1 PardoLive 7 | 8 | 2013

PardoLiveWednesday · Mercoledì 7 | 8 | 2013

SirChristopher LeeBaltasar KormákurDaniel e Diego VegaJoaquim PintoAndrea SegreVinicio Capossela

66° Festival del fi lm Locarno

Pardo Live Partner:

You are the Jury. Award the prize, win a prize in the Piazza Grande.www.pardo.ch/ubs

Lagaan, once upon a time in India | Winner of the Prix du Public UBS in 2001 | Aamir Khan, actor and producer

3 Pardo

Piazza Grande, 2 Guns, 7 | 8 | 2013 — 21:30

È un inizio sparato: quando le star giocano con il fuocoLa ricetta ha gli ingredienti d’impatto dell’action-movie hollywoodiano. Quel-li che sanno invadere ogni millimetro del maxischermo di Piazza Grande, per mescolare un cocktail visivo fatto di pistolettate, inseguimenti e colpi di sce-na che dirottano suspense e attenzioni del pubblico. Tredici anni fa, il regista Baltasar Kormákur ci aveva trasportato tra le nevi grottesche della sua Islanda, Baltasar Kormákur ci aveva trasportato tra le nevi grottesche della sua Islanda, Baltasar Kormákurcon una pellicola d’esordio, 101 Reykjavik che, oltre a scaraventarci in un mon-do stralunato fatto di alcool, sesso e fl amenco, segnò il suo trampolino di lancio internazionale. Ora, Kormákur ritorna sulla scena del delitto locarnese, ma lo fa dopo quel lungo balzo di carriera che lo ha fatto atterrare negli Stati Uniti e dirigere, come in questo 2 Guns, un cast che è tutto un cielo di stelle.

Mettete fi anco a fi anco agenti mascherati da criminali come Denzel Washing-ton e Mark Wahlberg. Inseriteci di mezzo la fi gura femminile Paula Patton. E poi lasciateli frizionare all’interno di un groviglio narrativo in cui i rapporti tra buoni e cattivi si mangiano i confi ni, ribaltando aspetti esteriori e diffi denze che fi ni-scono per arrivare a testacoda imprevedibili. Storia di dollari che scappano, lotte contro i cartelli della droga messicana, il tutto condito da quelle schegge d’ironia che si grattugiano nel pentolone adrenalinico con cui il fi lm mette a fuoco anche un suo cuore “politico”: quando la corruzione dilaga nelle istituzioni, l’abuso di potere diventa prassi quotidiana. lorenzo buccella

Fuori concorso

Indebito, Salonicco Social ClubLa potente, lacerante, poetica e rabbiosa voce dei rebetes, quella delicata, soffi ata di Vinicio Capossela, l’occhio fi sso, lucido, fatto di arte e rabbia di Andrea Segre sulle ingiustizie, da sempre tappe del suo viaggio cinematografi co e fi sico nelle periferie del mondo. Indebito, gioco di parole e note sulla Grecia in ginocchio – Atene e Salonicco in particolare – scrutata attraverso il rebetiko, è la vibrante ricerca e riconquista di un’identità venduta al peggior offerente (consumismo e globalizzazione), uno sguardo diverso e appassionato di due artisti diversi e complementari sul centro di una crisi in cui il disastro economico attuale è solo un effetto e non la causa. Boris Sollazzo

I’ve always been mistrustful of celebrity fi gureheads and opening ceremonies, of forced smiles and speech-es written to be read out (but without it being too obvious). As though someone up above did not have enough confi dence in the actors or the programme itself to offer it without intermediaries. But when the possibility of hosting Christopher Lee at Locarno came up, I said to myself that if there must be a fi g-urehead, he would be my ideal one. How could you not want to be accompanied by the man who has accom-panied more fi lms than any other?

Of water and fi re. A thin thread of disquietude passes through the fi lms in the competitions and links Joaquim Pinto’s fi rst-person narrative with that of the river’s inhabitants in Sai nam tid shoer (By the River)By the River)By the River .In E Agora? Lembra-me, the story of the fi ght against a disease and of the life that has carried on despite eve-rything, fi re serves as both real threat and metaphor. In Numbenchapol’s fi lm, it is water that is overturned as a symbol of purity and life to become an element of death and pain. Though not directly present, ruin and rebirth are the basic elements of 2 Guns. Like every good action fi lm, Ko-rmákur’s work repeatedly places its heroes at the edge of the precipice, in impasses with no way out, perhaps to bring the public’s attention to an unbalanced rela-tionship between who controls and who is controlled.

Concorso internazionale, El mudoAuditorium fevi, 8 | 8 | 2013 — 14:00

Someone has shot the judge Costantino. A bullet to the throat has taken away his ability to talk. He is sure he knows who was responsible, but the world around him does not give him a chance to prove it. He is left with his soundless rage, his gaze lost amidst papers that no longer speak to him. Alone, in his offi ce. Alone, in his silence. Imprisoned in a tragi-comic situation, the judge Costantino observes the world that surrounds him with astonishment.

Fermo immagineFermo immagineCarlo ChatrianCarlo ChatrianArtistic DirectorArtistic Director

Sai nam tid shoer

Vogliamo tutto il meglio del cinema.

