Sincronismo Creativo Catalogo Opere 2013 (Italian Edition)
The history that has been written in Iran is the history of power and politics and never the history of thought, philosophy or art. Nel ha realizzato il suo primo documentario, Just a Woman, premiato alla Berlinale. Racconto di formazione in una terra di cui siamo stati testimoni soltanto da lontano, echi di telegiornali che raccontavano di una guerra civile. Eka and Natia are fourteen years old, and their daily lives consist of spending afternoons with friends and bitter fights in the long breadline, teen romances and fending off unwanted attention, the reality of families destroyed by alcohol and forced separations.
In Bloom is about the blossoming of a woman, who confidently decides to become the protagonist of her surroundings. It is a magnificent piece of cinema on the pace of tradition and realisation that there is a road to improvement and social and personal freedom in a microcosm, dominated by frequently violent male figures, which would have otherwise never been able to or felt the desire to change.
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Tutti i ragazzi condividono una caratteristica: La risposta sembra chiaro: Chi guarderesti con ammirazione? Che valori ti aiuterebbero a sopravvivere? Le caratteristiche umane universali delle due ragazze sono le colonne sulle quali si poggia il film e che rendono possibile rappresentare su grande schermo questa storia.
A teenager is a teenager, no matter from which country he or she is. All teenagers share one characteristic: Our characters search for their female identity in a context full of violence, love and revenge and question whether love can justify killing someone.
The answer seems clear— of course, not. But what if you are confronted with this question and you only have fourteen years of life experience and live in a country steeped in chaos, anarchy and vigilante justice? Whom do you look up to? What values can help you survive? The universal human traits of the two girls are the pillars on which the film rests and which made it possible to bring this story to the big screen.
She has written several screenplays and made two short films. Analia guarda avanti con lo sguardo di una giovane curiosa della vita. Pregiudizio di sguardo, di interpretazione, di esperienza. Summer lies before her, the last one before she enters a new phase in her life working alongside her mother at the hair salon. Analia looks toward her future through the eyes of a young girl curious about life. With only initial uncertainty, Analia enters the Arab community, with an open yearning and stubborn determination to get closer to things and people belonging to another world. In exchange, she receives a tunic, a recipe in Farsi, and a map — giving her access to that world in a literal as well as symbolic sense — as well as a name, Habi, which draws her into another story, which she will have to decide whether or not to leave.
This, the first feature film of Maria Florencia Alvarez who won the Premio Aprile at the Milan Film Festival with Sobre la tierra reveals the talent of a director and the courage of a story that overcomes all prejudices — prejudice in looking, in interpreting, and in experiencing. Fino a che punto il contesto in cui siamo nati e cresciuti descrive chi siamo? Queste domande mi hanno accompagnata a lungo, e ho voluto esplorare le loro radici con Habi, la extranjera Habi, the Foreigner. Where does identity reside? To what degree does the context where we were born and raised define who we are?
Why have anonymity and immersion in an unknown world always awakened me a sense of freedom? As if the absence of those gazes directed at my person would offer the possibility of being revealed more genuinely. These questions have long accompanied me, and I sought to explore their roots with Habi, la extranjera Habi, the Foreigner. Ha esordito con il cortometraggio Upon the Earth che, presentato a Rotterdam nel , ha vinto diversi premi internazionali.
Her first short film Upon the Earth premiered at the Rotterdam Film Festival in , and won many international awards. Black Dog won an Honorable Mention at the B. Habi, the Foreigner is her first feature- length film. Teck, il padre, ha perso il lavoro ma non ha il coraggio di ammetterlo alla moglie Hwee Leng. Per il suo esordio nel lungo Anthony Chen compie una scelta non scontata: Una famiglia archetipo della middle class a pezzi: A seemingly quintessential middleclass family hires Teresa, a young Filipino nanny, to bring their rowdy son, Jiale, under control.
Although Jiale is initially hostile to Teresa, the relationship between the two becomes a beacon of light in the darkness of a family that is falling apart: The wife, who writes letters of dismissal for a living, becomes morbidly jealous of the nanny, whilst secretly carrying a child. For his debut feature-length film Anthony Chen heads in a rather unexpected direction: Like, and perhaps even more so than European financial centres, Singapore becomes the typical example of a giant air bubble, in which a surge in profits corresponds with the destruction of values — first and foremost, family values.
An archetypal middle class family in pieces — formalities, a lack of feeling and emotion, secrets, unbearable lies, and stereotypes, since, among the many themes of the film, that of immigration is prevalent. When I was much younger, my mother hired a Filipino maid from, Ilo Ilo, a province in the Philippines. That is how the title of the film came about. All this set during a particular period in Singapore. I dug up a lot of old photographs at home and gathered more from my friends. There was further research done, through books and archival photos.
Born in in Singapore, he graduated from film school with G Haze, his next short, screened in competition at the 58th Berlin International Film Festival. Ilo Ilo marks his feature film debut. Giovani spacciatori e papponi, miserabili, tossici, prostitute e homeless. A robbery went wrong and he was the only one to pay the price. D moves through the city with a new perspective, caught between the need for redemption and passive complicity.
His path is a bumpy one, of mistakes and struggle, but of unexpected impulses and new expectations too. Licks is a film that delivers a blow to the stomach, portraying brutality and tenderness, and captivating and shocking the viewer with its blunt simplicity. Licks rappresenta il suo esordio nel lungometraggio. Jonathan Singer-Vine is a year-old writer and director born and raised in Berkeley, California.
Licks is his first feature film. Sono sempre stato interessato al The Hood e alla gente che ci vive. Tutti hanno una storia e quando vedi un altro essere umano che non si comporta come te o che non sembra uguale a te questo non significa che puoi semplicemente abbandonarlo. Dividiamo tutti la stessa terra e dobbiamo cercare di comprenderci a vicenda per poter sopravvivere e avere un futuro migliore. Vi lascio con questo fatto: Why did I make Licks? Intorno a questa occasione, si intrecciano i destini di cinque italiani, protagonisti del documentario di Alessandra Celesia, seguiti nel loro training per affrontare il viaggio e il compito che li aspetta: Una dinamica drammatica che la regista Alessandra Celesia segue e ricostruisce senza intervenire direttamente in scena, ma lavorando sugli accostamenti.
