Archivi categoria: English version

“Hele sa hiwagang hapis” (“A Lullaby to the Sorrowful Mystery”) by Lav Diaz

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Andrea Bagnasco

Translation by: Silvia Cometti, Miriam Todesco

When watching an eight-hour movie, the story starts vanishing in one’s mind, what one remembers of the past gets blurred, preventing him from linking all the points, what one may think about the future becomes little by little unsure and one finds himself lost, tightly attached to the present and to this monumental film by Lav Diaz.

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“Ilegitim” by Adrian Sitaru

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Matteo Ambrosino

Translation by: Riccardo Abba, Barbara Lisè

 

Ilegitim is a film directed by the Romanian filmmaker Adrian Sitaru, it was presented at Berlin Film Festival and won the Golden Duke at Odessa Film Festival. The film portrays with great sensitivity the subject of incest between twin brother and sister.

The movie, a collective and domestic drama, revolves around Victor, a widowed doctor with a lumbering past as an antiabortionist whistle-blower during the dictatorship. A severe guilt that breaks the family apart when, during a dinner, the truth emerges: Victor allegedly impeded many abortions in order to uphold both the law and personal ethical beliefs.

Continua la lettura di “Ilegitim” by Adrian Sitaru

“La loi de la jungle” by Antonin Peretjatko

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Sofia Nadalini

Translation by: Silvia Restelli, Chiara Tomasetta

In my experience as spectator, in general, French films are either really serious or not serious at all (in both cases in a positive way, according to my point of view). La loi de la jungle belongs to the second category, not only because it is a really funny screwball comedy (and more), but also because it becomes really parodistic and satiric to a world, the one of the political and economic European laws, that is extremely bureaucratic, absurd and crazy, without any touch with reality.

Continua la lettura di “La loi de la jungle” by Antonin Peretjatko

Gabriele Salvatores – A talk about cinema and music

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Mattia Capone

Translation by: Elisa Grattarola, Elena Salama

“I wanted to be a musician but since I wasn’t fast enough as a guitarist, I dedicated myself to the cinema”. Clever as always, Gabriele Salvatores introduces himself with these words at the event held on Monday 21st of November, entitled A talk about cinema and music.

In the suggestive location of the Intesa Sanpaolo Skycraper’s auditorium, we attend a very interesting conversation between the guest director of this TFF’s edition and Alberto Barbera, director of the Cinema National Museum. The meeting unravels as a chat between friends who love cinema, and this set up is widely appreciated by the audience in the room.

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“Animal político” by Tião

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Silvia Villani

Translation by: Andreea Catana, Francesca Sala

“I am the monolith. I’m a block of black, cold rock, standing in the middle of the desert. We are a forest of eucalyptus. Those who look at us from afar can see us one next to the other, but when the observer comes closer, he will realize that we’re far more apart than he thought”. That’s how the stream of consciousness of Tião’s bovine ends, at the end of a surreal journey full of unsolved questions, to which, maybe, there’s no answer.

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“The Alchemist Cookbook” by Joel Potrykus

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Mattia Capone

Translation by: Andreea Catana, Francesca Sala

The young and alienated Sean isolated himself in a caravan in the woods, where he starts doing research in the field of alchemy, along with his cat Kaspar as only companion. On the run from a society where he never really found his place, his brother represents the only connection with the civilization by providing him with the most bizarre equipment and materials for his alchemical experiments.

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“Romeo and Juliet” by Kenneth Branagh

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Annagiulia Zoccarato

Translation by: Silvia Cometti, Miriam Todesco

After last year success of Hamlet, played by Benedict Cumberbatch, the Torino Film Festival and the British theatre are united once again (Nexo Digital is responsible for distribution in Italy). This year, it’s time for another classic Shakespearean play: Romeo and Juliet. The tragedy of the star-crossed lovers has been adapted in many forms during the years: from Zeffirelli’s classic to the colourful Romeo + Juliet by Baz Luhrmann; set among Puerto Ricans in New York and in Nazis Prague. This year, the audience had the opportunity of tasting the London theatre scene of last season, thanks to the production of Romeo and Juliet, as staged by The Kenneth Branagh Theatre Company, the theatre company founded by the famous actor.

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Erase Everything I Said About Love by Guillermina Pico

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Marco Bellani

Translation by: Andreea Catana, Francesca Sala

Showing up at a film festival with a film without plot and actors, it is the leap of a fish outside water or the hazard of who knows how to swim upstream.

