“ÎNTREGALDE” DI RADU MUNTEAN

Dopo esser stato presentato nella sezione Quinzaine des Réalisateurs di Cannes e in vari festival internazionali nel corso del 2021, Întregalde di Radu Muntean inaugura il nuovo anno vincendo la 33esima edizione del Trieste Film Festival. Nonostante si muova su territori già battuti, in particolare dai suoi colleghi della “nuova onda rumena”, il film persuade lo spettatore a intraprendere un viaggio intorno al confine sottile che separa empatia e narcisismo, altruismo e ipocrisia.

Continua la lettura di “ÎNTREGALDE” DI RADU MUNTEAN

“AMERICA LATINA” DI FABIO E DAMIANO D’INNOCENZO

C’è qualcosa di insondabile in America Latina, un film che stupisce per la sua capacità di depistare lo spettatore prendendolo continuamente in contropiede, facendolo sentire sballottato e smarrito come il protagonista di cui racconta. Il nuovo film dei fratelli D’Innocenzo è un thriller psicologico a tinte horror, sorretto da un grande Elio Germano, che ri-conferma il talento dei due cineasti.

Continua la lettura di “AMERICA LATINA” DI FABIO E DAMIANO D’INNOCENZO

“WHAT DO WE SEE WHEN WE LOOK AT THE SKY?” DI ALEXANDRE KOBERIDZE

A Kutaisi, seconda città della Georgia, si consuma un orribile maleficio: Lisa (Oliko Barbakadze), giovane farmacista, e Giorgi (Giorgi Ambroladze), calciatore semi-professionista, si incontrano casualmente in una calda giornata d’estate. Subito tra i due scatta la “scintilla” e si dànno appuntamento per rincontrarsi in un bar il giorno successivo. Ma, durante la notte, l’aspetto fisico di entrambi cambia completamente, e i due si ritrovano a vagare per la città in cerca l’uno dell’altra. Servirà un incantesimo altrettanto potente per spezzare il maleficio che ha colpito i due innamorati.

Continua la lettura di “WHAT DO WE SEE WHEN WE LOOK AT THE SKY?” DI ALEXANDRE KOBERIDZE

“DON’T LOOK UP” DI ADAM MCKAY

In sala per poche settimane e a Natale su Netflix, Don’t Look Up è una commedia divertente ma disillusa, sorretta da interpreti d’eccezione e capace di ibridare il cinema impegnato con quello di puro intrattenimento.


Continua la lettura di “DON’T LOOK UP” DI ADAM MCKAY

“DAYS” DI TSAI MING-LIANG

Dopo Stray Dogs (2013), film che ha richiesto uno iato lungo sette anni per vedere assorbita l’eco del suo silenzio, Tsai Ming-liang torna al lungometraggio di finzione con Days (2020). Nel tempo intercorso, una sottile metamorfosi ha attraversato sotterraneamente il suo fare cinema: se in Stray Dogs si può rilevare una radicalità espressiva che – oltre a riaffermare – potenzia i tratti distintivi di Tsai, in Days nessuna forma resiste. Se non come riverbero simulacrale di quanto è stato, formalismo ingenerato nell’occhio di chi guarda.