Sparito il miraggio, non si smette di avanzare, e quel limbo di delusione dona un tocco ulteriormente poetico a una vicenda che per molti altri versi riguarda oggi tante persone schiacciate dalla crisi, in un film che ne sa mostrare il lato umano. From Camilla, an actress who dreams of playing Marlene Dietrich, to transvestite Dario, from an Afghanistan war veteran to an ex-junkie mother. All of them want to leave, take the risk, escape the deadlock their lives are currently in. Too bad that all that awaits them in Yakutat, their overseas destination, is another revelation.
The longing for a journey and to escape was, from the very beginning, an opportunity for them to think about their identities: A dramatic dynamic that director Alessandra Celesia follows and successfully reconstructs without intervening in events directly, but by bringing everything together.
Without the object of their dream and desire, without work, the protagonists, once abroad, share snippets of their lives and find their bearings together. Ed eccoci qua oggi, pieni di speranza, con polmoni pronti a digerire qualsiasi cosa. Il mio Paese non ha bisogno di un altro reportage scandalistico, di una dichiarazione aperta di guerra, di uno scoop. Alessandra Celesia ha lavorato a lungo in teatro, come attrice e regista, sviluppando al contempo la passione per la regia cinematografica. I would consider the atmosphere in Italy in the s as responsible for my departure.
It is difficult to identify intellectual pollution: It is difficult to breathe, this is what it is all about: The s made us what we are today. A whole country was consciously rewired to breathe in a different way. Here we are today, full of hope, with our lungs ready to digest anything at all. My country does not need another article on a scandal, an open declaration of war or a passing scoop. Today, more than ever before, my country needs poetry. Alessandra Celesia worked for a long time in the theatre, as an actress and director, developing her passion for filmmaking at the same time.
She is interested in the people of Italy, Paris and Dublin, their fragility and their humanity. Lonely hearts, at odds with themselves or with their public personas, arrive at a mysterious hi-tech house in the dark of night, to participate in a rite of lust and reconciliation. An opportunity to be relieved of pain, waiting to see if everything will have changed by dawn. Yann Gonzalez has his own personal style, as showcased in his previous short film, Land of my Dreams, where fairy-tale meets kitsch and neon lights illuminate a red background, like the dusty curtains of an old red-light district cinema.
Il sesso e la notte: My film does not aim to be a tribute to an artist I admire, but a series of portraits focused on the words of a community of marginalized figures, marked by sex and the night. And the time we are living in, behind an apparent permissiveness, sexual freedom always comes into conflict with a reactionary, conformist and fortified society.
A seguito di un ictus, Venetia si ritrova a fare i conti con un marito disabile, Conor, mutato nel carattere e nelle abitudini. Come andare avanti, superando lo spettro del confronto tra presente e passato? Le metamorfosi inattese e i tentativi di adattamento di una famiglia che deve imparare a crescere intorno alla figura di un nuovo marito, padre, figlio e oggetto di studio.
Enter Ted, a neuropsychologist from the USA, who is arguably more interested in a scientific case study than in the progress of the man, or rather, the husband that perhaps never returned. How can the family move forward, overcoming the spectre of comparison between past and present? Run and Jump follows the unexpected transformations and efforts to adapt of a family that must learn to grow around a new husband, father, son and object of study.
This, the first feature film of Steph Green, who is American by birth but splits her time between Los Angeles and Dublin, rekindles a tradition in European cinema of dealing with raw emotions and families that need putting back together. It is a type of cinema that lays bare the most intimate of spheres, welcoming a stranger — a researcher armed with a video camera, the viewer — into the family home, without needing to sweep the dirty laundry under the carpet. It is an emotional drama, which unfolds, spontaneously and freely, to the sound of cries and whispers, which dances to the rhythm of nocturnal dances and bike rides in the rain, first screened at the Tribeca Film Festival.
La sceneggiatura di Aibhe rappresentava il classic triangolo amoroso in un modo nuovo, in un mondo diverso, in cui la relazione tra due persone si sviluppava in un modo riservato e realistico, mai autoreferenziale. Durante il nostro primo incontro Aibhe mi ha detto che voleva fare un film su come le cose non vadano sempre bene, ma la natura della vita sia proprio come queste acque tumultuose e quindi vada celebrata.
This is not a story about a man adjusting to life after a stroke.
julio le parc | Nara Roesler
This is a story about a woman adjusting to a new man. The film is her debut feature film and was presented at the Tribeca Film Festival. Racconta del GAL e della strategia anti basca nella Spagna degli anni Ottanta, racconta processi, assoluzioni, sepolture e condanne. In a voice made raspy by smoking and alcohol, he recounts atrocities from the colonial wars in Angola and Mozambique, of contract killings in El Salvador assigned to him by the CIA.
He talks about GAL the anti-Basque underground group and the anti-Basque strategy in Spain during the Eighties, he speaks of trials, acquittals, burials and convictions. Paulo de Figueiredo, Chiquinho and Alcides. Tale premessa dovrebbe generare un sentimento di dislocazione per entrambe le parti. Inizialmente, la location dovrebbe essere anonima. Walter Benjamin states that History is where the singular crystallises into a fixed whole — that is our premise.
Such premise should generate a feeling of dislocation for both parties. Initially, the location should be anonymous. Gradually, what is off-screen gains weight and the awareness of a time and a place is established. I suoi film sono stati proiettati in diversi festival, come quello di Rotterdam, DocLisboa e la Berlinale.
Nel A comunidade ha ottenuto diversi riconoscimenti tra cui il premio come miglior documentario al festival Curtas Vila do Conde. Her films have been screened at a number of festivals, such as Rotterdam, DocLisboa and the Berlinale. In A comunidade won various prizes including the one for the best documentary at the Curtas Vila do Conde Festival. I bambini la costringono a cambiare vita, a calarsi nel complesso ruolo di genitore e a risolvere problemi ogni giorno, diventando una meravigliosa, totalizzante, occupazione.
La regista si mette davanti alla macchina da presa senza protezione alcuna, per un risultato estremamente intelligente e a tratti esilarante. My film Towheads is a modern-day tale of motherhood as told through the eyes of a Brooklyn mom with two towheaded blonde boys.
