Archivi categoria: English version

TorinoFilmLab – Mr. Kaplan

Mr Kaplan
Photo source: www.tercerojo.uy

Article by: Fabio Olivetti

Translation by: Greta Moroni

 

Mr. Kaplan is the second film by Alvaro Brechner, a director who had a great personal success in 2009 with Mal día para pescar. He gets back to film direction thanks to the Torino Film Lab, too.

Jacob Kaplan lives in Montevideo, Uruguay. He lived the atrocities of the Nazi persecutions in Europe and did not forget his Jewish origins. When he hears that a German man lives and works near him, all the terrible feelings related to the period of the Second World War resurface. He knows about what Simon Wiesenthal did in 1960: he worked for the seizure of the Nazi Adolf Eichmann. In the same way, with the help of a family friend, a former police officer, Jacob tries to carry out investigations in order to arrest his enemy and move him to Israel for the trial.

This event will push the protagonist beyond his physical limits trying to pursue his ideals and maintaining his dignity. He’s trying to get his revenge, which is within his reach.

In this film both comedy and detective story features are perfectly mixed together. There are comical situations, based on the personalities of the two main characters. One is determined to reach his goal, while the other one wants to find a way to regain his family’s respect.

This film is the boast of the Torino Film Lab. It has been chosen for the 2015 Oscar nomination for best foreign language film. It is a funny but undoubtedly composed film, which encourages defending your ideals as well as pursuing justice and truth, even many years later.

 

FELIX ET MEIRA: A PURE AND SILENT LOVE

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Article by: Karima Vinti

Translation by: Giulia Magazzù

Felix and Meira are completely different. He leads a life without responsibilities and family ties. His only concern is to squander the legacy of his father. She is a young Jewish woman, married and mother of a child that lives bored inside of her community. There is no strange connection between them, yet they meet by chance and fall in love.

Although set in a present-day Montreal, this romance unfolds like an episode set in another century. From the first shots, you notice the strange dresses in this Jewish community that recall the costumes of the past century. The women wear clothes that do not emphasize their femininity and their task within the community and their family is very narrow: they must ensure procreation, sometimes giving birth to six, eight or even fourteen children.

However, all these things fit Meira snugly. She loves listening to contemporary music, drawing and living like a normal person, but her husband forbid all these activities. When she meets Felix, his extravagance manages to conquer her heart, while undermining all the certainties of the woman.

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‘Felix et Meira’ is the third work of the director Maxime Giroux, who has already participated at the Turin Film Festival in 2008 with his first full-length film ‘Demain’.

The director states to have shot this film taking into account the vulnerability and restlessness of the characters, trying to follow with the camera all their movements and trying to seize their humanity. He portraits a love story that seems difficult, and yet stronger than any social restriction. Within the film nothing is emphasized, not gestures, not words nor their love. It is a pure and silent love that looks for a way out to get in with the long-awaited happy conclusion.

Qui

Article by: Elisa Carbone

Translation by: Licia Ficulle

 

“Qui” (“Here”): a simple word composed of only three letters.

Anyone hearing this word gets confused, with an unconscious question mark impressed on their forehead, because that single word doesn’t explain the theme of the film. However, since the first scenes we understand that this adverb, “qui”, is related to a place, a specific location in Piedmont: Val di Susa. Everyone knows at least something about the thorny matter of TAV, or rather NO TAV. Sincerely, I expected grouches and quite irascible characters, but I made a mistake. In fact, the first protagonist chosen by Daniele Gaglianone (the director of La mia classe, I nostri anni and La ferita, his lasts film) is a middle-aged woman, a smiling pilgrim who goes every day to Chiomonte because of religious reasons. Unfortunately, since the construction site for the Turin-Lyon high-speed train started, part of her itinerary has been closed with an unusual barbed wire fence used only in Israel, so the woman is forced to walk.

