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AWARDS 15th edition TIFF 2017 »   FEATURE JURY composed by Denis Côté (Canada) and Dritan Huqi (Albania) awards:   BEST FEATURE FILM   BEST FEATURE FILM Glory by Kristina Grozeva, Petar Valchanov | 2016 | Bulgaria, Greece | 97'   A movie that speaks to every time, place, and society – with an extraordinary development of a simple plot, which we live every day. A movie that carries a powerful message, but also a work of art with emotional and aesthetical values.   Një film që i flet çdo kohe, çdo vendi dhe çd... SHORT DOCUMENTARY FILMS - TIFF 2017 (15'th edition) »   1,4 Sextillion Litre Doro Götz Germany 2017 8 Days of Parlor Zoe Phylactidou Cyprus 2016 Born of Stone Emilio Bellu Italy, Czechia 2016 Dragon Circle Gertrud Schulte Westenberg Germany 2016 Evripidou 14 Michael Demetrius Greece 2016 Golden Hour Claudia Vogt Germany 2017 Happy Happy Baby Jan Soldat Germany 2017 In Search of the Land Without Evil Anna Azevedo Brazil 2017 Jungle Colia Vranici France 2016 ... DOCUMENTARY Mid-length - TIFF 2017 (15'th edition) »   Everybody Knows... Elizabeth Murray Kristi Zea USA 2016 Imma Pasquale Marino Italy 2017 On the Edge of Life Yaser Kassab Syria 2017 Prohibited Visit Nikos Theodosiou Greece 2017 Saint Lazarus's Miracle Nicolas Muñoz Avia Spain 2016 Valentina Maximilian Feldmann Germany 2016 VIDEO ART - TIFF 2017 (15'th edition) »   Brutes Are Afraid of Silence Étienne Boulanger Canada 2016 Ex Terrat Reinhold Bidner Austria, France 2016 Final Gathering Alain Escalle France 2017 Finish Saeed Naghavian Iran 2017 Genesis Abtin Mozafari Iran 2017 Hey You! Tessa Garland UK 2016 Hiwa Jacqueline Lentzou Greece 2016 Hysteria Maurice Kelliher UK, Ireland 2016 Label Amir Lashkari Iran 2017 Lying Women Deborah Kelly Australia 2017 mo... STUDENT International - TIFF 2017 (15'th edition) »   Beer & Calippo Paul Ploberger Austria 2017 Best of Everything, Always Alexios Koukias-Pantelis UK 2017 Boundary Bartosz Brzeziński Poland 2016 Buoyancy Simon Valentin Denmark 2017 Casting Katarzyna Iskra Poland 2017 Digital Immigrants Dennis Stauffer, Norbert Kottmann Switzerland 2016 Donkey Xote Ottó Bánovits Hungary, Sweden 2016 Eat me! Ilina Perianova Bulgaria 2016 Empathy (a digital love letter) ... IN ALBANIAN - TIFF 2017 (15'th edition) »   A Long Way Home Ibër Deari Macedonia 2017 A True Story Viron Roboci Albania 2017 Conversation on Life Agim Abdula Macedonia 2016 Heaven Has Been Fooled Odeta Çunaj Albania 2016 Home More Raça Kosova 2016 Kaini Shaqir Veseli Albania 2017 Lord of the House Daniëlle Bremer Kosova 2017 Reverse Antipode Oltsen Gripshi Albania 2017 The Eagles Sokol Reka Belgium 2017 The Junction Xhelal Haliti Kosova 2... DOCUMENTARY Full-length - TIFF 2017 (15'th edition) »   69 Minutes of 86 Days Egil Haskjold Larsen Norway 2017 Blood and the Moon Tommaso Cotronei Italy, Yemen 2017 Jeffrey Yanillys Perez Dominican Republic, France 2017 Mr. Gay Syria Ayse Toprak Turkey 2017 Siberian Love Olga Delane Germany 2016 The Charro of Toluquilla José Villalobos Romero Mexico 2016 Tonino Daniele Ceccarini, Mario Molinari Italy 2017 SHORT ANIMATED FILMS - TIFF 2017 (15'th edition) »   Aiport Michaela Müller Switzerland 2017 And the Moon Stands Still Yulia Ruditskaya Belarus 2017 Bystander Sheyda Kashi Iran 2017 Chill and Shivering Kwok Wai Chung Philip Hong Kong 2016 Confined Nico Bonomolo Italy 2016 Framed Marco Jemolo Italy 2017 In Exile Alexander Kurilov Moldova 2016 Light Sight Seyed M. Tabatabaei Iran 2016 Manivald Chintis Lundgren Estonia 2017 Nothing Happens Uri & Michel... SHORT FICTION FILMS - TIFF 2017 (15'th edition) » 8 Minutes George Gogichaishvili, David Abramishvili Georgia 2017 A Swedish Classic Måns Berthas Sweden 2017 Animal Bahman & Bahram Ark Iran 2017 Blue in Green Leigh Heiman Pruzanski Israel 2016 Building No.13 Amir Gholami Iran 2016 Burning Slimane Bounia France 2016 Check-list Frédéric Mosbeux Belgium 2017 Everyday Philippe Orreindy France 2017 Fluffy Lee Filipovski Serbia 2016 FU Ilya Aksenov R... FEATURE FILMS - TIFF 2017 (15'th edition) » A Balkan Noir Dražen Kuljanin Sweden, Montenegro 2017 Beneath the Silence Erez Mizrahi, Sahar Shavit Israel 2016 Black Crow Tayfur Aydin Turkey 2016 Daybreak Gentian Koçi Albania, Greece 2017 Directions Stephan Komandarev Bulgaria, Germany, Macedonia 2017 Glory Kristina Grozeva, Petar Valchanov Bulgaria 2016 Ministry of Love Pavo Marinković Croatia 2016 Mothering Roqiye Tavakoli Iran 2017 Unwanted Edon R...
Tuesday, 12 December 2017
Special Programme
Carmelo Bene
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Carmelo Bene was born in Campi Saletina, Italy in 1937. He began his career as a stage actor, and soon formed his own theater company; his adaptation of Camus’s Caligula put him in the avant-garde limelight as early as 1959. Bene directed and took on leading roles in his own performance pieces, from which he developed a theory of theater inspired by Antonin Artaud. Bene’s work opposes classical text-based theater, and his theories generally revolve around the necessity of recreating texts in performance with the actor-as-subject or actorial machine. He considered his work to be about a “constant becoming” in a perpetual state of incompletion. Bene believed that to merely repeat the written lines of famous playwrights was to murder theater. His art, therefore, is an art of repetition through extreme variation. By experimenting with classical dramatic texts, Bene became known as a notorious destroyer of texts. Outside the theater, he was a prolific writer, critic, radio performer, television actor, and filmmaker. In 1968, his controversial Nostra Signora dei Turchi (Our Lady of the Turks), which he adapted from his own 1965 novel of the same title, brought him acclaim as an avant-garde filmmaker. Bene interacted and collaborated with some of the most perceptive minds of the latter half of the twentieth century, such as Gilles Deleuze and Pier Paolo Pasolini, and found inspiration in contemporary thinkers such as Jacques Derrida, Roland Barthes, and Jacques Lacan, who largely influenced his critical and creative work. Many of his works, including his complete theatrical works, have been translated into French by Jean-Paul Manganaro. Bene died in Rome in 2002.