The film explores what it means to be a mother in current times, caught between her responsibility to her children magnified by an oft-absent husband and her need to fulfill her artistic aspirations. In a tone that is at once lighthearted, incisive and critically challenging, this is a film which refuses to shy away from or worse yet, sugarcoat the daily realities of being a mother this day and age, embodying all that is overwhelming about the greatest job on earth, without forgetting the little joys that make it all bearable.
Shannon Plumb has created, produced, and starred in over of her own short films. Her work has been exhibited internationally and have been reviewed in several publications. For many years, Cortometraggio brought with it the cinema from countries which were otherwise unknown, rebellious narrations that were not very suitable for the feature-length format and a multitude of video cassettes. With a hint of provocation, we can say that the short film no longer exists, at least not in the form it had 18 years ago. Before the explosion of portable technologies, then digital, the Web, the social networks, the revolution of advertising, the fragmentation imposed by satellite TV and the explosive overdose of images everywhere: For those who organize a festival such as the Milano Film Festival, the challenge is increasingly tough but also more gratifying.
It cannot forget that the public institutions, increasingly in difficulty, are. Il web ridefinisce ogni singolo mezzo costringendo gli autori a ragionare sul suo valore, tra passato e futuro: Here I Am, dove la morte di un mercato le vhs e le videoteche di provincia definisce la fine del momento di gloria per un outsider vero.
Nor can it forget that the multiplication of online platforms exponentially increases the possibility of seeing short formats: The web redefines every single means forcing authors to reason on its value, between past and future: La lampe au beurre du yak makes use of the archaic strength of the family portrait to tell a burning story of the cancellation of memory; Malaria documents the perennial immortality of a language, that of strip cartoons, celebrates its funeral, and the experimental Order of Service uses broadcasting via webcam of a rite that is always true to itself to show its subtle differences.
Here I Am, where the death of a market video cassettes and video libraries in the provinces defines the end of the moment of glory for a real outsider. And yet, beyond the osmotic dualism between technology and language, the short film still tried to target the subjects, the problems and the criticalities of a society which is increasingly hard to frame.
Sometimes the problem of today is crystallized in ancient and archaic forms, showing how the narrations of the past, including the ones of the cinema are up to date: A present that is increasingly difficult where, never as before this year, animals and nature take on a strongly symbolic role: The underlying bitterness of some stories must not be misunderstood: Perhaps these films photograph a stunned phase, as though a blurred view prevented humanity from really seeing, over a long distance, what the effects of its actions are.
But perhaps — and this is the real note of hope — there is great awareness, greater than that of previous generations, of what we are: As if that magic box, now as 18 years ago, were still the heart of the magic spell. In a moment of unsupervision, a beached porpoise on the coast attracts their attention. The little whale is dead, and the curiosity to open its body and see beyond the surface is too strong.
Camilla Figenschou, who has a background in photography and visual arts, has long explored the interaction between body and space. To Open, to See is her second fictitous short. Suo marito Abu Rami fa il tassista da una vita. Una mattina partono per andare a trovare il figlio e il viaggio attraverso il Libano diventa occasione per affrontare il loro matrimonio. Her husband, Abu Rami, has been a taxi driver his whole life. One morning they leave to go and see their son, and the journey across the Lebanon becomes their opportunity to confront their marriage.
The taxi breaks down, tempers fray and it becomes almost easy to finally admit the truth, until the arrival of an even more shocking admission - one that is able to raise a smile: Sabah Haider is a director, screenwriter and journalist who has studied in the UK and Canada and who now lives in Beirut, where she organises cinema workshops for young Palestinians in refugee camps. She is currently writing her first feature film. The secret hidden in a shower will change their destinies forever. At only twenty-four years old, young Belgain Arnaud Dufeys seems to have very clear ideas about love: The multi-award winning Atomes builds an intense story of a relationship in which sex and desire are at odds with responsibility, and the pain of a loss one suffers thanks to a single moment of unsustainable happiness.
Palikao Films, Premium Films. Keren Ben Rafael solca ancora il filone della commedia, supportata da una coppia di ottimi attori, padre e figlia, Hippolyte e Ana Girardot. But the father of twentythree year old Louise refuses to allow his only daughter her independence. The Northern Lights, exceptionally clearly visible for only one night, become the excuse for spending some time together. Louise seems to have reluctantly accepted the gesture as a sweet idea when, in the style of classic plot devices, there is a misunderstanding that pulls the story along and then lets it go.
It is in the final revelation that the story comes full circle, after a foray into family relationships. Keren Ben Rafael continues in the genre of comedy, supported by a pair of fine actors, father and daughter Hippolyte and Ana Girardot. Una donna li carica in auto e li porta in un grande supermercato, dove entrano insieme in tutta fretta. Grazie a dialoghi costruiti con cura e dettagli che si svelano a poco a poco, ci rendiamo conto di quello che sta accadendo. Ha il merito anche di affrontare un tema sempre attuale evitando patetismi.
Like every morning, Josephine waits for the bus. A woman loads them into a car and takes them to a big supermarket, where they hurriedly go in together. Thanks to carefully constructed dialogues and details revealed little by little, we gradually realise what is happening. Made like a thriller, the film - written and directed by Xavier Legrand - is loaded with tension that keeps the audience in suspense until the last shot.
It also bravely sheds light on an ever more current and pertinent issue, avoiding over-sentimentality. Avant que de tout perdre Just Before Losing Everything, cm New, strange productions are happening here, and this wacky trash-punk short is an example of the new wave! A story builds thanks to the voiceover taken from various episodes of Alfred Hitchcock Presents and the gestures and looks of the visitors - unknowingly caught as if they were on stage - that sometimes seem anything but random.