Gaglianone introduces ten Val di Susa’s people, who suddenly have been surrounded by building sites, new insurmountable boundaries, and the commitment to exhibit their ID’s many times to functionaries; no matter if their houses are close and previous to those new fences. We don’t know the names or something else about the characters; we know just what they narrate during the interview. There is the Radio Blackout speaker who recalls the tragic moments during a police’s riot attack: he wanted to describe what happened but he couldn’t speak with the gas mask, so he removed it and tried to breath in spite of tear-gas. The mayor of Venaus says: «I was on my citizens’ side, knowing to be on the State side: on the other side (with reference to the police during the attacks) there was something more».

And there is even an old nice lady, a farm owner in this area “NO TAV”; she recalls her protest against the demolition of a house: she chained herself, with handcuffs bought in a sex shop, and she didn’t even know how to open them.

“Qui”, narrates histories of “normal” people, citizens that demand justice to a State who never asked them anything about the TAV project, a State who destroys their land and puts in danger the health of everyone (everything written in the official project), and moreover, a State who «deletes the human dignity linked to everyday life».

This documentary is surely “biased” but it would be helpful and educational to broadcast it on network at national level, where the NO TAV supporters are usually presented like violent and irrational people.

Maybe we can understand why these people rise up against TAV. This problem does not concern, only, Val di Susa’s area because, as Gaglianone explains: «the stories reveal, behind the urgency of the event and the modernity, a dimension that goes beyond the triggering causes of the conflict. So, “qui”-“here” is not elsewhere: it is everywhere».

And that is why everyone should be interested in it.

YOUNG BODIES HEAL QUICKLY, AN ATYPICAL ON THE ROAD FILM

Article by: Matteo Merlano

Translation by: Giulia Magazzù

 American experiments ride along familiar roads. Filmmakers play with pre-existing genres, distorting, shrivelling and demolishing them. It is the case of this bizarre film by New Yorker director Andrew T. Betzer, which already been presented at the Tribeca Film Festival and has now landed in Turin in the Waves section. The film portraits the flight of two brothers (Gabriel Croft and Hale Lytle), guilty of the murder of a girl, through a disorienting and lost America, inhabited by freaks, nostalgic for the Reich and the war in Vietnam (as the bizarre character of an old “freak”).

Betzer depicts an unforgiving portrait of his country shot in a quite handcrafted way. ‘Young Bodies Heal Quickly’ shows us a lost and crazy version of the US, just like the two young protagonists who are running around the country without an existential reason. So far, the idea is interesting and the dirty and blurred photography conveys this alienating effect. Eventually, this style weighs and after the first hour, the story goes completely off the visual and editing rails. Experimenting does not mean raving and the impression we had leaving the cinema is that in several parts Young Bodies Heal Quickly got lost, dragging the viewer in this disorientation. The final climax is too long and dispersive and putting an explicit sex scene (cameo by Josephine Decker that, after the short film Violent Madonna Mia seems to take taste in expression of sexuality explicit) does not help the audience in finding his soothed attention.

Generally, the film is an interesting experiment and visual exploration of a possible new language of American independent cinema. It is always of Seventh Art, which requires implementing every available form. Maybe a little storytelling would not hurt, in a time when the real experiment is perhaps the tale. “But that’s another story”, quote.

PRIMA DI ANDAR VIA: A moving farewell among the living

Article by: Karima Vinti

Translation by: Renato Panzera

How would you react if one of your family members, or a friend, told you you that “tomorrow they are not going to be alive”? “Prima di andar via” could be the answer.

Directed by Michele Placido, this adaptation of the theatre show directed by Francesco Frangipane and written by Filippo Gili is about a family’s reaction to the son confessing his suicidal intentions. What causes this insane decision is that he cannot live without his wife, who died three months before. In a first moment they don’t understand whether Francesco (Filippo Gili) is telling the truth or he’s just talking nonsense. But Francesco is convinced of his decision and doesn’t want to go back. For him, nothing is worth it anymore, and he can’t picture his future with another woman because no one could ever be as great as Giovanna. The hug scene with his mother is touching, a hug that wants to last forever, full of love and pain.

