Pardo Live – Preview 2013

Pardo Live Preview 2013

Quotes

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Gael García Bernal @GaelGarciaBImpresionante la piazza grande de Locarno 8mil personas viendo @NOlapelicula No saqué foto. Ninguno foto representa la magnitud.

@panovaw0Roger Avary’s semi-fictionalized blog about his adventures @FilmFestLocarno is a thing of wonder: www.pardolive.ch/fr/Pardo-Live/RogerAvary

The Guardian

Of all film festivals, Locarno’s is the most magical

Libération

Festival de recherche où l’on rencontre ce qui s’invente dans le cinéma Dree Hemingway @dreelovechild

Just had lunch with the most lovely man, Harry Belafonte!

Indiewire

For big screen enthusiasts, seeing a film in Locarno’s spectacular Piazza Grande is to experience one of the best outdoor picture-and-sound happenings the planet has to offer. Add it to your bucket list

Screen International What’s most magical about the Piazza Grande is experiencing a film with that many strangers simultaneouly

The Huffington Post

Cannes, glamour. Venice, beautiful. All great. But Locarno turned out to be the most unforgettable experience that stays with one’s soul

3Pardo Live Preview 2013

Before it is entertainment, a tool for knowledge, the outcome of an eco-nomic process, a product of the imagi-nation (whether resisting or conform-ing to the mainstream), a film is a place where a subjective voice can make itself heard. It is an act that is at the same time bold and generous, shame-less and intimate, to offer this “voice” to another “I” so that they can experi-ence it, combining it with their own memories and emotions. This premise, apparently so absolute, is as true of in-dependent films as it is of the “great dream factory” that unspools in the unique setting of the Piazza Grande every year. In preparing to direct one of the festi-vals with the richest history, one of the most courageous (in offering a plat-form to so many diverse forms of film-making), most appealing (in its ability to bring professionals and film lovers together), rather than give indicative examples of directors, actors, genres and works to serve as a guiding beacon I would rather think of the films in the Festival’s 66th edition more as so many “voices”. Each with its own language, accent and tone. Curating a festi-val means orchestrating this diverse soundscape into a coherent score, a kind of text whose underlying founda-tions enable the freedom necessary for autonomous trajectories.

Born in Turin in 1971 Carlo Chatrian gradu-ated in Literature and Philosophy. He is director of the magazine Panoramiques, he worked regularly as a film critic for other outlets and he has published numerous es-says and monographs on filmmakers. As a programmer Chatrian has curated numer-ous film seasons, working with festivals and institutions such as Cinéma du réel in Paris, the Museo nazionale del cinema in Turin and the Courmayeur - Noir in Festival. Deputy director of the Alba Film Festival from 2001 - 2007, he has been a member of the selection committee for the Florence Festival dei Popoli and the Nyon Festival Visions du Réel.Carlo Chatrian started working with the Festival del film Locarno in 2002 and from 2006 – 2009 was part of the selection com-mittee. He also curated Locarno’s last few years’ retrospectives (Nanni Moretti, Man-ga Impact, Ernst Lubitsch, Vincente Min-nelli, Otto Preminger).Since 2010 he has been a consultant to the Cinémathèque suisse in Lausanne and since 2011 has been director of the “Film Com-mission Vallée d’Aoste” Foundation.

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Selection committee 2013

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Artistic Director Carlo Chatrian

Editorial

Biography

Film is my language and without language I become silent and in my silence I cease to be. Stephen Dwoskin (1939 – 2012)

Just like a film, a festival also needs to find its own language. Over the last few years, Locarno has developed a tone with the capacity to modulate in response to the requirements of the specialist press (with films that chal-lenge established categorisation) and the industry (selecting films from the festival circuit that have appealed to national distributors), the film-lov-ing public (who have been offered a unique mix of internationally recog-nised films and really surprising dis-coveries, historical classics and films of the “future”), and of all those who have shared the “Piazza Grande” ex-perience. Locarno’s voice is the con-tinuing outcome of work that began in 1946 and that has positioned it as an invaluable sensor of all the various cur-rents that flow through cinema. Any-one who has heard and felt this voice knows how synonymous it is with no-tions of freedom and independence. And whoever takes on the direction of such a festival cannot but be proud of this tradition and of taking up the ba-ton, with their own accent and in their own words. (Carlo Chatrian)