Affrontata la raccolta dei materiali, si procede a tentativi ma il loro scopo rimane oscuro fino alla fine. Managing to collect the necessary materials, they begin their work but their aim remains unclear until the end. Dentro, supported by an excellent contrapuntal score that slowly accompanies the discovery of an act of human solidarity, lost in a dimension without rhyme or reason. Il pilota si sta rivolgendo ai suoi passeggeri It becomes clear shortly after that this voice is that of a pilot whose aeroplane is in flames heading towards the ground, and that the pilot is addressing his passengers La nebbia delle altitudini ovatta e svela: The cold is fascinating brcause it lacks the material, the solid, and therefore the real: Exland cm , Glucose cm , Orcaille cm , Freon There no are coaches or saloons, but only much time to waste on games of skill that verge on the absurd.
In the shoes of the two heroes - taken straight from a Lucky Luke cartoon - are Pablo Nicomedes and cult actor, Denis Lavant. Shot with mastery, the film is a test of actors that fits perfectly a classic genre of cinema, while the desert is an equally perfect fit for the protagonists and their desires. Non basta la bella casa in campagna, non basta una bella donna al suo fianco: Dare corpo a uno stato mentale — il blocco creativo dello scrittore — diventa un viaggio fantastico dal ritmo affascinante.
Neither a beautiful house in the country nor a beautiful woman at your side is enough: Flytopia cm , Turning La sua riluttanza e il ritardo alla comparizione contribuiscono a deporre a suo sfavore: La camera di Jean- Bernard Marlin segue Lakbar in una passeggiata di ricerca e attesa, sullo sfondo di una Marsiglia diversa, della periferia e del suburbio. Her reluctance and late appearance do not go in her favour: She refuses any advice, however, taking the liberty of making her own decision. La fugue The Runaway, cm , La peau dure Thick- skinned Con voci e grida in sottofondo a raccontare le violenze della dittatura.
E fa i conti con il passaggio di una rivoluzione, quella tunisina, che non lascia tracce su chi non ricorda nulla e non assorbe il presente. Il primo documentario della regista canadese appena ventenne ondeggia tra quel senso di appartenenza e distanza che accompagnano ogni ritorno a casa. This is set against a backdrop of voices and shouting that tell of the violence of a dictatorship.
Mixing her personal dimension with political reflections, Joobeur questions the distance that separates the people who are close to us from the ideas that we construct of them. And shecomes to terms with the passing of the Tunisian revolution — one that leaves no trace on those who remember nothing and have no grasp of the present.
The first documentary by the director swings between a sense of belonging and a sense of distance that accompany each return home. Leggero, fanfarone e chiassoso, risponde perfettamente al credo del suo autore, Guillaume Blanchet, che dichiara: Like a trailer for a s B-movie, complete with screen tests and clapperboards in the outtakes, A Girl Named Elastika is a striking technical gem: Lightweight, boastful and boisterous, it is the perfect response to the beliefs of the author, Guillame Blanchet, who says: Rinunciando completamente alla figura umana, Home documenta il viaggio-avventura di una mobile home lungo le strade alla fine del mondo della Nuova Zelanda.
Una meraviglia per gli occhi e per il cuore.
Luca Falace
Far from the European idea of a fixed bricks and mortar home, for years prefabricated mobile homes have changed the landscape of far away places. Leaving completely human figures, Home documents the adventure-journey of a mobile home along the streets of deepest New Zealand. A feast for the eyes and the heart.
Warren Reid, Lani Minelli, P. Gli adolescenti Dexter e Kevin tentano un piccolo colpo contro gli spacciatori della zona. Niente carinerie da clay motion classica: Without being aware of it, they trigger an irreversible spiral of violence. Can a black story be told with plasticine puppets? There are none of the usual niceties of classic clay motion: Se fa in tempo ad accorgersene… V. It is an experiment rather than a complete work that highlights the possible future of the direction of graphic animation.
Discovering the reason why the head is on fire is an honour that awaits the viewer Unique British animation talent Felix Massie, who has featured in the Milan Film Festival competition in previous years, sets his story of tenderness and insecurity in an alienating American suburb where emotions go hand in hand with evil, revealing unexpected consequences. The techniques are very personal: The result is a delicate mixture of love, helplessness, sarcasm.
Magistrale la sequenza finale, dove la danza diventa protagonista assoluta e occasione di rivivere per un momento la loro amicizia. Mimi will have to face the tragic news when she wakes up and will from that moment start on a path of separation that has all the characteristics of the end of childhood. The final sequence is majestic, where dance becomes the protagonist and a chance to relive their friendship for a moment.
It is a sensitive story on the processing of bereavement and in her second short film, Myriam Magassouba constructs an admiral narrative - through a script that is careful and never banal - that reaches completion in its touching final scene. All the action takes place in front of a fixed camera with a system of changeable backgrounds - from the Forbidden City with the giant picture of Mao to the Potala Palace in Lhasa to a generic beach scene.
When the last backdrop is pulled up, the camera changes focus for the first time and reveals what globalisation and the central government in Beijing are bringing, reaching even the nomadic families. Un appuntamento al buio in un bagno turco aiuta a rivelare subito quello che si maschera sotto i vestiti. One man clean shaven and skinny, and another beardy and a bit more hefty. Two friends together in a hammam - one with hope and the other curiosity to see a woman from the internet and with whom one of the two has made an appointment.
A blind date in a turkish bath helps to reveal immediately what one hides under their clothes. For his fourth release, director Vincent Mariette chooses black and white to soften the bodies that colour would make obscene. And the hammam becomes a vivarium that hosts warm-blooded animals - men. Combina fumetto, live action, origami, kirigami, editoria pop-up, illustrazione a china, ripresa time-lapse, giochi di montaggio e altre meraviglie per realizzare, in soli cinque minuti un omaggio alla mitologia immortale del western e al fascino senza tempo del linguaggio comic.
But this dangerous killer, as always, has an ace up his sleeve. Made in six months by the Brazilian Edson Oda, on a budget of almost nothing, it is a technical marvel that is impossible to categorise. It combines comic strips, live action, origami, kirigami, pop-up publishing, time-lapse techniques, editing games and other marvels to create in only five minutes a homage to the immortal mythology of westerns and the timeless charm of the world of comic books.
It is a reminder in the age of digital wonders of the supreme power of the handmade, with paper, scissors, paintbrushes and a knife centre-stage. National Film and Television School. The clerk is inflexible, the rules are clear, and so Richard is penalised for the next few weeks. Richard is totally helpless, but this unexpected reversal of the facts leads him to do something forced by despair.
