Press Information January | February 2017

Almost traditionally, the new year at the Austrian Film Museum begins with a departure into the Mediterranean realm. This time around it is Sicily, a central stage of Italian cinema after 1945, that lies at the core of the program. Further series are dedicated to Bruce Baillie, one of the beacons of the New American Cinema, and David Bowie, who would have celebrated his 70th birthday on January 8. The Austrian premiere of Marco Bellocchio’s Bella addormentata is another feature of the program.

Sicily Cinema of the Isles: An Italian Journey

“Without Sicily, Italy creates no image in the soul: here is the key to everything.” – Johann Wolfgang von Goethe

Having outlined an image of the metropolis of Rome from the perspective of Italian post-war cinema last January, the Film Museum turns its gaze on an equally iconic place at the start of 2017. Sicily, often dubbed the “island of contradictions”, to this day remains the epitome of the economically underdeveloped South of Italy, notoriously permeated by feudal structures further reproduced by the stranglehold of the Mafia. On the other hand, thanks to its fascinating contrasts and (cultural) landscapes, the region is still perceived as a dream destination, and not only by tourists.

In the course of the last decade, the Sicilian archipelago (which includes the surrounding isles) has made the headlines mainly as a refugee zone, which conjures up further historical ambivalences. For Sicily’s special role as a melting pot has its source in a variable history of migration: due to its exposed location in the Mediterranean, the island has been the target of ever new invaders since antiquity. These conquerors mixed with the resident population and left their own unmistakable mark on the island – emblematized in Arabian, Byzantine and Norman influences in local architecture. The great Sicilian author Leonardo Sciascia locates this historic “uncertainty” as the core of his homeland, manifesting itself in “fear and closed passions” just as much as in “violence and fatalism.” In the field of literature, alongside Giovanni Verga (the main exponent of verismo), aristocrat Giuseppe Tomasi di Lampedusa, and Nobel Prize winner Luigi Pirandello, Sciascia represents the cultural richness of a society characterized by poverty.

Taking the exhilarating cinema of the region as its basis, the Film Museum’s retrospective pursues such apparently paradoxical lines of development. It also attempts to uncover the historical roots of our images of Sicily by going beyond the current media clichés. The journey takes us from the great successes of post-war neorealism such as Luchino Visconti’s La terra trema, based on Verga, Roberto Rossellini’s Stromboli (with the neighboring island acting as a genius loci of spiritual Sicilian landscape painting), or Pietro Germi’s early Mafia film In nome della legge straight through the „golden age“ – with milestones of the Commedia all’italiana and canonical works such as Michelangelo Antonioni’s L’avventura or Visconti’s Lampedusa adaptation Il gattopardo – up to the later political thrillers based on Sciascia’s writing. A wide range of Italian cinema movements thereby receive their specifically „Sicilian“ stamp.

After the disintegration of the large-scale Italian film industry in the early ’80s, the island region became the focal point of a kind of renaissance. While the Taviani brothers (with the Pirandello-

based “omnibus” film Kaos), Giuseppe Tornatore (with smooth, but decidedly “native” works such as Nuovo Cinema Paradiso) or Emanuele Crialese (with his Respiro, a variation on Stromboli relocated to Lampedusa) saw mainstream success, Marco Risi and author Aurelio Grimaldi, with their ruggedly realist Mery per sempre, led the way to the launch of a regional cinema. Its heyday can be seen in the bizarre comedy of the duo Ciprì and Maresco (Il zio di Brooklyn), as well as in Roberta Torre’s grotesque mafia musical Tano da morire or Pasquale Scimeca’s grim biography of a union leader murdered by the Mafia, Placido Rizzotto.

As the oldest film in the show, La terra trema (1948), with its exemplary fusion of realism and operatics, establishes the aesthetic cornerstones of a cinema arising from a regional culture. This is also noticeable in films about the Risorgimento such as Il gattopardo or Rossellini’s Viva l’Italia, portraying Garibaldi’s successful invasion that led to the integration of Sicily into the Kingdom of Italy in 1861. (Sciascia co-authored a film on the massacre of Bronte that illuminated another dark chapter of Garibaldi’s “Expedition of the Thousand.”) Despite the celebrated “liberation”, the great divide between the small, rich elite consisting of large landowners and aristocrats, and the majority of farm laborers devoid of any means and rights led to a vast wave of immigration to the United States beginning in 1880, while protection forces hired by feudal landholders mutated into forerunners of the Mafia. Alberto Lattuada’s black comedy Mafioso (1962) ingeniously brings the legacy of both of these developments together.