Lorenzo EspositoMark Peranson (Head of Programming)

Sergio Fant Aurélie Godet

Highlights

Alain Delon,Lifetime Achievement

Award

Lizzy Caplan,actress of Bachelorette

Charlotte Rampling,Excellence Award

Moët&Chandon

Nick Love with Ray Winstone, The Sweeney

Gael García Bernal,Excellence Award

Moët&Chandon

Arnon Milchan,Premio Raimondo

Rezzonico

Harry Belafonte,Pardo alla carriera

Jean-Claude Brisseau Pardo d’oro 2012

with Virginie Legeay,La Fille de nulle part

2012

Leos Carax,Pardo d’onore Swisscom,with Kylie Minogue

Support at the highest levels: Jean-Fréderic Jauslin, Director of Federal Office of Culture, Alain Berset, Head of Federal Department of Home Affairs and Ivo Kummer, Head of the Cinema section of the Federal Office of Culture

Manuele Bertoli, Cantonal Government Councillor, Director of the Department of Education, Culture and Sport with Marco Solari, President of the Festival

161,680 Total Audience

98,080 Indoor Cinema Audience

63,600 Piazza Grande Audience

10 Screening Sites

Film Selection223 Feature Films

68 Short Films

92 World Premieres

47 International Premieres

21 First Feature Films

56 Countries Represented

493 Delegation Guests

Industry Days3,050 Accredited professional delegates

970 Industry accredited

250 Buyers

536 Accredited companies

67 Countries represented

Open Doors328 Meetings

12 Selected Projects

84 Q&A and Master Classes

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The director of numerous massively successful films, George Cukor has been so identified with the sophisticated style and luxurious settings dear to the studios that he has suffered from being characterised merely as a supremely skilled master of the art of adaptation. However, review-ing his fifty-plus films again today reveals, instead, an art-ist who best conveyed the essence of that form of cinema which, while appearing to dwell on the superficial appear-ance of things, in fact casts a deeply searching light on the essentials. A great director of actors, both female (Joan Crawford, Greta Garbo, Ingrid Bergman, Judy Garland, Ava Gardner, Sophia Loren, Marilyn Monroe, Jane Fonda) and male (Cary Grant, Spencer Tracy, Charles Boyer, Anthony Quinn), Cukor often used his actors to cast a critical look at the world of show business, of which he was himself a part. Over the course of his long career, from the early sound era and continuing until the 1980s, Cukor contributed to devel-oping the art of cinema as a tool with which to think about the world as well as an intelligent form of entertainment. George Cukor was born in New York on 7 July, 1899. He was the only son in a Jewish but secular family that originated in Hungary. He started out in theatre, in 1928. Film had just begun to use sound as part of its expressive vocabulary, and Cukor – like other theatre directors – was offered work in Hollywood. He began at Paramount as a dialogue director and soon moved into directing. Three years later he went to RKO to work with his friend and mentor Selznick, and there he made his first hit films, What Price Hollywood (1932) and A Bill of Divorcement (1932). With the latter he launched a theatre actress who had been considered unattractive as a screen persona - the young Katharine Hepburn - and thus began a long and highly productive professional relation-ship. The following years established him as a director as at ease with literary adaptations (Little Women and David Copperfield) as he was with works of a more modern stamp