In an exasperated world, where dog eat dog is the only rule of human relationships, the only thing that counts is saving yourself even if it means losing the last crumb of humanity. Nei pochi squarci di solitudine che ha a disposizione, escogita un piano per fuggire e salvare il figlioletto. In her few moments of solitude, she devises a plan to escape and save her son. The result is a film that feels claustrophobic, jerking and striking, as if the viewer, too, along with the protagonist, is trying to find an impossible glimmer of light. Freak Independent Film Agency.
A Manolo piace fare scherzi, per fortuna Maria sa stare al gioco e si diverte. Manolo likes to play jokes, and luckily Maria knows how to play, too, and enjoys herself. One evening, however, the joke takes a nasty turn and becomes dangerous, and Manolo finds himself having to deal with the consequences of a situation that is unexpected and perhaps greater than he is. What will his girlfriend think of his decision? Con la videocamera alla mano, Noelia vaga incontrando diverse donne e presentandoci in diretta il suo strano gioco: With video camera in hand, Noelia wanders around meeting various women and presents to us her strange game: Il tono quasi infantile non inganni: Instead, the challenge, for adults and children alike, is to find new ways of coexistence.
Helsinki Metropolia University of Applied Sciences. Tra telefonate senza risposta e feste a base di improbabili liquori polacchi, il percorso prende una piega diversa. Between unanswered telephone calls and parties centred around improbable Polish liquors, the path takes a different turn. Is Olkiluoto Sindrome the celebration of the unexpected? Eye Film Institute Netherlands. Una videocamera fissa sistematicamente lo riprende, facendo gli stessi movimenti ottici nei medesimi momenti. A fixed videocamera takes footage of him doing the same eye movements in the same moments.
Through the unsynchronised and staggered audio and visuals on nine screens, one realises the instinctive perception and childlike ritualism of a religious service, where unity dominates individual elements, making them indistinguishable. She spends her days making a fur hat and winter coat because her dream is to leave for the north, towards the snowy countries that she imagines only through old souvenirs, looked at through the thick lenses of her broken glasses under the whir of the ceiling fan.
He delays her regularly because she soon forgets the urgency of her idea and is easily settled. Oslo cm , El contrapunteo cubano del querer y el poder cm doc , Cassette 1 cm , Romper el hielo: Si ride amaramente, con un occhio — impossibile da chiudere — sulla tele-apatia nostrana. But beyond the screen, who is truly happy? Romanian cinematography - the most important and celebrated of the decade - is finding ways to break away from the old model.
Cecili Falmeri is a perfect example: There are bitter laughs with one eye - that is impossible to close - on our tele-apathy. Shot with a budget of zero, it transforms a dog and a wild horse into the protagonists of an epic story of freedom. Drawing on western and adventure films, it intensifies their feature: The result is enigmatic and strongly poetic, with a blow in the final scenes that will soften the heart of even the most ardent animal hater.
Come nel cortometraggio del belga Toon Aerts, in cui Misha, Yumiko e Chinatsu, tre criminali, si ritrovano con una refurtiva fatta di provette fosforescenti aspettando indicazioni dal loro boss. Mostri e motoseghe sono gli effetti collaterali della droga perfetta, ma sono anche un piacere per gli occhi, nei curati effetti speciali e nel rapido e folle incedere della vicenda.
julio le parc
Monsters and chainsaws are the collateral effects of the perfect drug, but there is also a feast for the eyes in their special effects and the fast and crazed pace of the story. Perfect Drug cm , Dialing the Devil cm The screenplay is studied in detail and everything seems to be going well Di notte, viene tentato dalla spiritica figlia del proprietario, innamorata perdutamente di lui.
Spaventato, fugge, ma da chi scappa? At night, he is tempted by the spiritualist daughter of the owner, who is hopelessly in love with him. Frightened, he runs away. But who is he running from? A sea of blood fills the austere black and white in which Joe Hsieh —inspired by Japanese cinema — plunges his story of guilt and impossible redemption. A dream-like melodrama, where the unconscious, and above all the sex, is full of horror.
Un susseguirsi di close-up e di dettagli mostra allo spettatore le reazioni, le emozioni, i visi speranzosi e contriti di questa folla. E la giustizia internazionale? A series of close ups and detailed shots show the reactions, emotions and the faces of hope and contrition in the crowd to the viewer. What does it decide? Romeo e Giulietta non vivono a Verona, ma lungo la linea che divide Turchia e Armenia. E il canto, mai come in questo film coraggioso e inclassificabile, diventa metafora del dolore e insieme della passione insaziabile, sullo sfondo di un metaforico deserto dei sentimenti.
And to realise their dream of love, two young people defy control and power. The drama of separation is elevated in a unique mix of opera and musical, with echoes of western and native recitals. And song, especially in this courageous film, becomes a metaphor for pain against and together with insatiable passion a backdrop of a metaphorical desert of feelings.
Ma questa quasi perfezione le fa paura, la rende svogliata. Da questo piccolo incidente di percorso nasce la voglia di dare una svolta alla sua esistenza. But this almost-perfection scares her, it makes her listless. From this small hiccup comes a turning point. Actress Monia Chokri, directs her first short with an all-female cast. Pian piano, emerge una diga: Viewers follow the action through the immediacy of the handheld camera lens and lose themselves in contemplation of what it captures: Slowly, a dam emerges — it is the Morris Reservoir, California, a space that has been used for years, most notably in the Cold War, for military testing.
The result is an alienating contemplation of the structure, where games of perspective contrast with reality. He wants to wants to organise a face-to-face meeting, but to do so he must overcome many monsters, and not just those in the video game he plays. Highlighted by Filmmaker magazine as one of the of the top twenty-five indie writers of the year, Emily Carmichael has managed to give depth and feelings to 8-bit characters of 80s gaming that have until now been consigned to vintage history.
RPG OKC is an adventure story that is the frame for an entire generation that has been brought up on a diet of bulky joysticks and consoles and that today loves to delude itself with Facebook dating - a short circuit in which it is easy to be trapped. Il cambio di habitat li lascia disorientati e la videocamera, a volte abbandonata a se stessa, ne testimonia il vagare per la stanza. A cavallo tra documentario e cinema sperimentale, per il regista giapponese Hirofumi Nakamoto si tratta di un film di fantascienza nato e interpretato dagli animali stessi.
