year Fondazione Telethon will be hosted at the Rome Film Fest with a charity gala dinner event. Now in its eleventh year, this occasion is dedicated to Telethon’s mission and its core values. For nearly thirty years, Fondazione Telethon has sought to answer the appeal of individuals and

their families coping with rare genetic diseases for which no cure has yet been found, by funding the finest scientific research in Italy devoted to these diseases. Thanks to the generosity of its supporters, in fact, researchers at the Telethon institutes strive daily to provide patients and their families with answers. Thus far, the results of their efforts have been remarkable: they include the gene therapy developed at SR-Tiget, the San Raffaele Telethon Institute for Gene Therapy in Milan; this therapy is now saving the lives of children once doomed by incurable diseases. Then there’s the Undiagnosed Diseases Project at Tigem, the Telethon Institute for Genetics and Medicine in Pozzuoli (Naples), which offers many families the certainty of a diagnosis for their children after several years without one. The Telethon-Rome Film Fest Gala, organized by Fondazione Telethon with the managing director Tiziana Rocca, will take place on October 19, 2018, at Villa Miani. Leading business and entertainment figures will attend the event to support Telethon research. Funds will be raised through the sale of tables for the dinner and a lottery. Info: [email protected]

MUSIC

THE MAGIC CHORD: CINEMA AND JAZZ. THREE EVENTS Casa del Jazz (viale di Porta Ardeatina, 55) | 12 – 22 – 27 October, 9 pm They blossomed in the same century and since they appeared, they have both had the same popular vocation: to speak to the body and mind, for everyone without distinction of language, social class or skin colour. What makes the language of images and sounds on a screen so akin to the most famous experiment in cultural and musical hybridisation (between the ancestral Afro-American legacy and the European musical tradition) of all time? Do cinema and jazz really share, like in the famous film by Martin Scorsese (New York, New York), a dream of a "magic chord"? Spectators and fans alike will be offered ideas, suggestions and perhaps even answers to these questions in three events. On October 12th, the screening of the documentary film Cocktail bar by Stefano Landini and Tony Lama, will reconstruct the remarkable adventure of the Music Inn, a legendary Roman club which has featured the greatest jazz musicians of all time. Two conversations will involve two influential musicians such as Enrico Pieranunzi, on October 22nd, and Lino Patruno, on October 27th, who will discuss about the most interesting and creative encounters between cinema and jazz. Curated by Luciano Linzi and Mario Sesti

CINEMA IN CONCERT Auditorium Parco della Musica – Sala Sinopoli | 28 October 9 pm ACMF (Association of Composers of Music for Films) and Fondazione Cinema per Roma present "Cinema in Concert", the closing event of the thirteenth Rome Film Fest, to be held on October 28th at 9 pm in Sala Sinopoli of the Auditorium Parco della Musica in Rome. On the program are 28 instrumental compositions from the films scored by composers who belong to ACMF, including Oscar-winning Maestros Ennio Morricone and Nicola Piovani, and other award-winning composers such as the Maestros Stefano Caprioli, Pasquale Catalano, Riccardo Giagni, Andrea Guerra, Stefano Mainetti, Lele Marchitelli, Pivio & Aldo De Scalzi, Giuliano Taviani. Maestro Alessandro Molinari, vice-president of ACMF, will conduct the scores. The prestigious Roma Film Orchestra composed of 46 elements will perform the scores with guest musicians. The evening, promoted by SIAE, Nuovo Iamaie and Digital Records, will be presented by actor Pino Insegno.

ITALY AND THE “MUSICARELLI”: A CONVERSATION WITH SHEL SHAPIRO Auditorium Parco della Musica – Teatro Studio Gianni Borgna SALA SIAE | 24 October, 5.30 pm If you want to describe what Italy was like in the 1960s, there is nothing better than the "musicarelli" films, the subgenre inspired by the songs of those years and starring famous young Italian singers. Those films, simple only in appearance, have it all: the spirit of the times, new ideas coexisting with old ones, conformism and the first signs of a revolt that would set the world on fire. Italian film critics Steve Della Casa and Alberto Crespi talk about the Musicarelli films with Shel Shapiro, leader of The Rokes and a shining star of those years, who has just released a brand-new album that is something of a meditation on that era.