The film was entirely shot in a small theatre. Lights and scenic design tend to give a sad, melancholic and furious air. The actors are not famous in the Italian cinematographic circle — with the exception of Giorgio Colangeli — but it’s worth writing their names: Filippo Gili, Michaela Martini, Aurora Peres, Vanessa Scalera, and Francesca Alunno. The actors succeeded in representing something that can really touch your soul. A fantastic interpretation from everyone, with no exceptions.

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Michele Placido at the “Cinema Massimo” after the screening of “Prima di andar via”.

After the first view at the “Cinema “Massimo” on November 24th, Michele Placido, some of the actors and Francesco Frangipane talked about their work with an excited public which warmly greeted the film with a long final applause. Michele Placido stated that it had been a beautiful experience and that he had decided to make it a film right after he saw the theatre show.

Director Francesco Frangipane stated: “The theatre show has hardly been around. The only achievement was the possibility of playing the show at the “Elfo Puccini” theatre in Milan”. Next, the director reflected upon the quality of performances in Italy, maintaining that the actors in this movie have nothing to envy to the so called “famous actors”, even though more well prepared figures are needed in our cinema. “If Italian directors went a bit more often to the theatre, perhaps the Italian cinema would be more lively”. Finally all of the actors thanked Michele Placido. According to them, it is because of Michele’s generosity that this movie made it to the big screen.

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Michele Placido with some cast members of  “Prima di andar via”.

THE MEND: A SHARP COMEDY, READY TO TURN INTO TRAGEDY

Article by: Karima Vinti

Translation by: Ilaria Codeluppi

 Matt (Josh Lucas) is a saddened man, without any goals in his life; after a fight with his partner Andrea (Lucy Owen), he finds himself wandering around his city without a destination. In the meantime, Alan (Stephan Plunkett) and his girlfriend Farrah (Mickey Sumner) are discussing after an unlucky sexual intercourse, while preparing a party in their tiny apartment. At the party, Farrah spots Matt sitting in the living room.

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WALKING WITH RED RHINO, A PRAISE OF EXERIMENTAL CINEMA

Article by: Alessandro Arpa

Translation by: Ilaria Rana

“Filmmakers must be merciless, or they are for the catering”

Alberto Signetto was definitely merciless. He loved to consider himself as a rhino because he was a “treacherous, stubborn, fat, bulky and hardly tameable animal” and he represented the fight against conformism. “Walking with red rhino”, the last film by Marilena Moretti, pays homage to one of the most underestimated Italian personalities of the 20th century.

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THE GUEST – THE 80’s ARE BACK WITH A BANG

Article by: Paolo Nosenzo

Translation by: Ilaria Codeluppi

 The Petersons are a perfectly normal family, still grieving for the death of their elder son, Caleb, fallen in the Middle East. One day, a boy named David Collins knocks on their door, saying that he has served in the army with Caleb, and that he had promised him to take care of his beloved ones. At the beginning, they are a bit suspicious, but David soon gains the respect and affection of the whole family, including Caleb’s siblings, Anna and Luke. After a few violent episodes happen in the small community, Anna starts to suspect that David is hiding something, and that he’s not really who he says he is.

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LET’S GO

Article by: Matteo Bagnasacco

Translation by: Paola Pupella

 “Let’s go”, directed by Antonietta De Lillo, was included in the section “Diritti & Rovesci”, a new section of the 32nd Torino Film Festival edited by Paolo Virzì.  In her film, the director of “Il resto è niente (Everything else is nothing)” tells the story of Luca Musella.

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ROLLING THUNDER: THERE ARE NO AMERICAN FLAGS

Article by: Emanuel Trotto

Translation by: Paola Pupella

A Vietnam veteran, unsuited, insomniac, unable to integrate in society, finally arms himself and carries out a massacre. We are not talking about Taxi Driver, but a just subsequent film to Scorsese’s masterpiece (showing only one year later, in 1977): Rolling Thunder.

Both films arise from the anguished pen of Paul Schrader, who, after a noteworthy activity as a scriptwriter (The Yakuza for Sidney Pollack, Obsession for Brian De Palma), firmly intended to become a director. However, because of production problems, his project was rather handed to John Flynn as director and Heywood Gould as re-scriptwriter. Schrader’s debut will happen later, in 1978, with a working class drama entitled Blue Collar.