 

HERMITAGE

Sinopsi:
Nella stanza 805 dell’Hotel Hermitage, il corpo debordante di Carmelo Bene si trasforma in corpo cinematico con una serie di performance (dormire, vestirsi, scrivere, specchiarsi) che non hanno più alcun connotato reale, come se il mondo fuori fosse stato cancellato e non rimanessero che quel corpo e quella voce.

 

 

 

 

 

 

 

 

Nostra signora dei Turchi

Sinopsi:
« Un giovanotto magro, nervoso, spiritato, venuto dalle Puglie per inventare a Roma un suo personalissimo teatro. Si chiama Carmelo Bene. Non ha ancora trent'anni. Ha già scritto un romanzo Nostra Signora dei Turchi. Ha diretto come attore, autore, regista, una decina di spettacoli. Dieci spettacoli, dieci polemiche clamorose. È un istrione? Oppure: è un genio? È un mistificatore? Su questi giudizi il pubblico e la critica si danno battaglia.... »

 

 

 

 

 

 

 

Salome

Sinopsi:
"Borghese" di questa Salomè si legge:
« Dinanzi a personaggi come Carmelo Bene e come Franco Citti nulla può la critica teatrale. Debbono intervenire i carabinieri. E non bisogna aspettare che vilipendano la Religione o prendano a calci i lavoratori, per procedere al loro arresto; bisogna soltanto accertarsi della loro identità e metterli in galera, perché oltraggiano il buon gusto, nuocciono all'igiene pubblica, deturpano il paesaggio»

Alberto Arbasino si sente in dovere di scrivere:
« Questa geniale Salomè [... spacca] ...il pubblico in due, ma con la precisione di quelle reazioni chimiche tipo tornasole capaci di separare con una botta sola le mezze calzette da quelli che cercano di capire. »

 

 


 