Tom, Anna, Roger: appassionati di cinema

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5 PardoLive 7 | 8 | 2013

Piazza Grande, 2 Guns, 7 | 8 | 2013 — 21:30

“Back to Locarno, Where It All Started”You have just to say a word: Locarno. And watch the smile on Bal-tasar Kormákur’s face. “It was a great experience. It was my fi rst international premiere as a director. It´s where it all started. I had no idea what to expect but it could not have gone any better”. The Icelandic director lived his debut at the Festival del fi lm Locarno in 2000, when 101 Reykjavík took part to the Concorso internazionale. “The movie became a hit out of Locarno. I had a new born son that me and my wife Lilja brought with us. He is now starting to have teenage problems - that is how long I have been doing it. I could not be more happy to come back to Locarno to open the festival at the wonderful Piazza.”

Following the success of his fi rst “American” fi lm, Contraband, Kormákur was immediately on the hunt for fruitful new challenges. “I didn’t want to repeat myself with 2 Guns, I was looking for some-thing more personal. I wanted to let my humour and my style come through. This was going to be a chance for me to reveal myself.”

How did he ensure that two stars of the calibre of Denzel Wash-ington and Mark Wahlberg got along on the set? “It was the biggest challenge: if I managed to put these two actors together and make them shine, to fi nd the right chemistry, we could have achieved any-thing. What I had to do was to create the right atmosphere on the set, to create trust. You have to prepare yourself well so that when it’s

time to start working you feel free and relaxed and the relationships can ease up. Then the actors have to fi nd the camaraderie them-selves, you can’t manipulate them. You have to lay the groundwork, the foundations for them to work on. My task was to control the tone of the movie, adding or taking away comedy where I thought it was appropriate.”

What was the most complicated scene to shoot? “There were many. I’m not afraid of shooting unexpected things. In some scenes I was playing with fi re a bit, which I love to do. Like the scene with the bull, which I came up with myself. It wasn’t in the original script. I like these complicated things. There are lots of diffi cult aspects: it wasn’t easy to unleash a bull against Denzel Washington! In the end though, it proved complicated because it was the bull who was scared…” adriano ercolani

DenzelWashington“ Sta soprattutto alla bravura e alla “ Sta soprattutto alla bravura e alla “responsabilità del regista trovare il tono del film e dosare le prove degli attori. Kormákur ha adoperato gli arnesi giusti. Abbiamo improvvisato praticamente ogni scena, lavorando sempre più su nuove idee mentre andavamo avanti. Questo è fare cinema: cerchi di trovare sempre nuovo materiale e poi lo tagli se ti accorgi che non funziona ”

Mark Wahlberg“ Come attore, ma anche produttore in “ Come attore, ma anche produttore in “passato, sento sempre la responsabilità di creare un ambiente dove ognuno si possa sentire a proprio agio, senza la paura di sembrare ridicolo a tentare nuove strade. L’approccio a questo film è stato quello di un processo di scoperta. Alla fine molte delle migliori battute sono uscite da me e Denzel mentre ci divertivamo a improvvisare ”

Paula Patton“ Per sviluppare l’alchimia sul set “ Per sviluppare l’alchimia sul set “non c’è una formula, funziona o non funziona. Denzel e Mark hanno trovato subito una grande intesa e quando abbiamo girato tutti e tre me l’hanno trasmessa, abbiamo organizzato le scene tra noi come una specie di danza. Non sono cose che puoi creare, succedono e basta. Insomma, è stato un film veramente piacevole da realizzare ” a.e.

Fondazione Bally per la Cultura ricerca ogni anno un artista ticinese attivo nel campo delle arti figurative (pittura, scultura, fotografia e grafica) che avrà l’opportunità di essere sostenuto e supportato a livello internazionale da uno dei Brand più famosi nel settore del lusso. Inviate la vostra candidatura a:

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Sir Christopher Lee, you represent a long and fascinating segment of the history of cinema, due to the almost 300 roles you have played. Could you tell us when you felt the fi rst spark of love for your craft?

I don’t really know. When I was about 10 or 12, we had an annual play at Christmas – Shake-speare. I appeared in Richard II and in Henry V and the idea of acting probably was born when I did those two plays. In 1946, I visited my cousin, who was the fi rst Italian ambassador to the Court of St. James’s after the war. I didn’t really know what I wanted to do after getting out of uniform. “Have you ever thought of being an actor?” he asked. After two or three weeks I told him I would give acting a try.

Five questions to …

Sir Christopher LeeExcellence Award Moët & Chandon

The Wicker Man (1973)La sala, 8 | 8 | 2013 — 16:15

The Hound of the Baskervilles (1959)Cinema Ex*Rex, 9 | 8 | 2013 — 22:00

Umbracle (1972)Cinema Rialto 1, 11 | 8 | 2013 — 21:00

“ Il regista più brillante con cui abbia mai lavorato è Billy Wilder. Un uomo magnifico sul set e davvero arguto ”

In your career you portrayed a wide range of characters. Generally speaking, did you pursue the roles you played – or did most come to you?

Parts always came to me. I don’t remember ever saying to my agent “I hear so and so is going make a fi lm, I want to be in it.” Everthing I have ever done has been offered to me – either perso-nally or through my agent.

You have often claimed that Robin Hardy’s The Wicker Man (1973) is the movie you are most attached to. Do you still feel that way?