CONVERSATIONS AND PANELS

ROMA LAZIO FILM COMMISSION Auditorium Parco della Musica – AuditoriumArte | 18 – 28 October, 9.30 am - 8.30 pm Roma Lazio Film Commission at the Rome Film Fest

Roma Lazio Film Commission promotes cinema, audio-visual productions and co-productions, offering itself as a meeting point between the major national and international production companies and the Lazio region, a territory with a great film tradition. RLFC comes back to the Rome Film Fest with many new initiatives and activities, to be held in the AuditoriumArte venue, inside the Auditorium Parco della Musica:

• Promotion of the resources in the territory • Orientation to understand the financial tools offered by the Regione Lazio for the audiovisual sector • Space for an immersive 3D experience of locations in the Lazio region using the Location360 app. • Training sessions:

- CineCampus Masterclass - Lesson on Cinema - XI edition Educational opportunity for young students and professionals in the film and audiovisual industries with masterclasses dedicated to production, acting and film direction with masters in their fields.

- CineCampus Atelier - Film Technique - III edition A course dedicated to the technical professions, with specific lessons on shooting techniques, viewing, sound, special effects and new methods for shooting with drones.

CINEMA - COMMUNICATION - COPYRIGHT IN CONVERSATION Auditorium Parco della Musica – AuditoriumArte | 19 October, 10 am On the occasion of the Rome Film Fest, FERPI - Italian Federation of Public Relations organizes an event focused on the analysis and prospects of copyright curated by Elisa Greco and Daniele Salvaggio, members of the FERPI National Board, and by Federica Carini and Susanna Zirizzotti, members of the FERPI Lazio Delegation. In this edition, the conversation will involve professionals and professions in cinema and communication.

CRITICAL CONDITIONS: TEACHING AND LEARNING TO LOVE CINEMA MAXXI (via Guido Reni, 4a) | 21 October, 11 am "You can force someone to learn, but not to feel". This principle, expressed in The Cinema Hypothesis: Teaching Cinema in the Classroom and Beyond (FilmmuseumSynemaPublications) by Alain Bergala, contains all the issues and challenges of teaching cinema, a practice in which it is paramount to remember that film must be approached as a work of art, as a sign left by the gesture of its creator. Is it more important to use cinema as a tool to help students understand the themes it addresses (history, news events, literature, etc.) or to create the conditions by which anyone, at a critical age, can find the films that bring greater awareness of the self and of the world? Must we necessarily accept the essential requirements of entertainment or can we address the difficult and necessary measure of seeking something completely different from what habit and the market have to offer? Is it better to aim for a critical analysis or a creative reading? To shape taste or transmit knowledge? To seek an overwhelming experience or "calm saturation"? And which technology (movie theatre, DVD, streaming online) should we select, adapt, accept so that these processes of teaching and education achieve the highest results possible, adding cinema as a curricular subject in high school? Some of the finest international film critics, such as Alain Bergala, A. O. Scott, Serge Toubiana, will engage in a public conversation with Stefania Parigi (DAMS - Rome University) and Gian Luca Farinelli (Cineteca di Bologna) moderated and curated by Mario Sesti (artistic coordinator of the Rome Film Fest selection committee). The panel will focus on film education in schools and universities, in a post-media world in which

traditional educational processes are becoming increasingly antagonistic to the power of social media and to the relentless innovation of technology.

ON FILM AND POETRY MAXXI (Via Guido Reni, 4a) | 25 October 9.15 am Poetry and cinema are two art forms that have fed into each other many times. Just summon up the names of Pasolini, Bertolucci, Ferreri, Benigni, Kurosawa, Tarkovsky, Wenders, and Scorsese, and the influence of poetic visions on films and film styles becomes clear. Yet poetry has also inspired a host of other screenwriters and directors. As the bicentenary of the publication of Giacomo Leopardi’s poem “The Infinite” approaches, Rome Film Fest organizes a tribute that takes several forms: a conversation between directors and poets on the relationship between film and poetry and the “premiere” of a short film devoted to Leopardi’s masterpiece, produced by Rai-Teche. This initiative has ties to “Infinito200- una poesia”, a project created by the Center for Contemporary Poetry at the Bologna University, Fondazione Claudi and Ce.S.Ma, which sponsors many occasions, in Italy and abroad, to celebrate and pay homage to that twenty-year-old poet who murmured “Infinito”.