The change of habitat leaves them disorientated and the video camera, sometimes left to record remotely, is evidence of their wandering around the room. Straddling the line between a documentary and experimental cinema, for its Japanese director, Hirofumi Nakamoto, it is a science fiction film that has come from and stars the animals themselves.
For them, deep space is an unknown hotel room while viewers are in awe of their size and their movements on the screen, it is a fantasy film borne out of animal instincts. He has always loved women, but as goddesses out of his reach. A documentary on a corner of real and imaginary life, one which has rarely been told from such a human point of view.
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It is to the credit of the directing duo Mattia Coletti and Carlo Migotto that they were able to listen without invading on their protagonist, instead respecting him in his grace and ingenuity. La finzione si sostituisce al documentario per permettere ai due di incontrarsi di nuovo. Fiction replaces documentary to allow the two to meet again.
A poetic and intimate work with a single backdrop that was wanted - together with 17 other shorts from emerging talents - by the artist Olafur Eliasson to bring Little Sun into the world, a solar lamp designed for countries with poor power supplies. Razvan Oprea, Madalina Constantin. Ma forse non basta. Protagonista premiata a Clermont-Ferrand; cameo di Firmine Richard nel ruolo della psicologa. The initial impassivity of the interpreter could crack as he slowly understands the isolation of the victim. Inspired by the true story of an interpreter, Jedlicki and Badea focus on the contrast between the coldness of the procedure and the empathy that develops towards the victim.
The protagonist won at Clermont-Ferrand, while there is also a cameo appearance by Firmine Richard as the pyschologist. Things, however, start to take a turn for the worse, and the spiral of events drags the protagonists towards a tragicomic ending. Resiste la nonna, che racconta di sfratti imminenti, insofferente alla politica delle parole che restano un fatto soltanto in potenza.
Raffael si aggrappa alla vita, domandando con tenacia della madre lontana. Doc e finzione si sfiorano: The grandmother, who tells of imminent evictions, intolerant of politics full of empty words, hangs on. Raffael clings on to life, wondering about his absent mother, hanging on in a dead-end job, selling cigarettes on the street after school. Documentary and fiction meet: Cosa decidiamo di conservare? Only in appearance, for in Swahili there is no exact term for this concept. Instead, there is a word borrowed from foreigners, while in Swahili it remains indistinguishable.
What do we decide to conserve? Is the contemporary world capable of making such a choice and judging itself from the right distance? Will we see the image that is being searched for? What counts, perhaps, is the vision of a path towards the search for an image.
Les Voiles du partage condensa in otto minuti un action movie completo, sporco e degradato, misogino e cattivo, regalando risate e allo stesso tempo costruendo un credibile personaggio icona in tono minore. He will prove himself with his fists, but he will demonstrate, too, that he has a heart.
Les Voiles du partage condense into eight minutes a complete action movey that is dirty and degrading and mysogynistic, giving us laughs and at the same time building a credible iconic character in a minor key. Un cortometraggio che ci racconta una storia europea, spesso nota, purtroppo, sotto altre vesti meno allegre. The whaled women have arrived, and finding a place for them in society will not be easy.
A 2D animation produced in Sweden by duo Ewa Einhorn and Jeuno Je Kim, it immerses the viewer in a barely politically correct, sarcastic comedy that also reflects on the value of immigration and diversity. It is a short film that tells a little known European story unfortunately told often under a less happy guise. Here, instead, the humour and the intelligence is thought-provoking.
The summer day passes slowly, and Tony suggests to Roberto the extravagant idea of a musical tour for Australian high schools. The preposterous proposal hangs in the air, like in the following scenes that the director, James Vaughn class of inlays knowingly like vignettes in a screenplay apparently without rhyme or reason, but that restores sense to abstract relationships, suspended and fragmented. Eppure il cuore guarda ancora indietro, alle scorribande, le frenesie amorose, le crisi da banco di scuola, gli amici.
Anche il Milano Film Festival diventa adulto con una marea di ansie nel cuore. E abbiamo fatto un ragionamento. Da qui nasce 18 Anni: The mind is subjected to a being bombarded with ideas on maturity, adulthood and rites of passage, the things that can be done and the things that can no longer be done. Nevertheless, the heart still looks back, to crazy adventures, puppy love, problems at school and friends. The Milano Film Festival is also becoming an adult with its heart filled with anguish. Behind it, hundreds of young authors discovered, on whom we have placed our stakes, wagering on an edition, a screening at night, a workshop.
Ahead of us, the panorama of a grey world, where they tell us that a festival is no longer a game, whilst the resources dry up, becoming more and more valuable. Wondering how to properly celebrate this passage to adulthood, we decided not to fall into the strap of sterile auto-celebrations, which we really do not pull off well. We began to reason. They are, to all effects, playmates, even though only for one summer, who we meet again today as authors of a proudly mature cinema. Some come from boxes of secrets relegated to a corner in the archive, in the dust and opening them again has been revealing, almost an epiphany.
A motive of pride for the Milano Film Festival, which confirms how, over the long distance, investing in short films has borne its fruits. La seconda sezione si chiama, con orgoglio, The Platinum Collection: Un come eravamo con un pizzico di nostalgia per dire ancora: These films have never been screened before in Milan, and where the public can set to looking for the distinctive elements of the style of this or that filmmaker. The second section is proudly called The Platinum Collection: The principle is the same: The way we were with a hint of nostalgia to still say: Come regista ha diretto tre lungometraggi e svariati corti.
Era nel concorso corti del MFF nel con Nunta lui oli. He has also directed three feature-length films and various shorts. He was in the Milan Film Festival short film competition in with Nunta lui oli. Nella sezione Incontri italiani ha presentato i suoi film Murgia e Aiuto! Orde barbare al Pratello. In the section Incontri italiani, he presented his films Murgia and Aiuto! He was a judge in the feature-length competition in The Milan Film Festival has had three of his films in competition: Ha girato tre lungometraggi.