The Wicker Man is without any question the best and most brilliantly written part I have ever had – written by Anthony Schaffer. I’ll never forget it. Absolutely brilliant, the best fi lm I’ve ever made. I still have the script. It was written – which was fairly rare in those days – for me. Schaffer and Hardy had me in their minds to play the part of Lord Summerile. And many critics call it one of the top ten British movies ever made.

From Billy Wilder to Steven Spielberg, Joe Dante and Tim Burton, your fi lmography is characterized by encounters with great directors. Which one do you remember most fondly?

Without any doubt the most brilliant director I have ever worked with was Wilder. He was a wonderful man to work with and, my god, he was witty. Then you’ve got Spielberg, Peter Jackson, Burton, Martin Scorsese, and Dante. I cannot pick a favorite. They are wonderful in totally different ways because all the stories were different. I also worked with Orson Welles on a television fi lm of his play Moby Dick – Rehearsed, which was never fi nished. He was wonderful, as was John Huston.

You have taken part to great blockbusters, but you have also acted in some low-budget movies with a strong experimental bent. That’s the case of Pere Portabella’s Umbra-cle, which is going to be screened in Locarno. What was it like working on that fi lm?

I never really understood it. He made this movie in B&W, most of which is with sound and some of which I sing in. Other times I just walk around. I did have a scene – cannot remember if it is still in the fi lm – with the famous painter Antoni Tàpies. We spoke French. Then I used to sing Wagner out of nowhere. With no music – nothing. It is a very strange movie and you really would have to ask the fi lmmaker about the meaning of it. lorenzo buccella

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PardoLive 7 | 8 | 2013 8

Enjoy the festival. TV is waiting for you.

Replay from Swisscom TV lets you watch any programme broadcast in the last 30 hours. Further information and a special offer from Swisscom TV to mark the festival are waiting for you at Cinebar Swisscom.

9 PardoLive 7 | 8 | 2013

Concorso internazionale, El mudoAuditorium fevi, 8 | 8 | 2013 — 14:00

A Reluctant HeroEl mudo is, paradoxically, the only character willing to speak up in this tragicomedy directed by Peruvian brothers Daniel and Diego Vega. As a judge devoted to the principles of the law, Constantino faces a system of corruption that a “silent” majority, including his own family, seems to participate in or submit to.

After a striking opening scene exposes his contempt for moral weakness and mediocrity, Constantino is catapulted into a moral crisis by what looks like a double punishment for his overblown good intentions: a professional downgrade and a gunshot out of no-where which leaves him as good as mute. Pathetic, the little judge appears as a deformed growth aborted by the body that produced him. After their Cannes success and Kaurismäki homage Octubre, the Vega brothers, in just two fi lms, have affi rmed a penchant for re-luctant heroes marked by the legacy of an admired lost parent; dog-matic men whose intransigence has left them friendless and obliged to recognize the dead-end their solitary crusade got them into.

Maturing from a sober mix of absurd humor and elegantly shot melancholy, the Vega brothers welcome genre elements with a who-dunit mystery, as well as a subtle and dark moral questioning.

aurélie godet

Concorso internazionale, E Agora? Lembra-meAuditorium fevi, 8 | 8 | 2013 — 16:30

Un anno sopravvissutopericolosamente Bastano poche inquadrature per intuire che E Agora? Lembra-me non è un fi lm E Agora? Lembra-me non è un fi lm E Agora? Lembra-mecome tutti gli altri. Molto più di una voce narrante, capace di saltare d’intuizione in intuizione e far passare le quasi tre ore tutte d’un fi ato, a imporsi è la voglia di prendere di petto quell’impasto di ironia e tragedia, di dolore e gioia che compo-ne una vita. Come annuncia il titolo, il fi lm gioca su una distopia: il presente («E agora?» – E ora?) in tutta la sua incertezza si prolunga nel passato («Lembra-me» – Ricordami), imposto come un imperativo.

Sullo sfondo la concezione di Pier Paolo Pasolini, «Amo il cinema perché con il cinema resto sempre a livello della realtà». Anche Joaquim Pinto, fonico, pro-duttore, regista – compagno di viaggio di Jean-Claude Biette, Serge Daney, Paulo Rocha e João Monteiro – ama il cinema perché gli permette di essere su un piano d’uguaglianza con le cose. Con il cinema ha fatto la sua vita e ora che si trova a lottare con la malattia usa il cinema per trasformarla in poema visivo. Nel fi lm un’immagine ricorre. Come una metafora. O un manifesto. Gli adorati cani del regista e del suo compagno si strusciano sull’erba, a pancia all’aria. È la posizio-ne più indifesa per un animale, che l’adotta solo quando ha di fronte qualcuno di cui si fi da ciecamente. carlo chatrian

Enjoy the festival. TV is waiting for you.

Replay from Swisscom TV lets you watch any programme broadcast in the last 30 hours. Further information and a special offer from Swisscom TV to mark the festival are waiting for you at Cinebar Swisscom.