Continua la lettura di “DAYS” DI TSAI MING-LIANG

JOANNA HADJITHOMAS E KHALIL JOREIGE

Article by Elio Sacchi

Translated by Federica Maria Briglia and Mattia Prelle

The cinema of Joanna Hadjithomas and Kalil Joreige – to whom the thirty-ninth edition of the Turin Film Festival dedicated a solo show and a masterclass, both curated by Massimo Causo – may lie between the beginning and the end of their artistic and cinematographic career. That means it is between the postcards of the opening credits of their first feature film, Around the Pink House (Al Bayt Al Zaher, 1999), and the box, the audiovisual archive of memory and remembrance that, like a very personal and foreign body, opens Memory Box (2021). Between these two extremes, within the more general framework of the history of Lebanon, of its destruction and of its reconstruction, there is a long and complex reflection on cinema, on the status of the image and, in particular, of the memory-image. When the past passes, the construction of a collective and shared memory becomes a difficult operation, which leaves enough room for memories and handy images that preclude the possibility of a complex narrative in favour of a superficial, conciliatory and pacifying narrative. This is what often happens after internal or fratricidal wars, which are followed by a reconstruction so fast that the past cannot be processed. This is also the case of Lebanon, considered the Switzerland of the Middle East in the 1960s: it was turned upside down first by a civil war and then by the conflict with Israel. The whole artistic parable of Hadjithomas and Joreige refers to this reality, and, in addition to cinema, crosses over into photography, performance arts and plastic arts. Their artistic parable contains its own moment of reflection and self-reflection. It is particularly evident in the performance Aida Sauve Moi, which makes explicit the questions that drive the expressive and creative urgency and necessity of the two directors: this is an indefinite and permeable border between reality and fiction, between personal experience and history. Their parable also contains the concept of latency, which is not only the physical, chemical and material concept of the negative impressed and never developed, but it also represents all the individual and particular latent stories, existing and never revealed, of the kidnapped and murdered Lebanese citizens, and of all the corpses that have never been found. Other elements included in their artistic parable include: the materiality of the image and of the testimonial object itself; the crossing and the attempt to take back public and collective spaces; and, finally, a boundless love for cinema. The last of these elements should be interpreted above all as an instrument of resistance and political commitment (in this regard, see Open the Door, Please [2006], a passionate and cinephile homage to the cinema of Jacques Tati). Joanna Hadjithomas and Kalil Joreige’s one is a self-reflexive cinema that also reflects on the status of the images it represents. This cinema has its genesis precisely in the overexposure to stereotyped images, whether they concern the civil war or the 1960s, as witnessed during the masterclass entitled Memory Work – Resistant Aesthetics in Hadjithomas & Joreige’s works (Rosita Di Peri also attended the event).

Actually, Around the Pink House has its origin in an earlier photographic project called Wonder Beirut. Hadjitomas and Joreige invented the figure of a Lebanese photographer, who immortalised Beirut in the 1960s and 1970s, before the civil war; the photographer then literally and materially burnt the buildings depicted on his postcards as they were bombed until the images were completely transfigured. The film does not tell the story of the Lebanese civil war, but rather the reconstruction of the capital in the 1990s, a period in which “the sound of bombs has given way to that of bulldozers” and in which the rubble shown in the background, physical and painful traces of a recent past, enters into a profound dialectic with the story of reconstruction and rebirth, which nonetheless involves the destruction of entire buildings. The maison rose itself is an archive of memory, of Lebanon’s history, a physical place that bears the marks of war, the memories of people who disappeared and the presence of refugees who were forced to leave their villages.


The maison rose is also an attempt done by a community to take its space back. This is the same public and collective space that Catherine Deneuve, the spirit of European cinema invoked in Lebanon as a foreign and empathetic body and led by Rabih Mrué (a recurring actor in the filmography of Hadjithomas and Joreige, he is a face that embodies the generational drama), wants to see but is prevented from doing so.
Je veux voir (2008) is a journey through a country devastated by the conflict with Israel. It stems from the need to show unconventional images (i.e. different from those broadcast by the various television stations) and to investigate new places, in a sort of palingenesis of the gaze and images of war. While in Rounds (2001), the wandering around the city – a Beirut that uses the rubble of buildings to build new roads by the sea – programmatically precludes the vision of public and city space, which is relegated to an off-screen that is always overexposed. Kiam 2000 – 2007, which began in 1999 and ended in 2008, is also the ideal counter-field to Je veux voir, since the detention camp described in it is an absolute off-screen narration, which can be only imagined by the human testimonies of the internees who invite us to reconstruct it in absentia. The film opens, once again, to an explicit reflection on memory. In 2006, in fact, the camp was turned into a museum and, still in 2006, was bombed by the Israeli army. Made almost entirely with rigorous close-ups and extreme close-ups, these vicissitudes gave rise to the need for Kiam: the urgency of the testimony necessarily refers to the camp, to its presence, it summons it and ultimately affirms its existence.


