“COMING HOME IN THE DARK” BY JAMES ASHCROFT

Article by Enrico Nicolosi

Translated by Martina Rosso

“Rol’s room”, a parallel section of TFF39 dedicated to genre cinema, opens with Coming home in the dark, which warns the viewer right from the start. The Hoaganraad family, on a trip to an isolated stretch of New Zealand coastline, comes across two mysterious vagrants and the doubt immediately arises: has this encounter been meticulously planned or is it nothing more than a cruel twist of fate?

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“YEAST” BY CYOP&KAF

Article by Ada Turco

Translated by Gianluca Zogno

Naples-based street art duo Cyop&Kaf are back in theatres with a new documentary, following their 2013 critically acclaimed The Secret (2013), which was presented during Torino Film Festival’s 31st edition. Their new film, Yeast, is the result of a twenty-year-old reflection. Using their camera to follow a summer camp, a theatre laboratory inside of a museum and a judo dojo, the two directors wonder about educational practices, starting from the level of the student-teacher relationship.

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“RIEN À FOUTRE” BY JULIE LECOUSTRE AND EMMANUEL MARRE

Article by Laura Anania

Translated by Elèna Bellino

Julie Lecoustre and Emmanuel Marre present their first long feature film out of competition, a story that moves along a double track: the almost documentary-like representation of low-cost airline flight attendants and the main character’s introspective analysis, as she is unable to work through her grief. 

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“ITALIA, IL FUOCO E LA CENERE” BY OLIVIER BOHLER AND CÉLINE GAILLEURD

Article by Alice Ferro

Translated by Mirko Giumentaro

Italia, il fuoco e la cenere is a poetic and oneiric journey through the divas, ghosts, lights, and shadows of Italian silent cinema. It explores its most material essence, it brings its lantern closer to the flesh, the bodies, the bare shoulders in the half-light, the penetrating gazes, the feverish convulsions of the divas. The erotic component is central: cinema made the prudes tremble, in the darkened rooms it allowed women and men to blend. The cinematic exploration becomes a historical exploration and paints the reality of a country in constant transformation, from the pompous and resplendent scenes to the decadence and abyss of fascism that are inexorably approaching.

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“GROSSE FREIHEIT” BY SEBASTIAN MEISE

Article by Giulia Seccia

Translated by Elena Soldà

A match that lights up in complete darkness. This is the symbol on which Grosse Freiheit / Great Freedom, a film directed by Sebastian Meise in competition at the Torino Film Festival stands. It won the Jury Prize in the Un Certain Regard section in Cannes, and it will be presented by Austria as an Oscar candidate 2022.

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“FEATHERS” BY OMAR EL ZOHAIRY

Article by Michelangelo Morello

Translated by Benedetta Di Fiore and Rebeca Tirgovetu

The first work by Egyptian director Omar El Zohairy was presented in competition at the 39th edition of Torino Film Festival. The film is a vehement criticism of the male domination of Egyptian society which leads to a dark comedy with gloomy humour, acquiring increasingly absurd tones.

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“BLOOD ON THE CROWN” BY DAVIDE FERRARIO

Article by Marco Ghironi

Translated by Francesca Schiavello

June 7th, 1919: the small nation of Malta refuses to be dominated again by the British Empire, reaffirming the desire for independence. And among the city’s ravines, the roofs of the houses and the squares of the island off the coast of Sicily, blood begins to flow when the British commence firing and begin to impose their law.

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“ALONERS” BY HONG SEONG-EUN

Article by Valentina Velardi

Translated by Mattia Prelle

Jina (Geong Seung-yeon), an exemplary employee in a credit card company’s call centre, is a bashful and reserved girl, strictly attached to her habits and to the peaceful succession of places and acts that mark her days, which she divides between her little apartment and the workplace.

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“TASTE” BY LÊ BAO

Article by Annaisa Quarto

Translated by Francesca Luna Lombardo

Premiered in the Encounters section of the last Berlinale, where it won the Special Jury Prize, Taste, the first feature film by Vietnamese director Lê Bao arrives at TFF39 in the Out-of-Competition/TFLAB section.

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“INMERSIÓN” DI NICOLÁS POSTIGLIONE

La gita in barca di un padre insieme alle sue due figlie si trasformerà presto in un incubo. È questa la semplice premessa su cui si costruisce Inmersión, lungometraggio d’esordio del regista cileno Nicolás Postiglione che indaga ciò che c’è sotto la superficie dei suoi personaggi. «È un peccato non venga più nessuno qui»  commenta il padre osservando con nostalgia i luoghi in cui è cresciuto, ora apparentemente disabitati. Eppure, l’equilibrio precario dei tre protagonisti è definitivamente sconvolto proprio dall’incontro con alcuni naufraghi che, accolti a bordo dell’imbarcazione, iniziano a destare nel padre il timore che le loro vite siano in serio pericolo.