11 PardoLive 7 | 8 | 2013

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The fears of parents worldwide: just what are your kids doing in their spare time? Along with his best friend Owen (Owen Williams), Matt (maniacal director Matt Johnson) decides to take on a gang of bullies he dubs The Dirties in a no-budget epic action farce made for his high-school fi lm class, a revenge fantasy à la Ta-rantino packed to the brim with cinematic references and surreptitiously fi lmed prankery. All, of course, does not go as planned, actual bullying increases, and Matt comes up with the idea of making the fi lm again, this time as a documentary, which tests Matt and Owen’s friendship, and brings to the fore the degree to which Matt has become disattached from reality. The impres-sive quality of Johnson’s feature debut is that it willingly assumes a now-too-familiar, juvenile form to deal with its juvenile subject – call it the mockumentary, with ac-tion shot from a handheld camera by an unseen, yet acknowledged cameraman – but the enaction of the concept is more mature than in untold number of ge-neric art fi lms fl ooding the scene today. (This guy is go-ing to be big.) Winner of multiple awards at American independent fi lm festivals, including the main prize at this year’s Slamdance, The Dirties is a rioyous comedy, make no doubt about it, but paced and edited in a dazz-ling way that its thematic seriousness seeps, leaving a bad taste in your mouth about the dangers of untouched cinephilia, when taken to the extreme. mark peranson

Concorso Cineasti del presente, The Dirties, La Sala, 8 | 8 | 2013 — 11:00

Bullies and Cinephilia

Concorso Cineasti del presente, Sai nam tid shoer, La Sala, 8 | 8 | 2013 – 18:30

E il naufragar mi è dolce in queste acque di piomboC’è un villaggio nella regione di Kancha-naburi. E c’è un fi ume le cui acque scorro-no fi no a Bangkok. Un giovane si immerge tutti i giorni per pescare, e mentre pesca si perde nel verde cristallino, nei riverberi di luce, nel silenzio della foresta di sme-raldo. Ma c’è qualcosa di oscuro in questa discesa adamantina. Negli anni le acque del fi ume sono state inquinate dal piombo di una fabbrica fi nalmente chiusa. Il pesce è contaminato, molti abitanti del villaggio si sono ammalati. Nontawat Numbenchapol, che già nel precedente Fahtum pandinsoong (Boundary) lavorava sui confi ni fra verità e menzogna, va più a fondo. Letteralmente. Il virus minerale che ha infettato l’ambiente è fl uido, opaco, silenzioso. L’aria ne è pregna, ma non si vede. L’ecosistema è travolto, ma la vita quotidiana scorre placida come le acque del fi ume. Sai nam tid shoer (Sai nam tid shoer (Sai nam tid shoer By the River) By the River) By the Riverfi lma il cuore dell’infezione: dov’è dunque la realtà? Su quale superfi cie liquida è preci-pitata? Come si fa infi ne a documentare questo suo corpo malato e invisibile insieme?

lorenzo esposito

UBS Chair. Join the Festival del film Locarno Community.Share your impressions at www.pardo.ch/ubschair

We will not rest

Programme 8 | 8 | 2013

Spensierati all’evento e prevendita alla stazione FFS.

Mendrisio and lower Ceresio bathing offers

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11.00 Cinema Ex*Rex Cinema Ex*Rex

Retrospettiva George Cukor

What Price Hollywood? Dir.: George Cukor USA · 1932 · 35 mm · Black and White · 88’ · o.v. English · Subt. French

11.00 Auditorium FEVI Auditorium FEVI

Appellations Suisse

& 9 | 8 | 2013 & 9 | 8 | 2013 Verliebte Feinde Dir.: Werner Schweizer Switzerland · 2012 · DCP · Color · 112’ · o.v. German/French/English · Subt. French, German

14.00 Auditorium FEVI

Concorso internazionale

& 9, 10 | 8 | 2013 El mudo Dir.: Daniel Vega, Diego Vega Peru/France/Mexico · 2013 · DCP · Color · 90’ · o.v. Spanish · Subt. English, French

14.00 La Sala

Pardi di domani

& 9, 10 | 8 | 2013 Concorso internazionale 1

Versailles Dir.: Carlos Conceição Portugal · 2013 · DCP · Color · 20’ · o.v. Portuguese · Subt. English, French

Zinneke Dir.: Rémi Allier Belgium · 2013 · DCP · Color · 20’ · o.v. French/Dutch · Subt. French, English

Here Come the Girls Dir.: Young Jean Lee USA · 2013 · DCP · Color · 20’ · o.v. English · Subt. French, Italian

Acrobat Dir.: Eduardo Menz Canada · 2012 · DCP · Color · 29’ · o.v. French/Persian/English · Subt. English, French

14.00 PalaVideo

Premi speciali: Werner Herzog

Auch Zwerge haben klein angefangen Dir.: Werner Herzog Germany · 1970 · DCP · Black and White · 96’ · o.v. German · Subt. English

An Hour with

10.30 10.30 Spazio Cinema Spazio Cinema

Forum: Pardo alla carriera

Conversation with Sergio Castellitto Hosted by Maurizio Di Rienzo

13.30 13.30 Spazio Cinema Spazio Cinema

Forum: Excellence Award Moët & Chandon

Conversation with Sir Christopher Lee Hosted by Emmanuel Burdeau

Films Films

09.00 La Sala

Fuori concorso

& 7 | 8 | 2013 Indebito Dir.: Andrea Segre Italy · 2013 · DCP · Color · 87’ · o.v. Greek/Italian · Subt. Italian, English

09.00 Cinema Ex*Rex

Retrospettiva George Cukor

Grumpy Dir.: George Cukor, Cyril Gardner USA · 1930 · 35 mm · Black and White · 74’ · o.v. English