He has made three feature-length films, and in he was a member of the jury for the short film competition at the Milan Film Festival. Dalla fotografia alla performance, ha costruito un percorso personale irriverente, smaccatamente queer ma con un fondo politico. Tra corti, video musicali, filmati per il web e altri materiali, non si contano le sue realizzazioni. From photography to performance, he has built a personal journey that is clearly queer but with a political basis. From short films, music videos, films for the web and other materials, it is impossible to count his achievements.
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Beniamini del MFF, sono anche musicisti e inventori. They are tireless researchers on everything ranging from animation to documentary research. The darlings of the Milan Film Festival, they are also musicians and inventors. Entrambe le volte in cui ha partecipato al concorso corti del MFF, nel con Carlitopolis e nel con Capucine, ha vinto il premio del pubblico. His esteemed career in television and advertising has allowed him to develop a unique taste for the tricks and magic of video, which make themselves clear in unpredictable and surreal works.
Both times he has participated in the short film competition at the Milan International Film Festival — in with Carlitopolis and in with Capucine — he has won the Audience Award. One of these, Protoparticulas was in competition in the Milan Film Festival in Il loro Domenica 6 Aprile, Their Domenica 6 Aprile, Passa brillantemente dalla fiction alla sperimentazione visiva. He moves brilliantly from fiction to visual experimentation. He has directed a feature-length film, The Invader, and he has often been the headliner at shows around the world. He was on the jury for the Festival.
Prisons, parte di una trilogia. Prisons, part of a trilogy. After Glue in , a small work in hundreds of international film festivals, he arrived at the Milan Film Festival in with his second work, Unmade Beds. His short, Come a Cassano — in competition at the Milan Film Festival in — has become festival cult, receiving a prize in , too.
La sua memorabile discesa in di Lauberhornrennen im sommer era in concorso al MFF nel His memorable Lauberhornrennen in sommer was in competition at the Milan Film Festival in She has made two feature-length films. With his Coma Film production house, he has made many shorts — both online and for festivals — becoming well-known for his no holds barred sarcasm and his ability to photograph with humour an Italy full of contradictions.
He has been in competition with Il pianeta perfetto and Qualcosa di mai visto. He has made two feature-length films, and some documentaries and shorts. Comment briser les consciences? The lives of illegal immigrants and of those who are in the waiting room of History, the violence of rafles and of bureaucracy. The revolution of a filmmaker who attempts to unhinge the conformity of vision, categories and habits that have now become settled, acquired certainties, considering work in the field only as the starting point of a continuing dialogue, an exploration that returns on several occasions to the filmed material in order to explore its crevices, identify new openings and try and subvert the established order.
Ce ne puoi raccontare la genesi? Forme sperimentali che diano spazio a voci inascoltate, a gesti ignorati dai media dominanti. Ci sono silenzi magnifici che si possono intendere come tali, altri che fanno un enorme rumore, che urlano per essere ascoltati. Come fossero parole mute, parole mai consegnate al destinatario, che arrivano dal passato e attendono di emergere, di raggiungere la superficie, trovare un posto nello spazio e nel tempo. Come figure abitate da rabbia sorda, gioia meravigliosa, sentimenti di euforia, disperazione profonda, arrivino a sciogliere la propria rabbia e trovino il modo di rendersi visibili, di farsi udire.
Can you tell us something about its genesis? It was a question of finding a title that could reflect the meaning of my work and at the same time refer to the workshop with young Milanese filmmakers which I will conclude during the festival. The first question I ask myself when I work is how to identify new cinematic forms that can meet the questions that we all ask ourselves on our relationship with the world.
Experimental forms that give space to unheard voices, to gestures ignored by the dominant media. Silence is not always silent. There are magnificent silences that can be understood as such, others that make a huge noise, which scream out to be heard. As though they were silent words, words never delivered to the addressee, that arrive from the past and wait to emerge, to reach the surface, to find a place in space and time.
How figures inhabited by a voiceless rage, marvellous joy, feelings of euphoria and deep despair can unravel their anger and find the way of becoming visible, of being heard. Attention is the required attitude of the filmmaker. Oggi vige una separazione netta tra estetico e politico. Le discipline vengono considerate autonome: Today there is a clear separation between aesthetic and political.
Disciplines are considered autonomous: An ideological position according to which the most popular elements of society do not have the right to citizenship in modernity, or at least in the successful interpretation of modernity. Moreover we can do what we want with experience. In Godard, for example, it is clear that the relationship of the individual with the city or of the individual with other individuals in the city, is a political relationship.
Sono cresciuto tra gli immigrati algerini di seconda generazione, la prima nata in Francia. Non fanno parte della mia formazione. Mi interessa mostrare come le politiche sulla migrazione poggino su uno stato di eccezione temporaneo. There is no way the two things can be separated. The cinema is not the way to produce the absolute work of art in the style of Wagner, but a way to put different domains into relationship: And the camera is a means to paraphrase, define and construct a relationship between the self and the world.
It is work that concerns the present, time, space and identity. It is a constant movement that not necessarily has its origin in a biographical element, but it is nevertheless an intimate work. I work on elements that come from my personal story and from my childhood, but I do not think that my work simply comes from the fact that when I was young I had the experience of the first protests in the suburbs of Lyon where I grew up. It was there that I was confronted, for the first time, indirectly, to racial, political and territorial differences, with discrimination.
My parents had given me a template of thought that guided me and I was sensitive to injustice, but these are not conditions that determine work and subsequent choices, at the most, they nourish it. Anders accused Marxism and Western philosophy of never having carried out the Copernican revolution, he denounced the metaphysical vanity of the human being, the idea of a man-sun around which the whole world rotates. Deleuze introduced the idea that politics is nourished by philosophy: I am interested in showing how policies on immigration are based on a temporary state of exception.
A space suspended between the exception and the rule. This is the territory on which I have worked. I have done so because the immigration policies of the past 25 years or so in Europe have represented a laboratory where to experiment and prefigure policies of the restriction of the funda-. E questo espone una drammatica contraddizione. Rimettendo in discussione la natura democratica delle nazioni europee. E del modo in cui si costruiscono e si reggono.