Their cinema is constantly in communication with the absence and the missing pictures, both personal, as in The Lost Film (Al Film Al Mafkoud, 2003), and collective (The Lebanese Rocket Society, 2012). And the ghost – as the directors admitted more than once – is a recurring figure in Lebanese culture and in its people’s daily life. A Perfect Day (Yawmoun Akhar, 2005) deals with ghost stories: piled up corpses in mass graves that no one discovered during the reconstruction of Beirut liven up and expand the story, claiming through a deafening silence their existence and death. This is a matter of faith and persistence of memory, because who believes in the ghost’s survival will be able to see it and reunite with it, whereas who tries to forget is forced to roam along the streets of a city that cannot be owned and cannot be seen (the contact lens do not adjust the sight, they rather produce a twisted and hallucinated vision of Beirut). Moreover, the film is based on the story of Joreige’s uncle, kidnapped during the war and still “missing”; one day, after many years, the directors found an undeveloped photo negative, a latent and phantasmal picture. The decision of transforming the negative-in-power into image-in-act corresponds to the desire of bringing back to light a unique and universal story, both personal and collective, through different concrete manipulations of the film. This story carries the marks of history, of the flow of time. Similarly, the city of Smirne is, in its reconstruction, a physical trace of the history passage: in Ysmirna (2016) the comparison between the early 1900s city map and the modern one shows the temporal distance of a mythical city, told by Joanna’s family and the one of the poet Etel Adnan (both of them have never been in the city of, respectively, their grandparents and parents), through an oral storytelling that intends to be a reenactment of a past in which one can find their roots.

Hadjithomas and Joreige’s more than twenty years of artistic activities and personal experiences break into a Lebanese family migrated to Canada, in the form of a big cardboard box. The package from Lebanon is an archive containing letters, photographs, notebooks, recordings of radio broadcastings and undeveloped films (Memory Box is freely inspired by the mailing correspondence that Joanna had with a friend of hers who migrated to Paris, suddenly interrupted after six years). This is an archive that causes the explosion of the underlying conflicts between the three different generations and, at the same time, it’s responsible for the deflagration of the film. Even if most of the films by Hadjithomas and Joreige have a material essence (and most of the films shown during the retrospective were projected in 35mm), Memory Box has a digital concept. Alex, the daughter, edits and manipulates the civil war testimonies according to her own grammar, which includes smartphones, instant communication, digital post-production and immateriality. The distance in space and time, and the reconstruction of the 1980s through their icons are not nostalgic at all, they are just needed to testimony and transfer the story. The intergenerational confrontation (the grandmother, Maia; the mother, who represents the directors’ generation; and the daughter) is about approaching the story of Lebanon, and thus becomes a matter of identity and belonging, that is opening up several possibilities of the storytelling for those generations that never experienced the conflict and whose memory may be lost.


The one of Joanna Hadjithomas and Khalil Joreige is an artistically and conceptually coherent career that finds its raison d’être in the moral duty of making concretely, materially and visibly collective and public what the passage of the story of Lebanon has discolored, as if the past were an unimpressed and undeveloped film. An idea of political and civic cinema, a product of more than twenty years of activity that displays in the intergenerational confrontation of Memory Box the need to narrate the past in order to live the present and to imagine the future once again.

ITALIANA.CORTI

Article by Michelangelo Morello

Translated by Gianluca Zogno

Formation tales, foundfootage operations, a revisitation of fairy tales and ancient myths, metaphysical journeys through chaos’ shapeless masses; these are the themes around which Italian.Corti’s selection at the 39th Torino Film Festival is centered.

Continua la lettura di ITALIANA.CORTI

“INMERSIÓN” BY NICOLÁS POSTIGLIONE

Article by Sara Longo

Translated by Giulia Baldo

The boat trip of a father with his two daughters will soon become a nightmare. This is the simple premise on which is built Inmersión, the debut feature film of Chilean director Nicolás Postiglione that investigates what’s underneath its characters. «It’s a shame that no one comes here anymore» comments the father, while observing with nostalgia the places where he grew up, now apparently deserted. And yet, the unstable balance of the three protagonists is definitely destroyed by the encounter with some castaways who, after being welcomed aboard, start to make the father seriously fear for his and his daughters’ lives.