SPECIAL GUEST

Piergiorgio Giacchè (Perugia, 1946) professore associato presso il Dipartimento Uomo & Territorio dell’Università degli studi di Perugia, insegna Antropologia del teatro e dello spettacolo e Fondamenti di Antropologia alla Facoltà di Lettere e filosofia della stessa università e Antropologia culturale alla Facoltà di Scienze della formazione alla L.U.M.S.A. di Roma. Ha condotto ricerche sulla devianza e sulla solitudine, sulla condizione giovanile e la partecipazione politica, prima di approdare al tema del rapporto tra Antropologia culturale e Cultura teatrale che è da tempo al centro dei suoi interessi scientifici.  E’ stato membro del comitato scientifico dell’International School of Theatre Anthropology (1981-1991) diretta da Eugenio Barba, si è occupato del fenomeno del “Teatro di gruppo” e della “Identità dello spettatore”.  E’ stato il primo Presidente della Fondazione “L’Immemoriale di Carmelo Bene” (2002-2005).
Membro del Comité de Rédaction de “L’Ethnographie”, collaboratore de “Lo Straniero” e di numerose altre riviste nazionali e internazionali, ha pubblicato, fra l’altro: Una nuova solitudine. Vivere soli fra integrazione e liberazione (Savelli, Roma, 1981),Lo spettatore partecipante. Contributi per un’antropologia del teatro (Guerini e ass., Milano, 1991), Carmelo Bene. Antropologia di una macchina attoriale (Bompiani, Milano, 1997), L’altra visione dell’altro. Una equazione tra antropologia e teatro (L’ancora del mediterraneo, Napoli, 2004). 

 
Vittorio De Seta
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He was born in Palermo, Sicily, to a wealthy family, and studied architecture in Rome, before deciding to become a director. De Seta made ten short documentaries between 1954 and 1959, before directing his first feature-length film, Banditi a Orgosolo (Bandits of Orgosolo). His early documentaries focus on the everyday life of many of Sicily's poorest workers, and are notable for their lack of voice-over narration, quiet mood, and striking color. In 2005 the rediscovery of Vittorio De Seta's work was a highlight of Tribeca Film Festival and Full Frame Documentary Film Festival, where was presented Détour De Seta, a documentary on the Italian director.
Banditi a Orgosolo (1961); Un uomo a metà (1966); L'invitata (1969); Diario di un maestro (1972, TV); In Calabria (1993); Lettere dal Sahara (2005);
Documentaries; Vinni lu tempu de li pisci spata, 11', 1955; Isole di fuoco, 11', 1955; Sulfarara, 10', 1955; Pasqua in Sicilia, 11', 1955; Contadini del mare, 10', 1955; Parabola d'oro, 10', 1955; Pescherecci, 11', 1958; Pastori di Orgosolo, 11', 1958; Un giorno in Barbagia, 14', 1958; I dimenticati, 20', 1959
Awards 1957. David di Donatello: Targa d'argento;  1961. Best First Work in the Venice Film Festival with Banditi a Orgosolo;  1962. Silver Ribbon of the Best Cinematography B/W at the Sindacato Nazionale Giornalisti Cinematografici Italiani (Italian National Syndicate of Film Journalists) with Banditi a Orgosolo.

 

 

Lu tempu di li pisci spata

Film HUNT shows the director’s sense for detail and visual beauty, which turn a day of swordfish hunting into a dramatic poem. A realistic depiction of the dull waiting in the Strait of Messina, and of the sudden struggle to reel in the fish. A portrait of man versus animal – ordinary and majestic at once.

 

 

 

 

 

Pasqua in Sicilia

FilmCELEBRATION captures the tremendous religiosity of human emotions during Holy Week. During the year’s most important holiday, people perform scenes from the Bible, priests and soldiers sound their drums, Jesus carries his cross, and the onlookers’ dark red masks symbolize the evil forces that led to the death of the Lord.

 

 

 

 

 

 

 

Pescherecci

Each De Seta film examines how the natural environment determines the behaviour of the people living in it. PESCHERECCI sheds light on the fisheries between Sicily and Africa. De Seta shows how the fishermen put out to sea in all weathers to scrape a living. If a storm breaks, the fishing boats seek refuge on the island of Lampedusa. The sober but effective use of the surrounding sounds drowns the fishermen’s voices and gives the film an extra dramatic dimension.

 

 

 

 

Un giorno in Barbagia

FilmWOMEN was made in Barbagia, a rocky region in the middle of Sardinia, where most men from local villages spend most of their time with their herds far from their families. The houses are left to the women, who take care of children, work in the fields, gather wood and bake bread, the herdsmen’s meal. Filmed in villages at the ends of steep, unpaved roads, the film reminds of the women’s lot, their patience and quiet devotion.

 


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