L’Infinito Presente WeGil (Largo Ascianghi 5) | 22 October, 7.30 pm Another event that is part of the tribute to Giacomo Leopardi and his poem “The Infinite” is the Galleria La Nuova Pesa’s project “L’Infinito Presente”, curated by Simona Marchini and held at WeGil: the presentation of a book/art work with contributions by 29 poets and 29 artists, each with his or her own idea of the infinite, with the aim of reaffirming the need for the language of art to counter the poverty of the present.

CNA CINEMA DAY During the Rome Film Fest, CNA Cinema e Audiovisivo in collaboration with CNA in Rome have organized the second CNA Cinema Day on October 21st. The event will present considerations on themes of local, national and international interest to an audience of professionals and institutions. CNA Cinema e Audiovisivo began as a special project developed by Sistema CNA with the purpose of providing an all- inclusive representation and a comprehensive strategic vision of the businesses in the supply chain.

- Auditorium Parco della Musica – AuditoriumArte | 10 am Presentation, in collaboration with the Roma Lazio Film Commission, of the agreement between CNA Roma and Fondazione Cinema per Roma to support the Independent Cinema Festival circuit. This agreement will build a bridge between the Rome Film Fest and other Roman festivals that have become, over the years, a significant cultural reality in the Capital. The objective is to offer our city a far more interesting and varied cultural agenda than it has enjoyed so far and to make certain that the spotlight shines on our world all year round, and not only during the ten days of the Rome Film Fest.

- WeGil (Largo Ascianghi 5) | 4 pm Conference: the new technological challenges for the audiovisual industry. Netflix, Amazon and OTT, risk or opportunity? Being afraid of market evolution and of innovation very often means to suffer it. To regulate the market with a small number of clear rules, to give certainty to industry operators and ensure the growth of the entire sector, riding the wave of the technological challenge, is the real goal that operators and institutions must set.

- WeGil (Largo Ascianghi 5) | 9 pm Preview Cinearti La Chioma di Berenice Award Cinearti La Chioma di Berenice is an Italian film prize awarded annually since 1998 to craftsmen and artists working in the film industry (hairdressers, makeup artists, costume designers, set designers, decorators and musicians) created and promoted by the CNA (National Confederation of the Craft Industry and Small and Medium Businesses). In this preview event, for the first time, the protagonists of

the opening credits will be acknowledged: Best Female Producer, Best Male Producer, Best Actress, Best Actor, and further awards for important technical categories.

THE CIRCULATION OF CULTURE ONLINE Auditorium Parco della Musica - Teatro Studio Gianni Borgna SALA SIAE | 22 October, 11.30 am The protection of cultural goods and the free circulation of ideas. The distribution of music and audiovisual works online, weighing the rights of the players at every stage of the creative process against the rights of users to learn and share ideas and information. All these issues and more are on the agenda of the conference “The circulation of culture online,” which NUOVOIMAIE (Istituto Mutualistico per Artisti Interpreti Esecutori), the syndicate for the protection of performing artists’ rights, has arranged for the 13th Rome Film Fest. At the recent vote, on the EU Copyright Directive at the European Parliament in Strasbourg, two sides clearly emerged: one championing the protection of the creative industries and the other appealing to the free circulation of ideas online. NUOVOIMAIE is convinced that only by understanding the positions of both sides will a balanced solution to the problem be found. Representatives of the Italian government and other political institutions, players in the creative fields and numerous artists will attend the conference.