Continua la lettura di “INMERSIÓN” BY NICOLÁS POSTIGLIONE

“LE MONDE APRÈS NOUS” DI LOUDA BEN SALAH-CAZANAS

Labidi deve consegnare il suo manoscritto a una casa editrice entro sei mesi, e l’unica cosa che riesce a scrivere, però, è il suo numero di telefono sulla sigaretta di una ragazza di cui si innamora a prima vista, Elisa. La storia d’amore che nasce tra loro riempie la vita del giovane protagonista ma non è affatto fonte di ispirazione letteraria. In effetti la concentrazione per scrivere un romanzo sulla guerra d’Algeria, paese d’origine della madre, sembra essere un obiettivo impossibile da raggiungere nelle condizioni in cui si trova. 

È difficile vivere a Parigi e riuscire a trovare lo spazio e il tempo per dedicarsi all’espressione creativa se provieni da una famiglia della classe lavoratrice, nonostante i tuoi genitori facciano il possibile per supportare il tuo sogno. Dormire a terra su un tappetino da fitness, e convivere in pochissimi metri quadri ti priva di qualsiasi comfort e intimità (l’interno della doccia è visibile dal letto). Fare il rider per un colosso del food delivery non offre alcuna soluzione, al massimo può garantire l’umiliazione di ritrovarsi faccia a faccia con un conoscente che può permettersi di dedicarsi full-time alla propria passione e che non vuole sforzarsi troppo per il pranzo. È possibile vivere una vita normale, in un bell’appartamento di Parigi, con la persona che ami, senza poterti permettere tutto ciò? Labidi ci prova con tutta la sfrontatezza del mondo, e in qualche modo ci riesce.

La passione per la letteratura e il suo estro creativo diventano “ottime skills” per vendere occhiali ai ricchi intellettuali parigini in un negozio alla moda. Qui però la frustrazione e l’infelicità dovute all’impossibilità di conciliare il lavoro, le relazioni e l’attività personale raggiungono livelli troppo alti. 

Salah-Cazanas riesce a comporre un’opera fortemente coinvolgente, che parla ai giovani cuori in crisi senza essere mai scontata. Grazie al carisma di Aurélien Gabrielli, incredibilmente autentico, è difficile non empatizzare e identificarsi nell’euforia sentimentale o nei momenti di totale apatia e disillusione che il film presenta. Non manca mai l’ironia che attraverso lo sguardo malinconico e ai gesti di Gabrielli si amplifica e arriva dritta al punto. Il picco emotivo del film, che coincide con la rinascita creativa dell’aspirante autore, contiene riflessioni non banali sul ruolo della famiglia e sui sogni e le ambizioni. Un film che trascende il conflitto tra boomers e millennials, che parla di classe disagiata e di seconde generazioni europee. Un film capace di dare speranza.

Francesco Caruso

“MLUNGU WAM” DI JENNA CATO BASS

Tsidi si trasferisce insieme a sua figlia nella villa dove vive e lavora la madre Mavis, che lavora da tempo immemore come domestica per la ricca proprietaria bianca. Le regole della villa sono semplici: bisogna essere invisibili e non fare alcun rumore. Ovviamente è vietato (anche allo spettatore) entrare nella camera dell’anziana good madam, perennemente a letto per la malattia che l’ha immobilizzata ma sempre “presente” in ogni angolo della casa. 

Continua la lettura di “MLUNGU WAM” DI JENNA CATO BASS

“BETWEEN TWO DAWNS” BY SELMAN NACAR

Article by Luca Delpiano

Translated by Alexandra Oancea

In competition at the TFF39, the first feature film of the Turkish director Selman Nacar is an ethical and psychological drama that focuses on the process of change, fixing each of its smallest steps.