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Pyromanian by Erik Skjoldbjærg

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Valentia Di Noi

Translation by: Giulia Epiro, Chiara Mutti

Pyromanian is a movie by the Norwegian director Erik Skjoldbjærg, who was already well-known for Insomnia (1997), which Christopher Nolan signed to remake.

The film is set in 1981 in Finsland, Norway. Son of a fireman, Dag is a reserved young man, who, after the military service, goes back home to his family. From the very beginning, he clearly appears to be a weird character, as he is morbidly attracted by the fire. As a matter of fact, the viewer knows for the whole time that it is him who sets the neighbors’ houses on fire Continua la lettura di Pyromanian by Erik Skjoldbjærg

Roberto Bolle – L’arte della danza by Francesca Pedroni

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Bianca Beonio Brocchieri

Translation by: Riccardo Abba, Barbara Lisè

There are only two male dancers that have really set a turning point in the history of classical ballet. They have been great innovators, men that have been able to set the foundation for a new era. The first one is Rudolf Nureyev. The other, Roberto Bolle. It is very rare for a dancer to be compared to Nureyev, who is almost unanimously considered one of the greatest of the 20th century. But Bolle and Nureyev share a common characteristic besides, needless to say, a superhuman talent: they tore down the boundaries of classical ballet, reaching a larger audience and rewriting the rules forever.

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Yoga Hosers by Kevin Smith

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Silvia Villani

Translation by: Silvia Restelli, Chiara Tomasetta

Thanks to what they have learnt in yoga class, two young girls fight against a würstel-looking Nazi army with a bad copy of Jason from “Friday the 13th”. After having turned the terrible creature into cheddar paste, the only thing the girls worry about is not having their smartphones with them to immortalize the event. This is Yoga Hosers by Kevin Smith. It is the standard-bearer of the new Z-movies: a fair budget, a carefully chosen cast with some relevant names from the American movie industry and a specific attention to the filmed material both before and after the shooting.

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Notte Horror TFF34

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Mattia Capone

Translation by: Federica Betti, Ilaria Loiacono

After last year’s success, the Horror Night returns to the Torino Film Festival 2016. They projected three consecutive horror movies from midnight to the first lights of dawn. The event was widely expected and a lot of people were queuing in front of the movie theatre Cinema Massimo. The audience warmly welcomed the announcer of the Horror Night, Emanuela Martini, with applauses and enthusiasm.

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Lady Macbeth by William Oldroyd

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Annagiulia Zoccarato

Translation by: Elisa Grattarola, Elena Salama

As soon as the closing credits – no music in the background – rolls down, the theater is immersed in an absolute silence, because what has just been watched goes beyond any expectation. It is rather shocking.

William Oldroyd – well-established theater director, who made a couple of short movies – achieves the full-length movie, transferring on the screen the adaptation of the novel by Nicolaj Leskov, Lady Macbeth of the Mtsensk District. With the complicity of the screenwriter Alice Birch, he transforms it, though, into a story that could be easily written by many British authors of mid-1800s. Almost as if was a gothic and gloomy version of the Brontë sisters’s intrigues.

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Porto by Gabe Klinger

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Carlo Montrucchio

Translation by: Federica Betti, Ilaria Loiacono

A city where students and seagulls live happily together and where, after losing their freedom, both Jake and Mati find solace. The two main characters are Jake, a young but misfit boy who is keen on doing any job just to flee from his family impositions, and Mati, an attractive and brilliant student, afflicted however by an existential discomfort. They venture in a star-crossed love, doomed by fate.

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Each chapter of the movie, named after the main characters, wants to show the new life they now have together. This life will soon fade, leaving behind a melancholic memory of an evanescent feeling, that the audience can also find in the blurry frames, immersed in neon lights and jazz rhapsodies. The impressionism and the underground atmosphere resulting from the movie, produced by Jim Jarmush, melt with Bertolucci’s echoes of purifying sex scenes of two “trapped” souls. The actors’ bodies of Lucie Lucas and Anton Yelchin (to whom the movie is dedicated, due to his untimely demise) are concrete symbols of a love destined to remain a faint memory lost in time: Mati’s fleshy lips and soft shapes are in contrast with Jake’s sinewy and oaky build, not far from the representations of Egon Schiele; in fact, the two main characters are locked in an “Embrace” and they wish it to never end. But the pretext of telling a fleeting and saving love ends up getting lost in excessive temporal shifts and protracted sex scenes, so the spectator risks to lose all the references and is pushed inside a bare apartment with candles and boxes.