THE FUTURE OF CINEMA MAXXI (Via Guido Reni, 4a) | 24 October 10 am During the Rome Film Fest, the association "Cultura Italiae" is promoting the conference titled "The future of cinema from multimedia platforms to movie theatres, from individual to collective experience: new technologies, new challenges, new frontiers". "Cultura Italiae" represents the joint efforts of women and men from the worlds of culture, sports, innovation, arts, business and professions who have decided to put their skills together to develop concrete projects that can best represent the excellence and merit found in Italy.

Screening for the accredited press only BE KIND by Sabrina Paravicini and Nino Monteleone, Italy, 2018 After months of work, a self-produced, almost home movie, conceived by Sabrina Paravicini as a gift to her son Nino, has become a real film about the journey, as a little co-director, of a person who is diverse within diversity. Several people will cross their path: author Roberto Saviano, with whom Nino discusses the theme of happiness according to Epicurus; actor Fortunato Cerlino, who helps a young actor within the autistic spectrum to prepare Robert de Niro's pivotal scene in Taxi Driver; astronaut Samantha Cristoforetti, who talks to Nino about the value of diversity. These meetings alternate with several others and with moments that come together as a great story with a happy ending. The project, supported by Gucci, which has always been committed to creating awareness on themes such as diversity and inclusion, will be part of Gucci Equilibrium.

ROME UNESCO CITY OF FILM

The CINEDAYS of Rome City of Films The urban storytelling of the Creative Cities

23 October 2018 | 9.30 am – 1 pm Rome Film Fest MAXXI Museum

At Cinedays 2018, Rome City of Film invites the Italian and international Creative Cities to share the best practices of urban storytelling.

Rome City of Film: since 2015 Rome is a Creative City of Film in the UNESCO Network (UCCN), which counts 180 member cities from 72 countries that excel in the fields of music, crafts and folk arts, media arts, design, food, literature, as well as cinema. Fondazione Cinema per Roma, executive body of Rome City of Film as delegated by Roma Capitale, has organized Cinedays, the International Conference of Creative Cities, to be held on 23 October 2018 during the Rome Film Fest, at MAXXI - National Museum of XXI Century Arts. This year's focus is urban storytelling, to explore how the cultural identity of creative cities produces meaning through a narration, the purpose of which is to spread and develop the challenging values of the UNESCO Network. The Ideal City is the theme of the international short film context launched in September by Rome City of Film on the occasion of the next UNESCO Annual Meeting, which will be held for the first time in Italy, in Fabriano – City of Crafts & Folk Art UCCN, from 10 to 16 June 2019. After the greetings by Luca Bergamo, Deputy Mayor and Councilor for Cultural Growth of Roma Capitale, Laura Delli Colli, Vice President of Fondazione Cinema per Roma and Antonio Monda, Artistic Director of Rome Film Fest, the following speakers have been invited to discuss: the narration of UNESCO creative cities

o VITTORIO SALMONI, Fabriano City of Craft & Folk Arts, hosting the 2019 Annual Meeting of Creative Cities o NIEDJA DE ANDRADE, Santos City of Film, hosting the 2020 Annual Meeting of Creative Cities o ALESSANDRO GAIDO, Torino Factory o FILIPPO DEL CORNO, Councillor for Culture of the Municipality of Milan o JORDI HERNÁNDEZ PRAT, Terrassa City of Film o LUCIO ARGANO, Università Roma Tre and Rome City of Film supervisor how cinema narrates the urban dimension

o ENRICO BUFALINI, Director of the Historical Archive of Istituto Luce Cinecittà o MARIO MUSUMECI, Centro Sperimentale di Cinematografia o PAOLA MALANGA, Vice President, Production and Acquisitions of Rai Cinema o LUCIANO SOVENA, President of Roma Lazio Film Commission o GIORGIO GOSETTI, Director of Casa del Cinema o PAOLO DALLA SEGA, Università Cattolica del Sacro Cuore in Milan

bottom-up participatory processes of creation

o LUCA BERGAMO, Deputy Mayor and Councilor for Cultural Growth of Roma Capitale o FABRIZIO GRIFASI, RomaEuropa Festival o CARLO INFANTE, Urban Experience o LORENZO ROMITO, Stalker

Cinedays 2018 is a free entrance event and is organized with the support of Istituto Luce Cinecittà, Centro Sperimentale di Cinematografia, Roma Lazio Film Commission, Rai Cinema, Casa del Cinema.