Continua la lettura di “BETWEEN TWO DAWNS” BY SELMAN NACAR

“THE EDGE OF DAYBREAK” BY TAIKI SAKPISIT

Article by Davide Gravina

Translated by Rebeca Tirgovetu

The Incubator section of the TFF39 presents the first feature film by the Thailandese film director Taiki Sakpisit. Starting from a birthmark on the neck, moving on to the body of a half dead little girl, until arriving to a candid white dress, the director creates the gelid portrait of a deep inquietude transforming it in pure poetry.

Continua la lettura di “THE EDGE OF DAYBREAK” BY TAIKI SAKPISIT

GIUSEPPE PICCIONI, PREMIO MARIA ADRIANA PROLO 2021

Il riconoscimento intitolato a Maria Adriana Prolo, fondatrice del Museo Nazionale del Cinema, quest’anno è stato assegnato a Giuseppe Piccioni. Un premio alla carriera, alla memoria dei suoi film, alle battaglie silenziose che questi hanno saputo raccontare.

Continua la lettura di GIUSEPPE PICCIONI, PREMIO MARIA ADRIANA PROLO 2021

TORINO 39 SHORT FILMS

Article by Redazione DAMS

Translated by Valerio Copponi

Over the last two years, Torino Film Festival has given new life to the short film category by bringing them back in the official competition in the last edition. This year, they were at the centre of an interesting novelty: each of the twelve films selected by Daniele De Cicco has accompanied one of the feature films in competition before their respective screenings during the days of the festival. A signal of recognition and respect towards an increasingly popular practice in Italy, which has its core in the Turinese festival.

“LIBERTY” BY JOHANNA RÓŻNIAK

A group of youngsters fight for their ideals: an unacceptable action to the society which dominates the dystopian future in which the Polish director’s short film takes place.

Kuba, a young member of the opposition group, gets arrested and finds himself inside a super high-tech prison from which he could never escape, were it not for the help of his father, an important politician. The increasingly stringent limitations imposed on young people, the abuse of power by law enforcement, the technology able to violate any semblance of privacy, the recommendation: all these current themes are analysed perfectly over 14 minutes of terrifying reality.

“NIGHT” BY AHMAD SALEH

Starry and deadly night, a merciful goddess who, like a mother, puts to sleep her children, exhausted by the bombs, by the dust and by the unrelenting pain. A woman rebels against the sweet lullaby, lets out a desperate cry, an appeal of hope to find her young daughter, lifeless, buried under the rubble: what can the Night do but bring peace to her soul, as well? Palestinian director Ahmad Saleh, in this grueling short film, talks about the infamy of war, which forces men to accept their departure peacefully, as the only solution to rid themselves of the constant threat of the shootings and violence.  

“LA ÚLTIMA PIEZA DEL PUZZLE” BY RICARDO MUÑOZ

Freedom, continuously evoked by the words on the poster: “PUEBLO SATISFECHO, PUEBLO LIBRE” (“satisfied People, free People”), and its denial, which can be caused by something as simple as reacting to law enforcement authorities, are at the core of the short film by the Venezuelan director. By narrating the simple story of citizen Albertini, who is always missing one piece to complete his puzzles, Ricardo Muñoz lets out a cry of rebellion against the main totalitarian regimes which have dominated numerous countries and continue to do so.

“MAVKA” BY ANASTASIA LEDKOVA

The short film by Anastasia Ledkova is an exquisite, dream-like look at a family tragedy. The death of a woman might be the right time for her son and husband to start a new life. The two of them have different views on the idea of moving, but all that is overshadowed when the son finds a sweet and mysterious girl, concussed, on the bank of a river. The unknown girl wins over the two protagonists with her elegance and innocence, behind which hides a terrible truth that will hit them both hard.

“BACKYARD CAMPING” BY MOR HANAY

A peaceful and pleasant night under the stars seems to be the best way to resolve, although temporarily, the numerous family problems that the protagonist couple have and are aware of. The backyard is the setting, the camping tent becomes a fortress, but the desired resolution never comes, because of a surreal thief and an unbeatable tree.