11.00 La Sala

Concorso Cineasti del presente

& 9, 10 | 8 | 2013 The Dirties Dir.: Matt Johnson USA/Canada· 2013 · DCP · Color · 83’ · o.v. English · Subt. French, Italian

11.00 PalaVideo

Fuori concorso: Shorts

During the Day My Vision Is Perfect Dir.: Benjamin Ramírez Pérez Germany · 2013 · DCP · Black and White · 10’ · no dialogue

Histoire(s) du cinéma

Rosso cenere Dir.: Augusto Contento, Adriano Aprà France/Italy · 2013 · Beta digital · Color · 60’ · o.v. Italian · Subt. English

14.00 Cinema Ex*Rex What Price Hollywood? Cinema Ex*Rex What Price Hollywood?

Retrospettiva George Cukor

The Royal Family of Broadway Dir.: George Cukor, Cyril Gardner USA · 1930 · 35 mm · Black and White · 82’ · o.v. English

14.00 L’altra Sala

Open Doors Screenings

Return of the Poet Dir.: Harutyun Khachatryan Armenia · 2006 · 35 mm · Color · 84’ · no dialogue

16.00 Cinema Ex*Rex

Retrospettiva George Cukor

Justine Dir.: George Cukor, Joseph Strick USA · 1969 · 35 mm · Color · 116’ · o.v. English Introduced by Anna Karina

16.00 PalaVideo Canada · 2012 · DCP · Color · 29’ · PalaVideo Canada · 2012 · DCP · Color · 29’ ·

Appellations Suisse: Jacqueline Veuve

Les Frères Bapst, charretiers Dir.: Jacqueline Veuve Switzerland · 1989 · Beta SP · Color · 26’ · o.v. French · Subt. German

La Petite Dame du Capitole Dir.: Jacqueline Veuve Switzerland · 2005 · Beta digital · Color · 55’ · o.v. French · Subt. German, English

The arrivals of the day, thanks to SWISS

Vinicio Capossela, cantanteAndrea Segre, registaAnna Karina, attriceSergio Castellitto, attoreBaltasar Kormàkur, registaNontawat Numbenchapol, regista

Matt Johnson, registaValérie Donzelli, registaDaniele Gaglianone, registaChristopher Lee, attoreDiego Vega, registaSam Garbarski, regista

16.15 La Sala

Premi speciali: Sir Christopher Lee

The Wicker Man Dir.: Robin Hardy United Kingdom · 1973 · DCP · Color · 88’ · o.v. English

16.15 L’altra Sala

Histoire(s) du cinéma: Pardo alla carriera Sergio Castellitto

Alza la testa Dir.: Alessandro Angelini Italy · 2009 · 35 mm · Color · 87’ · o.v. Italian · Subt. English

16.30 Auditorium FEVI

Concorso internazionale

& 9, 10 | 8 | 2013 E Agora? Lembra-me (What Now? Remind Me) Dir.: Joaquim Pinto Portugal · 2013 · DCP · Color · 164’ · o.v. Portuguese · Subt. English, French This fi lm features scenes that could shock the sensitivity of some viewers

18.30 La Sala

Concorso Cineasti del presente

& 9, 10 | 8 | 2013 Sai nam tid shoer (By the River) Dir.: Nontawat Numbenchapol Thailand · 2013 · DCP · Color · 71’ · o.v. Thai/Karen · Subt. English, French

18.30 PalaVideo

Histoire(s) du cinéma

& 9 | 8 | 2013 L’Ours Dir.: Daniel Karolewicz Canada · 2013 · DCP · Color · 36’ · o.v. French · Subt. English

Fuori concorso: Shorts

Lo que el fuego me trajo Dir.: Adrián Villar Rojas Argentina/Brazil · 2013 · DCP · Color · 43’ · no dialogue

18.30 L’altra Sala

Histoire(s) du cinéma

Batang West Side Dir.: Lav Diaz Philippines · 2001 · 35 mm · Color and Black and White · 302’ · o.v. Filipino/English · Subt. English

19.00 Cinema Ex*Rex

Histoire(s) du cinéma: Pardo alla carriera Sergio Castellitto

Italy · 2009 · 35 mm · Color · 87’ · Italy · 2009 · 35 mm · Color · 87’ ·

L’ora di religione Dir.: Marco Bellocchio Italy · 2002 · 35 mm · Color · 102’ · o.v. Italian · Subt. English

21.00 PalaVideo

Fuori concorso: Shorts

& 9 | 8 | 2013 America Dir.: Valérie Massadian France · 2013 · DCP · Color · 7’ · o.v. English · Subt. French

Fuori concorso: Signs of Life

A Spell to Ward Off the Darkness Dir.: Ben Rivers, Ben Russell France/Estonia · 2013 · DCP · Color · 95’ · o.v. English · Subt. French

21.00 Cinema Rialto 1

Premi speciali: Victoria Abril

& 14 | 8 | 2013 ¡Átame! (Tie Me Up! Tie Me Down!) Dir.: Pedro Almodóvar Spain · 1990 · 35 mm · Color · 101’ · o.v. Spanish · Subt. French, German