The story of alienation and revenge of Major Rane is perfect. When the protagonist comes back to his hometown in Texas, after 7 years of imprisonment in Vietnam (that scarred him deeply), his fellow citizens reward “his heroism” with a box of silver dollars. Some bandits proceed to steal his money and kill cruelly his wife and his child. Major Rane then decides to take the law into his own hands.

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ECHOES OF GHOTIC FAIRY TALES FROM THE STATES

butter on the latch

Article by: Alessandro Arpa

Translation by: IlariaRana

 A soft earthquake has been dedicated to Josephine Decker, a young American filmmaker. “Gone Wild”, “Madonna miaviolenta”, “Thou wast mild and lovely”, “Balkan Camp” and “Butter on the latch” are the films she presented at the Turin Film Festival. Her films include Mumblecore elements and magic realism. In fact, Josephine Decker draws inspiration from Joe Swanberg (director of the renowned film “Uncle Kent”), whomshe considers her mentor, and from John Steinbeck and his novels based on an obsessive panic symbiosis.

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N-CAPACE, ELEONORA DANCO’S DEBUT AS A FILM DIRECTOR

Article by: Giulia Conte

Translation by: Ilaria Codeluppi

 Eleonora Danco, theatre author and actress, makes her debut as a film director with her first feature-length movie. N-Capace is the second movie, together with Frastuono, by DavideMaldi, that represents Italy in this 32nd Turin Film festival.

Eleonora Danco plays a woman, a tormented soul, that wanders around from Terracina to Rome, places which have a connection both to her childhood and her present life. Along the way, she questions the teenagers and elderly people she meets, asking questions about death, school, love, sex, religion, homosexuality, violence and traditions. Her purpose is to understand their feelings through the answers, and to feel their emotions.

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THE BABADOOK

Article by: Davide Bertolino

Translation by: Carla Cristina Loddo

After the success both of the critic and the audience at the Sundance Film Festival, The Babadook, first feature film by the newcomer Jennifer Kent, participates in competition at the Torino Film Festival. Even by following with absolute rigour the classical phases of horror films with a possession subject (the monster, the kid who plays with the presence, the mother initially incredulous), the Australian film cleverly avoids banality giving a new point of view, certainly in a more psychological and deeper way than numerous other products of the same genre.

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WISDOM AND HAUGHTINESS

Article by: Romilda Boffano

Translation by: Ilaria Rana

“La Sapienza” is the fifth feature film by Eugéne Green. Its preview was screened last summer at the Locarno Film Festival and it opens the section “Onde” of the 32nd Turin Film Festival. This film tells about the meeting between two couples. Alexandre and Alienor Schmidt are married and they are an architect and a psychoanalyst respectively.

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EUGENE GREEN’S PRESS CONFERENCE

Article by: Matteo Merlano

Translation by: Ilaria Rana

 A press conference is often a useful instrument for getting rid of any doubts about a film. “La sapienza” is undoubtedly one of those films that must be discussed a lot, whether for its techniques, its narration or the recitative style of its actors. It is a film in which each shot represents a room (in fact the underlying theme is architecture) and each actor talks with themselves without interacting with the others. Each line is pronounced clearly and it represents a struggle rather than a sentence with a meaning. It is a kind of cinema that may not please people.

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DIRITTI & ROVESCI- PER TUTTA LA VITA

Article by: Elisa Carbone

Translation by: Licia Ficulle

 ‘Per tutta la vita’ is the first film in this section curated by Paolo Virzì. The main theme of the film is divorce, examined from different points of view. The director Susanna Nicchiarelli (already established for two feature films, in particular Cosmonauta in 2009) decided to deal with this social phenomenon for the anniversary of the referendum in 1974, which led Italy to take sides on whether to legalize or not divorce.