I migranti vengono a soddisfare un bisogno del mercato. Gli immigrati non sono solo quelli di cui favoleggiava Nicolas Sarkozy. As Straus says, in the optic space, objects are distinguished and identified thanks to the boundaries that separate one object from the other: The acoustic space, on the contrary, is homogenous in the sense that it is not divided into portions that are at a certain distance and in a certain orientation towards us. We inhabit the acoustic space and the sounds in it fill the whole space, being all around us.
In this sense, the acoustic space is not the space of measurable distances and directions. In particular, according to the author, the optic space is the one of the measured, practical and goal-directed movement, whereas the acoustic space is the one of dance, and more generally of expressive movements Straus Both kinds of movement, in fact, involve extensions of arms and legs, bending of knees, rotations of the head or the trunk, and so on. This allows a goal-directed movement to become an expressive one. For instance, a goal-directed movement such as walking to reach a certain place can become an expressive movement if we start walking following the melodic and rhythmic course of a march.
In this case, the same motor elements acquire a new quality: Walking with music, we entrain with its rhythm and we are able to express, through movements, the dynamic qualities we find in music and the affective responses it elicits in us. They also pertain to different modes of living and experiencing the space around us.
As we said, goal-directed movement is the movement of the optic space; expressive movement is the one of the acoustic space. Indeed, Straus notices that certain kinds of movement, such as dancing or marching, appear as meaningful and reasonable to us just if they are performed with music. Music itself allows spatiality to show those specific features that make us perform expressive movements, as different from goal-directed ones. In this sense, music does not induce any movements, but movements of a very specific kind Straus In this kind of movement, distances and directions have a fundamental role.
If I need to walk to meet some friends I have an appointment with, I need to evaluate the distance between the departure point and the arrival one, as well as the direction I need to take. In goal-directed movement, we move from a spatial point to another one, directing and orienting ourselves towards a destination. As Straus says, we move through space, from one place to another Straus It is clear why the optic space is the one in which this kind of movement takes place.
The optic space is measurable and characterized by distances and directions that are often defined starting from the zero-point of our embodied position in space. In other terms, the optic space is the form of spatiality in which a great amount of practical affordances can emerge for us. In this kind of movement, we do not move through space, but in space Straus Let us think of dancing, for example. When we dance, we do not move just in order to reach a different point in the surrounding space: Better, their role is completely re-defined and subordinated to the expressive features movements are planned to convey.
In dancing, we are not interested in measuring the space we move in; our movement is not limited by points of departure and arrival and loses a strict orientation in space. As Straus says, this is shown by the fact that in most cases dance floors do not need to have a specific shape Straus Dancing is not influenced by the orientation or shape of the space in which it takes place because it is not a goal-directed kind of movement, with a place to leave and one to reach.
In this sense, it is non-directed and non-limited. Indeed, the acoustic space is not characterized by directions and distances, but it is filled up completely and homogeneously with sounds. As we previously said, sounds themselves — or, better, music itself — create this kind of spatiality that, having no structure of orientations and directions, precisely allows a kind of non-directed and non-limited movement such as dancing. Movements in dancing are not oriented at achieving a practical goal but at expressing affective valences Straus For instance, Straus notices that in dancing we move our trunks much more than in goal-directed movements.
In walking, for example, we tend to shake arms together with legs, but we do not particularly flex the trunk. The latter is quite rigid and helps us keeping the upright posture. Movements such as twisting the trunk, bending down, or swinging are not useful to walk and they can even hinder such a movement Straus In several styles of dancing, on the contrary, movements of the trunk are central and are in a relation of deep mutual influence with movements of pelvis, arms, and legs.
This is a very widespread movement in dancing, whereas it is experienced even as unpleasant and inconvenient in a goal-directed movement such as walking. According to Straus, this is due to the loss of orientation that rotation provokes.
This appears as non-problematic in dancing, where directions and orientations do not have a central role, whereas it appears as upsetting in goal-directed movements where we need to orient and direct ourselves to achieve our goals Straus As rotating, moving backwards is recurrent in dancing but it is avoided in goal-directed movements since it does not allow the subject to see the direction in which she moves and to orient herself in the most convenient way.
In expressive movements, in fact, movements are selected based on their expressive power, not on their usefulness to direct oneself from one point in space to another one. As we know, Krueger maintains that in episodes of deep-listening we can enact music perception since we can bodily interact with the music profile. The movements of our bodies — and the animate body itself — act as vehicles of drawing out specific features of the piece and as ways of responding to felt affordances. In this way, the sonic space comes to be inhabited by the listener.
The hypothesis of this paper is that something more can be said about the sonic space and the movements involved in the enactment of music perception. Secondly, the idea is to specify the nature of the movements of entrainment. Such movements are not of any kind: Obviously, tapping fingers is not as expressive as dancing is; however, both movements are characterized by the fact of being not oriented to achieve a practical goal and not defined by the need of moving in a specific direction or with a specific orientation.
We are often physically drawn into music and we can move with it, entraining with its rhythm and following its melodic and harmonic contour. Yet, music does not elicit any movements, but movements of a specific kind. The latter are oriented by their practical goals, the former have no practical aims and are not limited by a strict system of directions and distances to follow.
Even when a goal-directed movement becomes an expressive one — as in the case of one starting walking following the rhythm of a march — it acquires new qualities and does not remain just a goal-directed movement. Arms and legs start moving in synchrony with rhythm and their movements become somehow interesting in themselves. An introduction to philosophy of mind and cognitive science , London - New York, Routledge.
Studies in the Phenomenology of Constitution, eng. Art beyond the Skin , Exeter, Imprint Academic: Clarke eds , Music and Consciousness: Un dialogo nello spazio della fenomenologia , Milano, Mimesis, She has described deep listening as a voluntary, selective inclusive and exclusive way of listening, which is based on bodywork, interactive performance, sonic meditations.
See for instance Oliveros Sommario - Documento precedente - Documento successivo. Termini di indicizzazione Keywords: The enactive theory of music perception. Testo integrale PDF k Invia tramite e-mail. Navigazione Indice Autori Parole chiave. Presentazione Presentazione della rivista Comitato e direzione Procedure di selezione dei testi Norme editoriali Call for papers Informazioni Contatti Crediti Publishing policies.