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TORINO 39 CORTI

Il Torino Film Festival nell’ultimo biennio ha dato nuova linfa alla categoria dei cortometraggi, rientrati in competizione ufficiale dalla scorsa edizione e quest’anno protagonisti di una interessante novità. Ognuno dei dodici film selezionati da Daniele De Cicco, infatti, ha accompagnato uno dei lungometraggi in concorso durante le rispettive proiezioni nei giorni del festival. Un segnale di attenzione e rispetto verso una pratica sempre più viva in Italia e che ritrova la sua centralità nella rassegna torinese.

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“LA NOTTE PIù LUNGA DELL’ANNO” BY SIMONE ALEANDRI

Article by Giulia Seccia

Translated by Lorenzo Papa

“You must go on. I can’t go on. I’ll go on.”
Samuel Beckett


In Potenza, during the night of the winter solstice – the longest night of the year – a woman is dissatisfied with her job, three boys are trying to escape adulthood, a corrupt politician is attempting to achieve some sort of salvation, and the heart of a young boy gets broken. These are the stories that Simone Aleandri’s film, out of competition at the Turin Film Festival, weaves together; stories of characters in crisis, unstable, different stories that converge, however, in the same place: a gas station, the place where the film begins.

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“LOS PLEBES” DI EDUARDO GIRALT ED EMMANUEL MASSU’

Los plebes, il documentario presentato nella sezione “Le stanze di Rol” del TFF, s’immerge nell’intimità dei giovani sicari millennial che vagano per Sinaloa, in Messico, al servizio dei narcotrafficanti, mostrandone le passioni e le speranze per il futuro. E, soffermandosi sull’uso che questi assassini in erba fanno dei social network per raccontare la loro doppia vita, la storia problematizza i media e offre una profonda riflessione sulla morte.

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“UNDEAD VOICES” BY MARIA IORIO AND RAPHAËL CUOMO; “È SOLO A NOI CHE STA LA DECISIONE” BY ISABELLA BRUNO

Article by Alice Ferro

Translated by Valerio Copponi

A Super 8mm amateur film, made in 1975, abandoned in the director’s basement for years, seriously damaged by the humidity coming from the lake near her house: this is the starting point of Undead Voices, the documentary by Maria Iorio and Raphaël Cuomo which aims to revive the feminist film Donne emergete! by Isabella Bruno. The story of Donne emergete! is shared by many films about militant feminism: «There was not enough interest in preserving them and they were considered unworthy» commented the curator and art historian Annamaria Licciardello, emphasising how this issue adds to that of the already limited number of feminists who have tried their hand at directing, in this historical period.

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“EL PLANETA” BY AMALIA ULMAN

Article by Anna Quarto

Translated by Francesca Schiavello

Multidisciplinary artist Amalia Ulman debuted in competition at TTF 39 with her first feature film “El planeta”, already presented at the 2021 Sundance Festival. The micro-budget and a small crew of five make this debut an experiment that evokes the independent American cinema of the 1990s.

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“LUZ VIAJE OSCURO” BY TIN DIRDAMAL, EVA CADENA

Article by Niccolò Buttigliero

Translated by Mattia Prelle

A 64 minutes and 1.700 kilometers long train trip that swings between light and darkness, plumbing a metaphysical Vietnam. It moves through the 17th parallel – the most bombed place in the world – and the Ruc settlement, a population who fans the holy fire whose extinction would cause the extinction of the world too.

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BETWEEN PERFORMERS AND SCREEN: TFF’S MASTERCLASSES DEDICATED TO THE ACTOR

Article by Sara Longo

Translated by Stefania Frassetto

It may seem like cinema does not live off-screen. It appears like a chimera that exists only when you are looking at it; but that is not true: behind every film there is an organic and heterogeneous group of people working non-stop to bring back the magic, finally, to the theatres. Through the three Masterclasses dedicated to the figure of the actor in the setting of the Turin Film Festival, it was possible to create an interesting confluence of acting and the figures that gravitate around it, offering an in-depth analysis on the several field jobs that support the performers throughout their growth.

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“BLOOD ON THE CROWN” DI DAVIDE FERRARIO

7 giugno 1919: la piccola nazione di Malta decide di non abbassare nuovamente la testa a favore dell’Impero britannico, ribadendo la propria voglia di indipendenza. E tra gli anfratti cittadini, i tetti delle case e le piazze dell’isoletta al largo della Sicilia, comincia a sgorgare il sangue quando gli inglesi imbracciano le baionette e cominciano a imporre la loro legge.

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Il magazine delle studentesse e degli studenti del Dams/Cam di Torino