UCCN ANNUAL MEETING - Fabriano (Italy) 2019 Theme: The Ideal City

In 2019, Fabriano will host the delegates of 180 cities from 72 countries, for the world reunion of the UNESCO Creative Cities (UCCN). Art, creativity, innovation, sustainability, development and social cohesion, reconstruction and resilience: Italy at the center of the debate on how to build a new way of living together. To accompany the preparation of the 2019 Annual Meeting in Fabriano, Rome City of Film, UNESCO Creative City of Film, decided to launch an international call for fiction and documentary short films (under 30'), addressed to directors and film schools.

The theme of the films will be the demand for an ideal contemporary city, narrated by means of cinema or television through one of eight sub-themes:

o the sustainable city o the cosmopolitan city o the ubiquitous multiple city o the city of citizens o the city of knowledge o the city as a stage o the city that creates o the enterprising city

The call will be disseminated by the 13 cities of the UCCN Film cluster and the usual cinema channels of. Works from every country in the world are eligible to participate, even if they are not from one of the 72 countries that form the UCCN network. A selection committee, directed by Mario Sesti (Fondazione Cinema per Roma) and composed of film experts, city planners and representatives of the Italian Coordination of the UCCN, along with the focal point of Fabriano and the Fabriano Film Fest, will select the six best works (three per genre), two of which will win awards, one for each genre. The six best films will be screened in the pavilion of the Film cluster in Fabriano and the two winning works will be presented and screened during the 2019 Annual Meeting for the UCCN delegates as a collateral event, attended by the directors and actors who will talk about their experience.

http://www.romecityoffilm.com/

ALICE NELLA CITTÀ

Parallel and independent sidebar at the Rome Film Fest 18|28 October 2018

Always sensitive to issues related to the younger generations, Alice nella città will present a programme of premieres, directorial debuts and original confirmations. Eleven works in the Young Adult Competition, among which two Italian titles stand out: Fiore Gemello by Laura Luchetti, a film that talks about friendship, lost innocence and the effort to regain it, and Butterfly by Alessandro Cassigoli and Casey Kauffman, which offers us the authentic story of a real family, whose youngest daughter at only eighteen years old is the first Italian woman boxer in history to qualify for the Olympics.

In the competition, Jim Loach with Measure of a Man, The Elephant and The Butterfly by director Amélie van Elmbt produced by the Dardenne brothers, Behold My Heart by Joshua Leonard produced and starring Marisa Tomei, For a Happy Life by Salima Glamine and Dimitri Linder and Ben is Back by Peter Hedges (Oscar nominee for the script for About a Boy), which tells the destructive tensions of a drug addicted son, played by his son Lucas Hedges, one of the most refined talents of international cinema (Manchester by the sea, Lady Bird, Three Billboards Outside Ebbing Missouri, Boy Erased) and the extraordinary and intense Julia Roberts in the role of Molly, who, along with other titles in the programme, tells stories of childhood and adolescence from twenty countries around the world.

Six special events are scheduled, including Dilili in Paris, which marks Michel Ocelot's return to directing (Kirikù and the witch Karabà, Azur and Asmar, Kirikù and Wild Animals), an adventure in the Paris of beautiful epoque; Remi by Antoine Blossier, a film adaptation of Hector Malot's famous novel "Rémi sans famille" and the film that moved Cannes Film Festival, in collaboration with Everychildismychild: Capharnaum by Nadine Labaki, a political fairy tale that can make you think, centered on the theme of growth and the difficulties of being born and trying to make a living in the Middle East.