The documentary treats this theme on various ways, though focusing the attention on personal stories represented on the screen. In fact, the protagonists are more or less common people reporting their opinion of divorce, according to their “skills” and experiences.

Monica, a zoologist, talks about monogamy in several species, starting with birds, passing for wolves and monkeys, up to human beings. Silvio, a divorce lawyer, describes the legislative and technical aspect of it. Although, as his wife Sveva, steps in his talk, he lets himself go in most personal confessions. Guido and Paola, parents of the fitter of the documentary, recall the history of their love at first, then their marriage and finally divorce.

The interviews alternate with family filmstrips of director Nicchiarelli (narrated in voiceover by his parents, still happily married) and original shoots from Rai archives. The last ones show old electoral slogans of politicians Berlinguer and Fanfani and some advertising pro-divorce starring Gianni Morandi and his family.

This mixture of evidences and sources highlights the desire of the director to find out the real meaning of marriage and divorce, also underlining how that meaning changed in time.

Is monogamy a natural or a social fact? Does the woman manage to break free from her role of mother and wife after the referendum? These questions do not need to an answer because the aim is pay attention to these and, through this document, research events and opinions, which help to developing a clear viewpoint.

The atmosphere is unique, both deep and personal, as it involves the participation of relatives and friends of the director. During the vision of her wedding shoot, Nicchiarelli’s mother states with clear awareness that divorce acquired real meaning only when women understood their freedom and their own social role, which was unimaginable before 1974.

In the end, she adds that the expression “per tutta la vita” (“for a whole life”), after 1974, changed its meaning from absolute to relative.

“HABITAT – L’AQUILA TODAY” BY EMILIANO DANTE

Article by: Ilaria Longo

Translation by: Ilaria Codeluppi

The Italian section of TFF DOC opens with ‘Habitat – personal notes’ (Habitat – Note personali), with which Emiliano Dante returns to the festival after his debut, five years ago, with Into the blue.

His goal is the same: to film the urban tragedy of L’Aquila. The main characters are the director himself and his former tent-mates: Alessio and Paolo.

Emiliano lives in one of the houses built by “project C.A.S.E.”. His girlfriend, Valentina, still lives in her old house; Alessio is a real estate agent and lives with Gemma in a house where they pay a low rent, since the earthquake damaged it. Paolo, who has become a painter after the tragedy, does not know what to expect from his life and from his daughter’s birth.

Everyone opens up sincerely to their friend Emiliano, behind the camera, without filters or victim complex: they are just hopeless. They are afraid of this ghost city, and some of them have tried to follow their friends, emigrating; but something has made them come back. “What do you dream of, Emiliano?” is a question that seems to look at the future, but it is actually the same old nightmare: the earthquake.

A peculiar documentary that does not open with a banal overview of the city ruins, but with the characters driving the 14 kilometers that separate them from the city. The new houses were built quite far from L’Aquila, in order to ease the reconstruction of the city center; but the clothes hanging from the balconies reveal that the clock has stopped on April 6, 2009.
A black and white movie to represent a city forgotten by the media, where there is nothing left to do. Emiliano Dante, producer, director, scriptwriter and actor reveals the loneliness and the dereliction still felt in L’Aquila. “I don’t want to conclude with an overview of the torchlight procession in memory of the tragedy” says the main character, “because here in L’Aquila we feel lonely”. A sincere and intimate look, far from a political critique.

GEMMA BOVERY BY ANNE FONTAINE

Anne Fontaine
Anne Fontaine at the press conference of November 22nd in Turin

Article by: Bianca Beonio

Translation by: Giulia Magazzù

Normandy, France. A newlywed couple moves to a small town looking for peace, serenity and all the other things that country life can offer. Her name is Gemma, Gemma Bovery (Arterton), English pronunciation. The monotonous life of their neighbour, the baker Martin Joubert (Luchini), is suddenly turned upside down by the arrival of what could be the incarnation of his favourite literary character. The fantasy of the baker is unleashed: how could he not see the ghost of the heroine of Flaubert in the name, in the manners and even in the fate of that woman?