George CukorRetrospettiva

The 2013 retrospective will be dedicated to the American director George Cukor

Retrospettiva The Book

(Dinner at Eight, Silvia Scarlett, The Women), as well as two films which he did not finish, but on which he still left his mark– Gone with the Wind and The Wizard of Oz. Recognised for his mastery of comedy, Cukor also tried out other genres: and made a notable contribution to the musi-cal (in 1964 My Fair Lady won him an Oscar as a director). Alongside these achievements, from the success of A Star Is Born onwards, Cukor highlighted the potential of colour, through his collaboration with photographer George Hoyn-ingen-Huene. Despite the passing of the years, which saw such marked changes in Hollywood, Cukor continued to flourish, and did not lose his relish for blending elements of the classical and the modern. He concluded his career with two of his most original films, The Corn Is Green and Rich and Famous, which offer an extraordinary summation to his en-tire career. (Carlo Chatrian)

The retrospective is organised in collaboration with the Cinémathèque suisse and the National Cinema Museum of Torino, which will repeat the retrospec-tive in autumn 2013.The Festival will show the director’s complete works and the films will be shown in the best prints available. The screenings will be accompanied by discussions on George Cukor’s films, led by filmmakers, actors and critics invited to Locarno for the retrospective.The Festival audience will also have the opportunity to attend a round-table on the filmmaker’s work, chaired by Roberto Turigliatto, the retrospective’s curator.For the first year, Swiss Post is the sponsor of the Retrospective .

On the occasion of the retrospective a book on George Cukor will be published by Capricci in English and French, in collaboration with the Festival del film Locarno. George Cukor On/Off Hollywood is a collective publication with biographical and analytical texts, coordinated by film critic Fernando Ganzo with contributions by international film critics Jean-François Buiré, Jean Douchet, Pierre Eugène, Stefani de Loppinot, David Ehrenstein, Chris Fujiwara, Bill Krohn, Pablo García Canga, Gonzalo de Lucas, Rinaldo Censi and Lorenzo Esposito; by directors Mikael Buch, David Phelps and Mark Rappaport; and by film scholar Yola le Cainec.

George Cukor with Audrey Hepburn, My Fair Lady (1964)


Films presentedon the occasion of the Pardo d’onoreSwisscomNosferatu: Phantom der Nacht (1979)

Fitzcarraldo (1982)

Auch Zwerge haben klein angefangen (1970)

Aguirre, der Zorn Gottes (1972)

Jeder für sich und Gott gegen alle (1974)

Wo die grünen Ameisen träumen (1984)

The White Diamond (2004)

Grizzly Man (2005)

The Wild Blue Yonder (2005)

My Son, My Son, What Have Ye Done (2009)

Werner HerzogPardo d’onore Swisscom 2013Director, screenwriter, producer, writer and actor, Werner Herzog is one of the most important figures in that cinema movement which began in the 1960s which sought to think about and reconsider its own role and relationship with the world. A director who can move across genres and territories, perhaps the only one who can still, even today, conceive of film in terms of Vision. His films – and this goes for the documentaries as much as for the fiction – reveal a fascination with eccentric characters, with excessive drive and passions. From Nosferatu to Stroszeck, Fitzcarraldo to Kaspar Hauser (in the eponymous films), up to the aeronautical engineer Graham Dorrington (The White Diamond) and the explorer Timothy Treadwell (Grizzly Man), the men Herzog portrays or invents represent so many invitations to seize on that spark of adventure that burns in every one of us, that impulse to take life in hand without overly pondering the possible consequences. Over what is now almost a fifty year career, Herzog has crossed the five continents, filming in practically every kind of environment: the high mountains (The Wild Blue Yonder), the Australian desert (Where the Green Ants Dream), the Amazonian rainforest (Aguirre), Antarctica (Encounters at the End of the World) and close to an active volcano (La Soufrière). He has conjured extraordinary performances from non-professionals and worked with stars such as Claudia Cardinale, Klaus Kinski (the