21.00 La Sala

I film delle giurie: Pardi di domani

Harmony Lessons Dir.: Emir Baigazin Kazakhstan/Germany/France · 2013 · DCP 4K · Color · 115’ · o.v. Kazakh · Subt. English

21.15 Cinema Ex*Rex

Retrospettiva George Cukor

Dinner at Eight Dir.: George Cukor USA · 1933 · 35 mm · Black and White · 113’ · o.v. English · Subt. French

21.30 Piazza Grande

Pardo alla carriera to Sergio Castellitto

Vijay and I Dir.: Sam Garbarski Belgium/Luxembourg/Germany · 2013 · DCP · Color · 96’ · o.v. English · Subt. French, German

23.30 Cinema Ex*Rex

Retrospettiva George Cukor

Our Betters Dir.: George Cukor USA · 1933 · 35 mm · Black and White · 83’ · o.v. English

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PardoLive 7 | 8 | 2013 14

Parmigiani_HQ • Visual: Tonda 1950 • Magazine: PARDO LIVE (CH) • Language: Italien • Issue: 1.8.2013 • Doc size: 210 x 297 mm • Calitho #: 07-13-88351 • AOS #: PF_00619 • EB 9.7.2013

GIOIELLI-OROLOGI HERSCHMANN PIAZZA G. MOTTA, ASCONA

GÜBELIN VIA NASSA 7, LUGANO

PARTENAIRES D’ÉMOTIONS

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TONDA 1950 Rose gold Ultra-thin automatic movementHermès alligator strap

Oro rosaMovimento automatico ultra-piattoCinturino in alligatore Hermès

Made in Switzerland

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15 PardoLive 7 | 8 | 2013

Appellations Suisse: Jacqueline Veuve

Madame Veuve, la pioniera Doc È stata una vera pioniera del documentario in Svizze-ra, tracciando con il proprio sguardo una lunga serie di scavi etnografi ci e antropologici che hanno restituito in immagine la complessità della realtà. Sia quella più ravvicinata sia quella che andava oltre i perimetri della familiarità, perché Jacqueline Veuve, signora del cinema svizzero, scomparsa lo scorso 18 aprile, declinando alla propria maniera le lezioni di Jean Rouch e Richard Lea-cock ha fatto del documentario una botola di racconti, affamati da una volontà di comprensione per ciò che aveva davanti agli occhi. Ora il Festival del fi lm Locarno, che ha ospitato negli anni tanti lavori della Veuve, a par-tire dal suo esordio al lungometraggio con La Mort du grand-père ou le sommeil du juste del 1978, le dedica un grand-père ou le sommeil du juste del 1978, le dedica un grand-père ou le sommeil du justedoveroso omaggio. Con una tavola rotonda in memoriam al PalaVideo con Léo Veuve, Jean Perret e Fernand Melgar che sarà preceduta da una doppia proiezione: prima, il corto-metraggio sul mondo del trasporto del legno in mon-tagna, Les Frères Bapst, charretiers (1989) e, a seguire, La Petite Dame du Capitole (2005), uno dei suoi docu-La Petite Dame du Capitole (2005), uno dei suoi docu-La Petite Dame du Capitolementari più incisivi, incentrato sulla fi gura femminile dell’ottantenne Lucienne Schnegg, cassiera, factotume memoria vivente di un cinema storico di Losanna.

lorenzo buccella

Fuori concorso, A Spell to Ward Off the DarknessPalaVideo, 8 | 8 | 2013 – 21:00

Two Directors –Three Movements

PHOTO:HIROSHISUGIMOTO,«GARTENBAUKINO»,VIENNA2001

OCTOBER 24 — NOVEMBER 6, 2013WWW.VIENNALE.AT

V13_Ins_pardo news_V13 24.07.13 17:38 Seite 1

During Rivers and Russell’s fi lm, in the transition from the fi rst to the second part, and then to the third, a triangle appears, scratched onto the fi lm itself, branded into the black. The two fi lmmakers, one British and one American, shar-ing a fi rst name and initials as though predestined to double and refl ect in each other, have often shared similar creative journeys, which grew closer, intersected and have now joined together. Two directors for a fi lm in three movements, and the union of the segments in the closed and continuous shape of this triangle stands for the journey of the project and its main character. He leaves a commu-nity of which he is a member and a mute witness. Alone, he passes through for-ests, lakes and memories, before arriving at a new community, this time musical, completing a journey from silence to shout. The fi lm is inspired by the luminous colours and social utopias of Rivers, slides towards a common enchanted ground in which the visions of both meet, and arrives at an long and mysterious perfor-mance sequence, with the Dionysian charge typical of Russell’s work. During the fi nal concert, the camera lingers on the faces of the audience, mirroring on screen the faces of the fi lm’s audience, us, like them, part of an experience that has transformed the room into an autonomous space, and listening and seeing into a progressive liberating alteration of the senses. sergio fant

Parmigiani_HQ • Visual: Tonda 1950 • Magazine: PARDO LIVE (CH) • Language: Italien • Issue: 1.8.2013 • Doc size: 210 x 297 mm • Calitho #: 07-13-88351 • AOS #: PF_00619 • EB 9.7.2013

GIOIELLI-OROLOGI HERSCHMANN PIAZZA G. MOTTA, ASCONA

GÜBELIN VIA NASSA 7, LUGANO

PARTENAIRES D’ÉMOTIONS

MESURE ET DÉMESURE *

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TONDA 1950 Rose gold Ultra-thin automatic movementHermès alligator strap

Oro rosaMovimento automatico ultra-piattoCinturino in alligatore Hermès

Made in Switzerland

www.parmigiani.ch

PardoLive 7 | 8 | 2013 16

Sarida BossoniAgency for Directors of PhotographyKalchbuehlstrasse 169 CH-8038 Zurich +41 (0) 79 279 11 99 welcome@saridabossoni.com www.saridabossoni.com

Never underestimate the power of a strong image.