GENERAL INFORMATION

How to attend the Rome Film Fest Tickets, Advance Sales, Prices Accreditations

Tickets may be purchased in advance for the 13th Rome Film Fest at the following locations:

• Cinema Village Ticket Office of the Auditorium Parco della Musica (Viale P. De Coubertin 30) on October 12th from 9 am to 8 pm, and from October 13th to October 17th 2018, from 11 am to 8 pm; • at authorized ticket points. The list is available on the website www.ticketone.it; • by phone from the TicketOne phone service (subject to fee): for calls from Italy 892 101 (from Monday through Friday 8 am – 9 pm, Saturday 9 am – 5:30 pm, closed on Sunday); • online on the websites www.romacinemafest.org and www.ticketone.it from October 12th at 9 am. • via the RomeFilmFest APP (free download at Google Play and App Store).

Advance sales of individual tickets will begin on October 12th at 9 am, at the same time via all the sales channels. On the first day of advance ticket sales, there will be a numbered queuing system at the Cinema Village Ticket Office (Auditorium Parco della Musica).

For the duration of the Rome Film Fest, tickets will also be sold at the following locations:

• Central Ticket Office of the Auditorium Parco della Musica (Viale P. De Coubertin 30) on October 17th from 11 am to 8 pm; from October 18th to 27th, from 11 am to 11 pm; on October 28, from 7.30 pm to 9.30 pm. and at: • Cinema Village Ticket Office (Viale P. De Coubertin 30) from October 18th to 28th, from 11 am to 11 pm; • My Cityplex Savoy – sala 2 - ticket office (Corso d’Italia 107) from October 19th to 28th, from 3 pm to 11pm; • authorized ticket points (list available at on the website www.ticketone.it); • by telephone from the TicketOne phone service (subject to fee): for calls from Italy 892 101 (from Monday through Friday 8 am – 9 pm, Saturday 9 am – 5:30 pm, closed Sunday); • online on the websites www.romacinemafest.org and www.ticketone.it; • via the RomeFilmFest APP (free download at Google Play and App Store).

Please note that the tickets for screenings with an admission charge scheduled at MAXXI Museum and Cinema Hall movie theatre may be purchased at the Central Ticket Office of the Auditorium and at the Cinema Village Ticket Office. Tickets will not be sold directly on the premises of MAXXI or Cinema Hall.

Admission to some events at the Cinema Trevi, the Casa del Cinema, the Rebibbia prison will be free of charge.

All the events hosted at Casa del Cinema are free.

Rome Film Fest Ticket Prices from 6 to 23 euros

Alice nella Città Ticket Prices from 7 to 9 euros

ALICE NELLA CITTÀ Independent and parallel section at the Rome Film Fest Tickets for the films in the Alice nella città line-up will be sold at the price of € 7 to € 9. Tickets for the screenings open to the public may be collected at the Rome Film Fest authorized ticket offices during regular opening hours, as detailed above. Co-productions made in collaboration with the Rome Film Fest may vary in price. Schools and large groups may make reservations by sending an e-mail directly to: [email protected] Villaggio Casa Alice - Viale P. de Coubertin: Just as you enter the Cinema Village is the Alice nella città space for gatherings, information and press activities. www.alicenellacitta.com

DISCOUNTS AND CONCESSIONS Movie-goers between the ages of 18 and 26 years old, or over the age of 65, are entitled to a 10% discount on the full price of the ticket. Please note that discounts for concessions to entities or associations from Fondazione Cinema per Roma will only be applied at the official Rome Film Fest ticket offices. There will be no discounts on tickets for screenings costing € 5 or less purchased individually.

THE ABOVE INFORMATION MAY BE SUBJECT TO CHANGE, PLEASE CHECK FOR CONFIRMATION ON THE ROME FILM FEST WEBSITE ON THE DAYS PRECEDING THE OPENING OF ADVANCE TICKET SALES

UNDER 26 FREE ADMISSION TO THE CINEMA Thanks to the program " La Regione ti porta al cinema" by Regione Lazio, young people between the ages of 18 and 26 years old who go to the Rome Film Fest independently and buy a ticket, will receive directly from the ticket office a free coupon to use in one of the movie theatres participating in the initiative " Mercoledì al Cinema” (Wednesday at the Movies) on any Wednesday of their choice between October 24th and December 19th. For free admission, the coupon must be displayed at the movie theatre ticket office together with the ticket used for the Rome Film Fest.