At that point in time, the persistent poverty of the post-war years had brought about a second wave of migration to northern Italy as well as to other European countries – the topic of Germi’s Il cammino della speranza and Werner Schroeter’s Palermo oder Wolfsburg. Sicily’s transformation into an autonomous region in 1946 didn’t help drain the swamp of mismanagement, corruption and Mafia domination. Francesco Rosi’s deconstruction of the fake „Robin Hood“ with mafia connections, Salvatore Giuliano, or the Taviani brothers’ story of the martyrdom of political activists in Un uomo da bruciare dramatically negotiate these entanglements, while films such as Luigi Zampa’s L'arte di arrangiarsi deliver a satirical mirror image and show the way towards the Commedia all’italiana of the 1960s, with classics such as Divorzio all’italiana. Pietro Germi’s attack on the Siclian macho self-image is further radicalized in the seventies, in Lina Wertmüller’s Mimì metallurgico … or Salvatore Samperi’s Malizia.

Meanwhile, in La moglie più bella (based on a real rape case), crime film specialist Damiano Damiani dissected the patriarchal and criminal aspects of Sicily in a model conflation, right on the heels of the wave of acquittals in the first Cosa Nostra trials in 1969. At the same time, public anger over the mafia wars of the sixties manifested itself in astonishing Sciascia adaptations such as Elio Petri’s A ciascuno il suo or Rosi’s Cadaveri eccellenti. In addition to their Sicilian Mafia topics, these films revealed the national state of affairs – as defined by their author who understood his own people (“who know only extremes”) as an ideal metaphor for the bigger picture. Herein lies another ambivalence of Sicilian cinema: although it captivates with concrete regionality, it conveys universal insights.

The retrospective in presented with the kind support of Istituto Luce – Cinecittà and the Italian Cultural Institute in Vienna. January 6 to February 9, 2017

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David Bowie. Killing a Little Time

Killing a Little Time. Killing time before it kills us – this could be a motto for the work of David Bowie who passed away at the beginning of 2016, and would have celebrated his 70th birthday on January 8, 2017. The song of the same title, part of his musical legacy, was recently released in the framework of the stage production Lazarus. Time, a merciless constant that can nonetheless be outwitted by art, has been a constant presence in Bowie’s work. Time, which can be turned backwards in order to bring other images, other expressions and other artistic figures to the fore instead of those that reign supreme in the perception of the public at large.

In the aftermath of Bowie's death, there was no lack of tributes and romanticization across the media landscape. Nonetheless, certain faces of the “black star” remained strangely ignored. On two evenings in January, the Film Museum will uncover these lesser-known aspects of the art and pop figure Bowie, conceived by David Robert Jones in 1965. The program will show rare film and TV documents such as Baal (1982), The Image (1969), and many others, framed by Chris Höller’s richly illustrated presentation and an onstage conversation with singer Dana Gillespie, one of Bowie’s most trusted confidantes in the early years of his career. Throughout his life, Bowie never wanted to assign his existence to just one role, be it that of Ziggy Stardust, Aladdin Sane or the Thin White Duke. At the same time, his constant search for new media outlets, as demonstrated by his many film appearances, revealed how difficult it was to fit Bowie into ever new role corsets. In the end, what remains are the many shimmering moments of „Falling,“ „Choking“ and „Fading,“ as Killing a Little Time makes clear. Scars that have, although invisible, crucially affected the course of time. January 18 and 19, 2017