Pardo Way is a selection of top bars & nightspots in town. The optimal itinerary to recharge your battery between the screenings. Starting from breakfast, snacks, lunch and aperitif, Pardo Way goes on with thematic tastings, shows, concerts and nightlife that are going to amuse and keep busy our festivalgoers.The program with all the initiatives is published on the Pardo Way Facebook Page, while strategic tips and useful information are available on Foursquare.

Pardo Way

Beach LoungeSemplicemente beach

Bar Magnolia @ Spazio RSIMusic bar

La Rotonda del Pardo

Teatro La CambusaCambusindie - Music festival

Al BorgoCafé literaire

Cinebar SwisscomFilm lounge

Oasi CasablancaOriental lounge

Fashion 2ShéAperò & after movie cocktail

Happy Carrot Project

Club Seventy7The place to pleasure your night

Lido Patriziale di Ascona

Max WayThe cosmopolitan place in town

Bistrot Teatro ParaventoMagico giardino con concerti

Un gustoso fotogramma dal sapore etnico, naturale e creativo

Rivellino GardenRelaxing garden

17 PardoLive 7 | 8 | 2013

Tempo libero

La Madonna ti aspettaa Medjugorje

Tel. 091 792 20 22

NATURA E RELAXTI ASPETTANO !!!

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Hotel Ascona film and video art Festival 2014 3rd edition. 27 february - 1 march

made in internetindie or nothingasconafilmfestival.org

APERTURA GIORNALIERA8.00-12.00 / 13.00-17.001 CORSA OGNI 30 MINUTI !TeTeT l. +41 (0)91 873 80 40www.airolo.ch/f/f/ univie

Un’opera tra le più risplendenti e affasci-nanti della storia di Hollywood, il cinema di George Cukor. Dal 1930 al 1981 Cukor ha lavorato con metodo e disciplina, dagli al-bori del sonoro al cinemascope e al colore, percorrendo una geniale sperimentazione artistica nel mondo scintillante e feroce di cui lui stesso ha fornito dall’interno, con A Star Is Born (dopo What Price Hollywood?), What Price Hollywood?), What Price Hollywood?una delle più ispirate rappresentazioni cine-matografi che. Gli oltre cinquanta fi lm che ha fi rmato come regista, tutti presenti nel-la retrospettiva (salvo One Hour with You, co-diretto con Lubitsch e già presentato a Locarno tre anni fa), sapranno sorprender-ci. Di Something’s Got to Give, incompiuto per il ritiro e la morte di Marilyn, si potranno vedere alcune splendide rushes (e una rico-struzione parziale) nel documentario Ma-rilyn Monroe: The Final Days, nella sezione Histoire(s) du cinéma.

Godard parlava di “maîtrise absolue dans la direction des acteurs” a proposito di tre ci-neasti: Renoir, Bergman e Cukor. E la fama di

“regista delle star” (alcune, come Katharine Hepburn o Judy Holliday le ha plasmate fi n dall’inizio, altre le ha “ricreate” una o più vol-te), per quanto sia ormai una formula con-venzionale, non è immeritata né trascurabi-le. È anche attraverso la direzione degli attori che si realizza in Cukor la mise en scène del cinema, lo “scambio” costante e reciproco tra vita e teatro. “Ci gettavamo addosso le battute come palle da tennis”, dice il regista a proposito del suo lavoro con la coppia di sceneggiatori Ruth Gordon e Garson Kanin e gli attori Katharine Hepburn e Spencer Tracy. Nella complicità con le star Cukor scopre e inventa il proprio mondo poetico: può mo-dulare all’infi nito il gioco del travestimento e del doppio, mettere in scena il “femminile” come perpetuo offrirsi all’illusione, rendere infi ne nell’ambiguità di commedia e melo-dramma “la struggente e sfuggente malinco-nia di fronte al mistero della vita”, secondo le parole di Giuseppe Turroni.

roberto turigliatto

Retrospettiva

Mondo Cukor

Retrospettiva

Cukor On/Off HollywoodAt the Festival del fi lm Locarno, US director George Cukor is not only celebrated by a retrospective of all his 50 fi lms, but also by a book, On/Off Hollywood (in French and English), where international crit-ics, fi lm historians and directors refl ect on his infl uence on cinema. “Whether because his methods weren’t conducive to the ‘politics of writers’, he has not been the subject of a book in years,” said Capricci Publishers, who issued the book – co-ordinated by French critic Fer-nando Ganzo – with the festival. jørn rossing jensen

George Cukor a été l’un des très grands cinéastes de l’âge d’or d’Hollywood. Pourtant, il n’a été l’objet d’aucune monographie en français ces dernières décennies. De The Philadelphia Story à My Fair Lady, en passant par la pléiade d’acteurs cukoriens (Katharine Hepburn, Greta Garbo, Cary Grant, John Barrymore, Jane Fonda…), ce livre, accompagné d’une abondante icono graphie, a la double ambition de servir les lecteurs curieux du cinéma américain comme les cinéphiles les plus exigeants.