ACCREDITATION Accreditation badges for the Festa and Press categories may be collected at the Accreditation Desks in the offices of Rome Film Fest (Auditorium Parco della Musica, Viale P. de Coubertin) from October 16th to 28th, 2018, according to the following schedule:

• October 16th from 10 am to 5 pm; • From October 17th to 21th from 9 am to 7 pm; • From October 22nd to 27th from 10 am to 5 pm; • October 28th from 10 am to noon.

Badge holders will receive a color-coded pass corresponding to the category of accreditation.

HOW TO GET HERE

The Auditorium Parco della Musica (Viale Pietro de Coubertin 30) may be reached by means of the following public transportation services:

BUS 910 | Terminus Termini - Piazza Mancini (weekdays, Sundays, and holidays) 53 | Terminus Piazza Mancini - Largo Chigi (weekdays, Sundays, and holidays) 982 | Viale XVII Olimpiade – Stazione Quattro Venti (weekdays, Sundays, and holidays) 168 | Largo Maresciallo Diaz – Stazione Tiburtina (weekdays, Sundays, and holidays)

TRAM 2 | Terminus Piazzale Flaminio - Piazza Mancini, Piazza Apollodoro stop (weekdays, Sundays and holidays).

SUBWAY AND RAILWAY Metro A | stop at Flaminio, then tram line 2 (weekdays, Sundays, and holidays) Roma-Nord Railway | stop at Piazza Euclide (weekdays, Sundays, and holidays)

CAR From A1 Autostrada take the Roma Nord turnoff and after 15 km the G.R.A. (ring-road around Rome) then take the Flaminio Saxa Rubra exit towards Corso di Francia, or from the Lungotevere Flaminio turn off into Viale Tiziano and then again at the Palazzetto dello Sport.

PARKING In the immediate vicinity of the Auditorium Parco della Musica, ATAC S.p.A. runs two parking garages (with entrance on Viale Maresciallo Pilsudski) and a street-level parking lot (with entrance on Viale P. De Coubertin) with a total amount of 1,005 parking spaces, 26 of which are reserved for the disabled. L’Auditorium Parco della Musica è situato in Viale Pietro de Coubertin 30. È raggiungibile con i seguenti mezzi pubblici:

LAZIO MOViE. RIDE FREE ON THE COTRAL BUSES TO THE ROME FILM FEST Along with its consolidated commitment to Rome Film Fest, Regione Lazio will participate with a stand to provide information on current calls and projects underway as always and for the first time it has launched an initiative for young men and women between the ages of 18 and 26 who do not live in Rome, but wish to participate in the event. Between October 23rd and 26th, young people who live in the provinces of the Lazio region will have the opportunity to enjoy a day of great cinema for free: they can reach the Rome Film Fest, view an afternoon screening, experience the magic of the red carpet and then return home on the same bus. This initiative, developed in collaboration with Fondazione Cinema per Roma, ANEC Lazio and Cotral, will provide four buses daily leaving at 2 pm from Frosinone, Latina, Rieti and Viterbo. To participate, register on the website www.regione.lazio.it/laziomovie, and choose the day, the itinerary and the closest bus stop, then follow the instructions. On the bus the they will receive: • a ticket for the afternoon screening at the Rome Film Fest • a coupon for free admission to a movie on a Wednesday of their choosing between October 24th and December 19th in one of the movie theatres participating in the "Wednesday at the Movies" program (which they must bring to the movie theatre along with the Rome Film Fest ticket) • a coupon to receive a snack at the Regione Lazio stand, consisting of local products and a drink offered by Arsial The return buses will leave from the Auditorium Parco della Musica at 9:30 pm

GUIDE TO THE VENUES

THE AUDITORIUM PARCO DELLA MUSICA The heart of the Rome Film Fest will be the Auditorium Parco della Musica (Viale P. de Coubertin 30) with its screening rooms. All the Auditorium spaces are barrier-free.

• Sala Sinopoli • Sala Petrassi • Teatro Studio Gianni Borgna SALA SIAE • AuditoriumArte The red carpet will be located in the Cavea with a reserved area for the press and photographers.