Premiere: Marco Bellocchio’s Bella addormentata

“For over 40 years, Marco Bellocchio has been approaching the political through the personal. And regardless of whether his films are set in the past or the present, all of Italy always seems to be going to pieces.” (Michael Kienzl) This statement is perfectly illuminated by Bella addormentata (2012), Bellocchio’s most recent major work starring Isabelle Huppert, Alba Rohrwacher und Toni Servillo, which hasn’t yet seen theatrical release in Austria. The film’s point of departure is a real- life euthanasia case that led to turmoil in the director’s native country. For seventeen years, Eluana Englaro lay in a coma following a car accident without any hope of improvement. When her father went to court to fight for the right to remove his daughter from life support, Catholics and conservative politicians raged. January 26 and 27, 2017

Bruce Baillie

Bruce Baillie, who was born in 1931 in Aberdeen, South Dakota, shines as one of the brightest stars in the galaxy of New American Cinema. The filigree beauty and poetry of his work has influenced generations of filmmakers, while his pioneer status among the Sixties independents of the US West Coast stems from a very practical reason: in order to show his alternative projects as well as those of others, he initiated a filmmaker cooperative in San Francisco and co-founded

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Canyon Cinema, which went on to become one of the country’s most important non-commercial distributors.

In this environment, Baillie combined his individual work on film form with social motifs – masterly so in Mass for the Dakota Sioux (1964). Other early works, such as the miniature portrait Mr. Hayashi, show his ability to lend a deep spiritual dimension to daily observations; in his three- minute classic All My Life, the “simple” encounter of the eponymous Ella Fitzgerald song and a nature shot yields unforeseen magic. The audacious superimpositions in works such as Castro Street or Quixote unveil Baillie’s remarkable feeling for textures, color and light. Experience is, in a literally many-layered fashion, transformed into moving cascades of image and sound. Sensory perception of the world and “quixotic” self-searching are joined with meditations on American mythology and American horror.

Bruce Baillie’s unique voice can now be rediscovered in the broader context of this five-part film program curated by Garbiñe Ortega, which documents his Canyon Cinema connections (with works by luminaries such as Peter Hutton and Chick Strand) and his moving correspondence with Stan Brakhage, another giant of US avant-garde cinema.

The program will showcase numerous newly restored prints from the Academy Film Archive. On opening night, January 30, Peter Kubelka will speak about his encounters with Bruce Baillie and his films. January 30 to February 3, 2017

Sicily. List of Selected Works

La terra trema 1948, Luchino Visconti La moglie più bella 1970, Damiano Damiani Anni difficili 1948, Luigi Zampa Bronte: cronaca di un massacro che i libri di storia non In nome della legge 1949, Pietro Germi hanno raccontato 1972, Florestano Vancini Vulcano 1950, William Dieterle Mimì metallurgico ferito nell'onore 1972, Lina Wertmüller Stromboli 1950, Roberto Rossellini Malizia 1973, Salvatore Samperi Il cammino della speranza 1950, Pietro Germi Perché si uccide un magistrato 1975, Damiano Damiani L'arte di arrangiarsi 1955, Luigi Zampa Cadaveri eccellenti 1976, Francesco Rosi Il bell'Antonio 1960, Mauro Bolognini Palermo oder Wolfsburg 1980, Werner Schroeter L'avventura 1960, Michelangelo Antonioni Kaos 1984, Paolo & Vittorio Taviani Viva l’Italia 1961, Roberto Rossellini Nuovo Cinema Paradiso 1988, Giuseppe Tornatore Divorzio all’italiana 1962, Pietro Germi Mery per sempre 1989, Marco Risi Un uomo da bruciare 1962, P. & V. Taviani, Valentino Orsini Porte aperte 1990, Gianni Amelio Salvatore Giuliano 1962, Francesco Rosi Lo zio di Brooklyn 1995, Daniele Ciprì & Franco Maresco Mafioso 1962, Alberto Lattuada Tano da morire 1997, Roberta Torre Il gattopardo 1963, Luchino Visconti Sicilia! 1998, Jean-Marie Straub & Danièle Huillet I fidanzati 1963, Ermanno Olmi I cento passi 2000, Marco Tullio Giordana Sedotta e abbandonata 1964, Pietro Germi Placido Rizzotto 2000, Pasquale Scimeca A ciascuno il suo 1967, Elio Petri Respiro 2002, Emanuele Crialese

For more information and photos, please visit www.filmmuseum.at or contact: Alessandra Thiele, [email protected], T +43 | 1 | 533 70 54 Ext 22

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