friend and enemy he depicted in a moving documentary), Isabelle Adjani, Nicholas Cage, Donald Sutherland, Christian Bale… Always putting himself on the line, he has sought to go beyond the limits of what was considered filmable. The Pardo d’onore Swisscom that the Festival del film Locarno is awarding him also makes up for a paradoxical omission. Of the more than fifty films Herzog has made, not one has been screened at Locarno, despite the fact that there are few artists who embody the spirit of the Festival to the extent he does. One need only glance at his incredible filmography to see the analogies: Fitzcarraldo (1982) by Werner Herzog, © Werner Herzog Film

the ability to move between fiction and documentary, between low-budget productions and those with star names, while always retaining a clear sense of identity: these are principles in which we firmly believe. If awards are not only recognitions but also a way of signalling the future, we feel that Werner Herzog is the most appropriate person to signpost the way forward the festival wishes to take. A notion of cinema as an act that both involves and radically affects those who make it and those who see it. An act that requires a firm will and an equally precise taking of position. That same determination which led Herzog to leave his Bavarian mountain village to travel the world and convey the experiences he has lived, shared, and imagined in images and sounds.(Carlo Chatrian)

A Festival is not only a showcase for international auteur cinema, but also a place to build a base for supporting, enhancing and extending the visibility of the films selected, via opening a window onto the market.Launched for the first time in 2010, and already having become the Festival del film Locarno’s most important networking operation, the Industry Days are a tailored platform for meetings and activities. Packed into three days, they give international film industry professionals attending Locarno the opportunity to participate in a comprehensive series of initiatives designed for them. It is a way to facilitate networking, and supporting the sales agents and producers who are presenting films

Europa Cinemas will award for the first time in Locarno a European feature film screening in the sections Concorso internazionale and Concorso Cineasti del presente with the Europa Cinemas Label. A jury composed of four exhibitors from the Europa Cinemas network will choose the winning film.Founded ten years ago, the Europa Cinemas Label is also awarded at four other major European festivals: Berlin (Panorama), the Directors’ Fortnight (Cannes), the Karlovy Vary International Film Festival (Official Competition and East of the West) and Giornate degli autori (Venice).The Label is an award that comes at a key moment in a film’s career, that of its festival presentation, a strategic step in terms of its launch onto the international market.

Founded in 2011 with the aim of facilitating post-production and sales of films from a chosen region, Carte Blanche is an initiative of the Festival del film Locarno that screens the selected films to sales companies, buyers, festival programmers and film funding organizations who are attending Locarno during the Industry Days. The third edition (10 – 12 August 2013) will focus on Chile, thanks to a partnership with CinemaChile

Tailor-made to Suit Industry Requirements

Europa Cinemas Label – Locarno

Carte Blanche 2013: Spotlight on Chileand Australab – the laboratory of the Valdivia International Film Festival. Carte Blanche will present 5 – 7 films in post-production; the producers will participate at the Locarno Festival, where they will introduce their projects to film industry professionals, and a jury will then award 10,000 CHF to the best film. The initiative is supported by the Swiss Agency for Development and Cooperation (SDC) of the Federal Department of Foreign Affairs.

at the Festival by putting them in contact with buyers, distributors and exhibitors. In addition, the Industry Days program develops through specially organized and exclusive screenings, alongside work in progress sessions, discussions, round tables and events that take place under the umbrella of the Industry Home Base, thus encouraging every opportunity for exchange. These are combined with two further initiatives, Step In and Carte Blanche (see news below on the 2013 Carte Blanche edition).Step In, supported by the media programme, is a think-tank initiative on issues of distribution for auteur European cinema in Central and Eastern Europe, organized in collaboration with Europa International, Europa Distribution and, for the first year, Europa Cinemas. This year Step In will continue its focus on the festivals of the region, giving word to professionals of the area including Tallinn’s Baltic Event, When East Meets West in Trieste, Meeting Point Vilnius, Romanian Days in Cluj, CineLink in Sarajevo, Connecting Cottbus and the Art Film Festival in Bratislava.This shows how at Locarno every initiative in this area has been well thought out, designed and adapted to respond to the needs of the market, particularly for those in the film industry who work to promote auteur film.(Lorenzo Buccella)

Industry Days 10 – 12 | 8 | 2013 The Label mobilises the media, sales agents, distributors

and cinema exhibitors. Europa Cinemas encourages its members to programme the winning ‘Label’ films as first-run features, and keep them on screens as long as possible.With support from the European Union’s media programme and the Centre national du cinéma et de l’image animée (CNC), for over twenty years Europa Cinemas has been the major cinema network that programmes mainly European films. To date, the network comprises 3,197 screens in 1170 cinemas in 673 towns in 68 different countries.