“RENDEZ-VOUS” BY ROSHANAK AJAMIAN

Baran and Navid are a young Iranian couple going through a crisis. Baran intends to end the relationship as she is in love with her husband’s sister. The shock is painful, especially considering that they have recently moved to Canada, and Navid could have never predicted the end of the relationship. The director chooses to alternate between the two on a date and fragments of Baran crying desperately in the car, aware of the suffering that is about to come.

“LA CATTIVA NOVELLA” BY FULVIO RISULEO

This animated short by Fulvio Risuleo offers an elaborate meditation on the relationship with death, religion, and the future of human relationships in the new world that is moving forward.

The film is divided into three acts, each accompanied by three songs by singer-songwriter Mirko Mancini (aka Mirkoeilcane, ed.). Although the musician’s voice is fundamental to hold the metaphorical reflection together, the metaphysical content which accompanies the descent of Jesus on Earth is completely overshadowed by the visual plotline featured in the film’s mise-en-scène. The three tones corresponding to the different acts of the short film are extremely effective: the first act, dedicated to the Black Angel, is white and cold; the second act, containing the preparation for the descent, is black and gloomy; the last act, which chronicles the old Giovanni’s funeral, is colourful and warm.

“JUNKO” BY MINSHO LIMBU

The story of Junko is the story of many Nepalese new brides, forced to live far away from their husbands who leave for India looking for a job.

Minsho Limbu decides to chronicle, with echoes of Beckett, the young woman’s wait for her Godot, who may never return home.

The directing is elegant and subtle, the camera lingers on Junko’s microcosm, accompanying her in the realisation of her future solitude, as it was for her mother and for the women of previous generations. Limbu studies every shot in detail, as the production design remains essential and functional to what is being told; in this way, the story almost seems to tell itself in front of the lens. The film is an example of great storytelling, it leaves no questions unanswered and chronicles, without pity and sentimentalism, a cross-section of the cultural life in Nepal.

“NEON MEETS ARGON” BY JAMES DOHERTY

The whole problem of life, then, is this: how to break out of one’s own loneliness, how to communicate with others. Cesare Pavese, This Business of Living: Diaries.

Immersed in a blaze of colours, an Hephaestus with an Irish accent accepts a young apprentice into his peculiar neon sign factory. Alienated by the community and unfamiliar with social relations because of his prolonged isolation, the old craftsman’s neon light turns on thanks to the arrival of a friendly individual who bursts into his dull daily routine. The two lost souls struggle to communicate, but the barriers are broken down by the need of finding themselves through one another.

“BABATOURA” BY GUILLAUME COLLIN

Making the most of a frantic style of directing which chases after the characters’ dialogues through fast-paced, back-and-forth exchanges, the short film by Guillaume Collin describes the delicate balance of a Canadian family, gathered for dinner.

Many secrets and fears grip the heart of Benoit, worried that his family will not accept the illegitimate son which his partner carries in her womb. The mise-en-scene helps to understand the nature of each of the diners seated around the table, and simultaneously displays their reaction to the shocking news that destroys the principles of a traditional family, thus measuring the extent of their love for one another.

“LA NOTTE BRUCIA” BY ANGELICA GALLO

Riding the (overlong) wave of crime stories set in the outskirts of Rome, a theme and a leitmotif which have oversaturated Italian cinema in the last few years, director Angelica Gallo condemns an environment in which teenagers find no way to emerge as individuals and as members of society, other than associating themselves with criminals. The presence of Marcello Fonte e Aniello Arena enriches a genre short film which depicts teenagers living on the street like stray dogs, working in packs to survive, but ready to betray one another in the name of a god who knows no morals: money.

“AIN’T NO MERCY FOR RABBITS” DI ALIZA BRUGGER

Director Aliza Brugger presents in competition an all-female western film that revolutionises the genre as it has traditionally been imagined, by reinventing the woman’s role: no more a defenseless creature, incapable of providing for herself in an arid and treacherous environment, like that of the desert. Indeed, the small Ronan lives with her ailing grandmother in a hostile environment, far away from any kind of civilization and from natural resources. They are surrounded by a rocky horizon, but no cowboy comes galloping to their rescue. “You gonna be the wolf or the rabbit?”: this is the question that runs through the mind of the young protagonist who, inspired by her grandmother’s teachings, fights against the fear of not being able to survive. Knowing that she can only rely on her abilities, the young Ronan learns to ride, a symbol of independence and freedom.