Press conference: Gabriele Salvatores and his Cinque Pezzi Facili

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Giorgia Bertino

Translation by: Chiara Mutti, Giulia Epiro

Last but not least in the busy morning is the press conference with Gabriele Salvatores, guest director for the 34th edition of the TFF. He was inevitably asked about the Cinque Pezzi Facili, naming five films he chose to include in one of the sections of this year’s festival. His favorite feature, says the director, is undoubtedly Jules et Jim, both emotional and delicately evocative and also the loyal keeper of a young Salvatores’ memory, who from ordinary viewer became an aware cinéphile.

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Sully by Clint Eastwood

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Marco Bellani

Translation by: Silvia Cometti, Miriam Todesco

Almost ten years after “Gran Torino”, Clint Eastwood is back with another means of transport as a vehicle of ideas, stories, values. Then, it was a legendary Ford, symbol of national identity and anti-racism; now, it is the Airsways 1549 scheduled flight, driven by Captain Chelsey Sullenberger. Or, more simply and tenderly, it is like a “Cactus” flown by Sully in New York’s skies as if it were a kite.

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Antiporno by Sion Sono

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Mattia Capone

Translation by: Andreea Catana, Francesca Sala

Excessive, reckless, maverick, unscrupulous. But Sion Sono has also got flaws.

Before talking about  Antiporno, it might be better to explain what watching a movie by this incredible Japanese director really means.
Have you ever heard people saying “Asiatic movies are far too complex, I can’t understand them”? There you go, I’m sure that not even Asians can “understand” Sion. At least not at the first viewing.

Continua la lettura di Antiporno by Sion Sono

Operation Avalanche by Matt Johnson

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Luca Bellocchia

Translation by: Riccardo Abba, Barbara Lisé

Operation Avalanche begins as a found footage comedic mockumentary, turning quickly into a very engaging thriller. This combination of genres results in an intriguing film, providing many plot twists.

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OPENING PRESS CONFERENCE OF THE 34TH TFF

Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale

Article by: Marco Bellani

Translation by: Silvia Cometti

Every year, a colourful caravan comes to town to celebrate its major institution (cinema), in a jamboree where everybody is welcome, from the most unknown dreamer to the most renowned film critic. For its 34th edition, the Torino Film Festival flaunts an uncommon dress, purple as punk and black as a horror picture.
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Return to Spoon River by Francesco Conversano and Nene Grignaffini

Article by: Giulia Conte

Translation by: Lorenzo Matarazzo

Nene Grignaffini and Francesco Conversano dedicate a film to the Spoon River Anthology to celebrate the hundred years from the publishing of the famous poetry collection by Edgar Lee Masters. The movie was shot in Lewiston and Petersburg, Illinois, where the current inhabitants of those places read the compositions in their houses’ rooms. Slow pace, even too much sometimes, but a particular idea for sure. 104 minutes of traveling through small towns which tell the tale of the provincial America and the lives of those who live there.

All of the characters who read one of the epitaphs, identify themselves with one of the protagonists from the book, as if the latter were speaking of their lives too.

“All, all, are sleeping on the hill.”

Time is still, and the film moves from house to house, listening to the story of everyone. The feeling is that the inhabitants of the two cities are lazily living their lives, stuck like the Spoon River characters, who, and here lies the difference, were dead. As it is well known, life in suburban America can be many things, except easy and fun. This narration is a clear example of what means living isolated and almost imprisoned in cities, which might be big under the aspect of territorial extension but empty and not interesting on a cultural level.

One of the Lewiston citizens reads one the most touching sentences from the Anthology:

“It takes life to love life”

This to say that a certain kind of spirit is needed to love life, despite living there.

The Spoon River Anthology is a work written in 1915, which is still very contemporary today: George Gray said:

Yet all the while I hungered for meaning in my life.”

And I think that this is a very common thought, shared by anyone of us, just like it is by the characters of the movie.

The work of Grignaffini and Conversano is entirely focused on this aspect, i.e. passing on the hunger for life and the willingness of persons to tell themselves, in order to give life to an film that, although not easy in its comprehension, is moving and makes one think.