Gemma Bovery
Gemma Arterton e Fabrice Luchini in “Gemma Bovery”

After Coco avant Chanel and Two Mothers, the French director deals with a graphic novel by Posy Simmonds, author of Tamara Drewe (similarly taken from Far from the Madding Crowd), whose film version stars the same actress.

Adaptations of Madame Bovary are as countless as various. Jean Renoir, Vincente Minnelli, Claude Chabrol are just some of the directors that dealt with the book, up to the very recent and still not distributed version of Sophie Barthes with Mia Wasikowska.

But this is the first film being directed by a woman. It is a curious case, since almost every shot — at least those including magnetic Arterton — are viewed and filtered through the eyes of Martin. During the press conference of November 22nd in Turin, the director explained how our gaze is encouraged to merge with that of the baker. The simplest gestures, like eating a piece of bread, smelling its crust and mixing the dough become brief moments of delight. The actress is amazing: we never doubt the attractive force she exerts, almost unconsciously, on every man that crosses her path, gravitating around her. Luchini’s eyes widen as he only knows how to do, stunned in front of the sensual movements of the woman. And we are stunned as much as he is.

This is a light and brilliant comedy, but from the beginning we have an inkling of the tragedy. We anxiously follow the life of Gemma, convinced that the tragic fate of Madame Bovary would inescapable fall on her. We flinch at the word “arsenic”. We sigh during the date with the young lover. We delude ourselves that it can end up differently.

Like Martin, we are forced to watch powerless the gradual unfolding of a story that is already written and that we cannot change. The clumsy attempts of the baker to separate Gemma from her lover — not to mention those aimed to protect and warn her — are, in fact, useless.

Anne Fontaine modernizes the timeless story of a bored woman, successfully delves her character in what it has become an archetype.

The film is genuine, funny, gentle. The portrait of a woman of incredible beauty.

Anne Fontaine’s photo by Bianca Beonio Brocchieri

Gemma Bovery’s photo: © Jérôme Prébois / Albertine Productions – Ciné-@ – Gaumont – Cinéfrance 1888 – France 2 Cinéma

MAGIC IN THE MOONLIGHT

magic in the moonlight

Article by: Giulia Conte

Translation by: Giulia Magazzù

We are once again in France in the 1920s, but Allen takes us to the French Riviera instead of Paris.

Wei Ling Soo is the most famous magician of the moment, but when he takes the clothes of illusionist off is in fact Stanley Crawford (Colin Firth), a young arrogant Englishman who hates those who boast of having special skills as mediums. Howard, a longtime friend of his, convinces him to go to France to learn and reveal the truth of the prophecies of the young and beautiful Sophie Baker (Emma Stone). Will Stanley manage to unmask the girl? What happens in Catledge is a real series of magical events that will involve all the characters.

Magic in the Moonlight is a romantic comedy, with all the personal and professional complications that hail from it.

Luxury settings, a good care in the choice of the location, the typical clothes of the “jazz age“, all these are perfect elements for the great success of this new film. Stanley has the typical features of a Woody Allen character: he is extravagant and in constant search for love and for a stable and satisfying relationship.

Allen is well known for his comedies full of irony and their brilliant lines and, even in this work, he does not spare us laughs and twists. He portraits a very romantic Europe, that is full of stereotypes and grotesque elements that we appreciate so much and that we have seen in previous works like Midnight in Paris and Vicky Cristina Barcelona.

The soundtrack is perfectly in tune with the landscapes of the French Riviera, giving the idea of a union that amuses and involves us from the beginning until the ninety-eighth minute of the film.

PRIKLYUCHENIE – (ADVENTURE) IN THE MONOTONY OF THE “WHITE NIGHTS”

Article by: Alisa Marghella

Translation by: Carla Cristina Loddo

The eggs for breakfast, the sound of the wind chimes when exiting the house, the tea preparation, the naps on the three chairs during the work shift… All these things mark the days for Marat, a young security watchman. In “Priklyuchenie – Adventure” there’s very little adventure: the events in the shy watchman’s life recur in a routine marked by few images, useful for understanding his loneliness

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