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The neighboring countries Armenia, Azerbaijan and Georgia whose borders define a stretch of land between Eastern Europe and Asia is known as the South Caucasus, which is the focus of the 2013 edition of Open Doors, the Festival del film Locarno’s traditional section – for over a decade now – that puts the spotlight on directors and films from countries in the South and East of the globe where independent cinema struggles to establish solid foundations. So, its following our look at Francophone sub-Saharan Africa in August 2012 and at India the year before, Open Doors moves its focus for the first time to these post-Soviet lands to discover the “young” cinemas that have emerged since the period of Perestroika and the early 1990s. A reconnaissance journey that is enabled, as always, by the support of the Swiss Foreign Ministry’s Agency for Development and Cooperation (SDC), and in collaboration with the major

Cinema from the South Caucasus

Selected Projects Open Doors 2013

Success Stories

Pardo alla carriera to Otar Iosseliani

national film institutions of the chosen countries. The whole is presented through the now habitual operation of a dual program. On the one hand, during the Co-production Lab the short-listed filmmakers and producers have the opportunity to make contact with potential partners who can provide the necessary support and financing to bring their projects to fruition. At the same time the Lab is also an educational platform, which in 2013 will change its formula.

Abysm | by Oksana Mirzoyan (Armenia)

House of Others | by Rusudan Glurjidze (Georgia/France)

Khibula | by George Ovashvili (Georgia/France/Germany)

Long Gardens | by Nika Shek and Sarik Hovsepyan (Armenia/Azerbaijan)

Madona | by Nino Gogua (Georgia)

Naked in Baku | by Arzu Gulijeva (Azerbaijan/Estonia)

Pipeline | by Asif Rustamov (Azerbaijan/Germany)

See you in Chechnya | by Alexander Kvatashidze (Georgia/France/Estonia/Netherlands)

Sleeping Lessons | by Rusudan Pirveli (Georgia)

Territoria | by Nora Martirosyan (Armenia/Switzerland/France)

The Second Journey | by Lévon Minasian (Armenia)

The Valley | by Arsen Azatyan and Nariné Mkrtchyan (Armenia)

On the occasion of the Open Doors section focus, Locarno will pay tribute to the Georgian director, screenwriter and editor Otar Iosseliani, awarding him a Pardo alla carriera for his extraordinary contribution to film. This tribute will be accompanied by a conversation with Otar Iosseliani, open to all Festival-goers, and an opportunity to (re)discover four significant films from his career: Once Upon a Time There Was a Singing Blackbird (Iko shashvi mgalobeli, 1970), Pastorale (Pastoral, 1975), Brigands-Chapter VII (Brigands, Chapter VII, 1996) and Chantrapas (2010).

GEORGIA

ARMENIA AZERBAIJAN

AZ


Open Doors 10–13 | 8 | 2013

For the first time Open Doors will organize, in addition to its program, several ateliers on financing, producing and distributing independent films. On the other hand, the Open Doors Screenings, a non-competitive section of the Festival, provides a comprehensive overview of films from the countries involved via a selection of their most representative productions.(Lorenzo Buccella)

Winter Vacation (Han Jia)by LI HongqiChina, Open Doors 2009, FictionPardo d’oro, Festival del film Locarno 2010

Jean Gentil by Israel Cardenas, Laura Amelia GuzmánDominican Republic / Mexico / Germany, Open Doors 2008, FictionJury’s Special Mention at the 67th Venice Film Festival (Orizzonti)