En vente pendant le festival et le 22 août en librairie

GEORGE CUKOR. ON/OFF HOLLYWOODÀ l’occasion de la rétrospective intégrale

du cinéaste au Festival del film Locarno

Offcuts 7 | 8 | 2013

Il Presidente Marco Solari, il Direttore operativo Mario Timbal e Sandra Sain

Andrea Segre

Arthur Cohn

Lav Diaz

Lino Capolicchio

Baltasar Kormákur

Piazza Grande, 2 Guns

The 66th Festival del fi lm Locarno overture

Vox PopAttending the Festival

Vinicio Capossela

Carlo Chatrian

Piazza Grande, Festival Center

Energia ticinese,per il Festival

www.aet.chinfo@aet.ch

21 PardoLive 7 | 8 | 2013

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Helvetic Festivals and Diversity

Diversity: that probably is the keyword to appreciate at most the variety of proposals guaranteed by the “omnivorous” attitude of the Festival del fi lm Locarno. But how does that cinematographic diversity affect Swit-zerland’s reality?

That is the question asked by the Swiss Film Festivals Association “Conférence des festivals” to the Federal Statistical Of-fi ce, obtaining as answer a study identifying the impact of fi lm festivals on Switzerland’s cinematographic diversity. Comparing data from cinemas and festivals in 2011, the anal-ysis identifi es fi lm types, countries of origin and genres that are more likely to be seen on festival screens than in cinemas.

These fi rst results are presented by the Federal Statistical Offi ce on August 8th, 15:30, at La Magnolia. The presentation is followed by a panel discussion with Ivo Kum-mer (Head of Section Film, Federal Offi ce for Culture), Nadia Dresti (Head of Industry, Fes-tival del fi lm Locarno), Edouard Waintrop (Quinzaine des réalisateurs, Cannes) and moderated by Seraina Rohrer (Director Solo-thurn Film Festival). Further information on www.fi lm-festivals.ch. sara groisman

Second day at the Festival del fi lm Locarno and it is already time to assign awards. How is that possible? Thanks to the Migros Cul-ture Percentage, the jury members of the fourth Swiss Documentary Film Compe-tition will announce the names of the win-ners of the fi rst round on Friday August 8th, 17:00 at Casa Rusca (Locarno). The talented Swiss directors will be then supported by the Migros group with 25,000 Swiss Francs each, a fi nancing that will give them the op-portunity to develop their subjects until De-cember 2013, waiting for the verdict of the second round vote. In January 2014, in fact, only one of them will be designated as win-ner, earning the right to shoot his or her own

Da semplici spettatori a protagonisti assoluti della scena festivaliera: è questa la promes-sa del fotografo ticinese Marco Matteo Fieni al pubblico locarnese. Tutto merito di Ritratti Metropolitani (RM) Festival, parentesi par-data del progetto fotografi co sperimentale di street photography inaugurato nel 2010 dal creativo 37.enne. Il procedimento è sempli-ce: basterà mettersi in posa davanti all’o-biettivo posizionato nelle vicinanze di Piazza Grande per entrare a far parte di una lunga serie di istantanee in cui, per una volta, la gente di passaggio sarà al centro dell’atten-zione. Per maggiori informazioni visitare il sito web www.ritrattimetropolitani.ch.

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documentary fi lm thanks to the professio-nal cooperation of the SRG SSR group.

For the fi rst time in its history, the Swiss Documentary Film Competition was not tied to a single theme, but to a wide range of topics which are all relevant and stron-gly correlated to Swiss society, looking for “an alternative point of view on the reali-ty of our Country”. The jury for this fourth edition is composed by Nicole Hess for the Migros group, the director and winner of the fi rst edition Simon Baumann, the directors and producers of documentaries Nikolaus Geyrhalter and Nicolas Wadimoff, the slam poet Lara Stoll and Sven Wälti, representing the SRG SSR group. mattia bertoldi

Beyond the Festival

The Swiss Future of Documentary Production in a Competition

Locarno and Sorroundings

Quando il pubblico diventa protagonista

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Energia ticinese,per il Festival

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The little things. That’s what we’re perfect in.

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full-frame by XLVinicio

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EditorLorenzo Buccella

Graphic designSimon SmeraldiAlessandra AngelucciJannuzzi Smith

WritersMassimo BenvegnùMattia BertoldiLorenzo EspositoAdriano ErcolaniSergio FantAurélie Godet

Christian GomezSara GroismanJørn Rossing JensenMark PeransonBoris SollazzoRoberto Turigliatto

Guest photographersAlessio Pizzicannella(Cover)Laura Chiesa (assistant)Xavier Lambours (full-frame by XL)Fabrizio Capeder (assistant)

PhotographersGabriele Putzu (TiPress)Fotofestival (Marco Abram, Massimo Pedrazzini, Silas Vanetti)Ivana De Maria Timbal

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15 marzo – 17 novembre 2013Bernisches Historisches Museum

La « 8a meraviglia del mondo » – ora a BernaQin – L’imperatore eterno e i suoi guerrieri di terracottawww.qin.ch