CINEMA VILLAGE | VILLAGGIO DEL CINEMA From October 18 to 28, the entire pedestrian area in front of the Auditorium will host the Cinema Village, designed to offer Rome Film Fest audiences information and services. Admission to the spaces of the Cinema Village is free and open to all. The Village will feature: • Cinema Hall movie theatre realized with the support of MiBAC’s Directorate-General for Cinema • 1 info-point (for detailed information on the Fest and general information for citizens) • 1 ticket box office • 1 BNL automatic cash dispenser • Rome Film Fest partners spaces designated as reception and promotion areas; • RAI area

FOOD SERVICES From October 18 to 28: Sparkling Food (in the Cinema Village), SparTito Restaurant, BArt, Il chiosco facing the Auditorium.

LOCATION IN THE CITY • MAXXI (Via Guido Reni 4/a) • CASA DEL CINEMA (Largo Marcello Mastroianni 1) • CINEMA TREVI (Vicolo del Puttarello 25) • MY CITYPLEX SAVOY (Via Bergamo 17/25) • BARBERINI MULTIPLEX (Piazza Barberini 24/26) • REBIBBIA N.C. PRISON (Via Raffaele Majetti 70) • CASA CIRCONDARIALE FEMMINILE DI ROMA REBIBBIA (Via Bartolo Longo 92) • FONDAZIONE POLICLINICO UNIVERSITARIO AGOSTINO GEMELLI IRCCS (Largo Agostino Gemelli 8) • MUSEO DELL’ARA PACIS (Lungotevere in Augusta) • PALAZZO DELLE ESPOSIZIONI (Via Nazionale 194) • CASA DEL JAZZ (Viale di Porta Ardeatina 55) • PALLADIUM THEATRE (Piazza Bartolomeo Romano 8) • WEGIL (Largo Ascianghi 5) • FONDACO GALLERY (Via della Frezza 43) • VIA DEI CONDOTTI • VIA DELLA FREZZA • VIA VENETO • PIAZZA SAN LORENZO IN LUCINA • GALLERIA ALBERTO SORDI (Piazza Colonna)

VENUES AND SERVICES FOR THE PRESS

PRESS ROOM The press room will be located in the Spazio Risonanze. Open to accredited journalists, it will offer internet connections and be furnished by Ethimo.

PHOTOGRAPHERS’ PRESS ROOM The photographers’ press room will be located in the cloakroom of Sala Sinopoli, and offer internet connections. Sony will be at the Rome Film Fest and provide technical support for professional photographers and videographers.

PRESS DESK Located at the entrance of the photographers’ press room, in the cloakroom of the Sala Sinopoli.

OFFICIAL PRESS CONFERENCES The Official Press Conferences will take place in the Sala Petrassi and in the Sala Meeting at Auditorium Parco della Musica.

INTERNAL PHOTO CALLS Photo calls with the delegations will be held in the Sala Ospiti, to the right of the entrance of the Sala Sinopoli, approximately 15 minutes before the press conferences.

RED CARPET AND SPECIAL EVENTS Accredited televisions wishing to film along the red carpet (starting approximately 40 minutes prior to the official screenings) must apply to the Press Office for confirmation of their filming position.

ONLINE PRESS AREA The service offers journalists access to press books, press releases, video material, and high-resolution digital images. Accredited journalists will have access to the press area on the website https://my.romacinemafest.org/en/ Username and password will be provided by e-mail in the letter confirming accreditation. Images will be supplied by Getty Images which will be one of the Media Partners as the official photo agency for the 13th Rome Film Fest. The agreement between Getty Images and the Fondazione Cinema per Roma is now its twelfth consecutive year.

ACCREDITATION Applications are open for Press/Media accreditation to the Rome Film Fest through October 9, 2018. Accreditation entitles the holder to attend the official screenings, provided seats are available and within the terms established by the organization of the Rome Film Fest. Press/media accreditation is reserved exclusively to professional journalists for the written or online press, multimedia, radio, television, press agencies, photographers, public relations agencies, press offices.