“ANOTHER BRICK ON THE WALL” BY ZHANG NAN

Article by Alessandro Pomati

Translated by Elena Soldà

In 1977 in China, a few months after the fall of Mao Tse-tung and the subsequent reassembly of the Communist Party of China, a valley not far from the city-prefecture of Tangshan, in the province of Hebei, is submerged in order to create an artificial dam that can supply water to the nearby big city. Underwater, however, not only the houses and shops that have been cleared run out, but also an entire stretch of the Great Wall, the monument that more than any other, perhaps, characterizes China in the world. Forty years after the construction of the dam, some local inhabitants, noting the misery of the conditions of a part of the wall on the surrounding hills, decide to put on a restoration operation to give new prestige to the millenary monument.

Continua la lettura di “ANOTHER BRICK ON THE WALL” BY ZHANG NAN

“LOS PLEBES” BY EDUARDO GIRALT ED EMMANUEL MASSU’

Article by Luca Delpiano

Translated by Lorenzo Papa

Los plebes, the documentary presented in TFF’s “The rooms of Rol” section, dives into the intimacy of young millennial sicarios who roam Sinaloa, Mexico, at the service of drug traffickers, showing their passions and hopes for the future. And, by dwelling on these budding assassins’ use of social media to recount their double lives, the story tries to question the media and offers a profound reflection on death.

Continua la lettura di “LOS PLEBES” BY EDUARDO GIRALT ED EMMANUEL MASSU’

JOANNA HADJITHOMAS e KHALIL JOREIGE

Il cinema di Joanna Hadjithomas e Kalil Joreige – a cui la trentanovesima edizione del Torino Film Festival dedica una personale e una masterclass entrambe curate da Massimo Causo – può essere compreso tra l’inizio e la fine del loro percorso artistico e cinematografico, ovvero tra le cartoline dei titoli di testa del loro primo lungometraggio, Around the Pink House (Al Bayt Al Zaher, 1999), e la scatola, archivio audio-visivo del ricordo e della memoria che, corpo estraneo e così personale, apre Memory Box (2021). Tra questi due estremi, all’interno della cornice più generale della storia del Libano, della sua distruzione e della sua ricostruzione, si apre una lunga e complessa riflessione sul cinema, sullo statuto dell’immagine e, in particolare, dell’immagine-memoria.

Continua la lettura di JOANNA HADJITHOMAS e KHALIL JOREIGE

“ANOTHER BRICK ON THE WALL” DI ZHANG NAN

Nel 1977 in Cina, pochi mesi dopo la caduta di Mao Tse-tung e il successivo riassemblamento del Partito Comunista Cinese, una valle poco distante dalla città-prefettura di Tangshan, nella provincia dello Hebei, viene sommersa per creare una diga artificiale che possa rifornire d’acqua la vicina grande città. Sott’acqua, però, non finiscono solo le case e i negozi sgomberati, ma anche un intero tratto della Grande Muraglia, il monumento che più di ogni altro, forse, caratterizza la Cina agli occhi del mondo. Quarant’anni dopo la costruzione della diga, alcuni abitanti locali, constatando la miseria delle condizioni di una porzione della Muraglia sulle alture circostanti, decidono di mettere su un’operazione di restauro atta a donare nuovo lustro al millenario monumento.

Continua la lettura di “ANOTHER BRICK ON THE WALL” DI ZHANG NAN

“PIANO LESSONS” BY ANTONGIULIO PANIZZI

Article by Sara Longo

Translated by Alexandra Oancea

Piano Lessons is a moving experience, a whirling swirl of emotion, which finds in the documentary cinema its preferred medium to blow out. It is about the almost unknown story of German Diez Nieto, musician and virtuoso concert pianist, who abandoned the stage to devote himself exclusively to teaching music.

Continua la lettura di “PIANO LESSONS” BY ANTONGIULIO PANIZZI

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