Harmony Lessons (Uroki Garmonii) by Emir BaigazinKazakhstan / Germany, Open Doors 2010, Fiction Berlin Film Festival 2013, Competition

Char... The No Man’s Island (…Moddhikhane Char) by Sourav SarangiIndia / Italy, Open Doors 2011, Documentary Busan International Film Festival 2012, Documentary CompetitionBerlin Film Festival 2013, Forum

The Festival’s Afterlife

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Over the last few years, the films premiered at the Festival del film Locarno in August have gone on to healthy, productive afterlives, being distributed in territories worldwide, screening at innumerable key international festivals and winning a wide array of prizes. Two films on the Piazza Grande, Cate Shortland’s Lore and Markus Imhoof’s festival closer More Than Honey, have literally sold out worldwide, along with both playing soon after Locarno in the Toronto International Film Festival and running away with numerous national film prizes. In fact, Locarno highlights have had strong representation at the world’s most prestigious and popular festivals, with 18

Locarno films showing in Toronto, 31 at the Viennale, and 30 in Buenos Aires. At the New Directors/New Films showcase in New York, Locarno titles such as J.P. Sniadecki and Libbie B. Cohn’s People’s Park, Sophie Letourneur’s Les Coquillettes (shot during the Festival del film Locarno in 2011), Rainer Frimmel and Tizza Covi’s Der Glanz des Tages, Kazik Radwanski’s Tower, and, earlier, in the highly selective New York Film Festival, Locarno films A Última Vez Que Vi Macau by João Pedro Rodrigues and João Rui Guerra da Mata (winner in Torino), Song Fang’s Memories Look at Me (last year’s Pardo alla Migliore Opera Prima), Peter Strickland’s Berberian Sound Studio, and Verena Paravel and Lucien

Castaing-Taylor’s Leviathan screened to rave reviews and audience acclaims.Perhaps the most notable discovery of Locarno last year was Castaing-Taylor and Paravel’s extraordinary sensory ethnography document of deep-sea fishermen off the coast of New England. The most talked-about film of the year, Leviathan won the FIPRESCI jury in Locarno, and has since garnered prizes in CPH:DOX (New Visions award), FICUNAM, swept the floor in Belfort, was nominated for an Independent Spirit Award (where another Locarno competition title, Sean Baker’s Starlet, won an acting award), and received the True Vision award at the prestigious True/False festival in the US (a rare occurrence, it even screened in the 2013 Berlin film festival). The North American release has set records for per screen average, and the film continues to roll out to festivals worldwide, most recently in Buenos Aires—where two Locarno films won main prizes, Berberian Sound Studio (Best Film, International Competition; also seven nominations at the British Independent Film Awards) and Eloy Enciso’s Cineasti del presente entry Arraianos (Best Film, Avant-Garde and Genre Competition). This year’s Festival promises a similar scope of films that will launch in Locarno, then proceed to travel the globe with great success.(Mark Peranson)

João Pedro Rodriguesand João Rui Guerra da Mata with Cindy Scrash, A Última Vez que Vi Macau (Concorso internazionale)

Starlet by Sean Baker(Concorso internazionale)

Leviathan by Véréna Paravel and Lucien Castaing-Taylor (Concorso internazionale)

Les Coquillettes by Sophie Letourneur(Fuori Concorso)


The Locarno Summer Academy, founded in 2010 with the aim of assisting the development of emerging talents, is a Festival del film Locarno training program and came about from a desire to maximise Locarno’s qualities as a meeting-place and place of exchange for thinking about film. The program hosts four different initiatives, aimed at four different target participants, and thus offers a range of access levels: from a more general introduction for the younger participants, to training new film critics, and from workshops for emerging filmmakers working on their first feature to labs for university students.

The Locarno Summer Academy enjoys support from the Ernst Göhner Stiftung (Zug) and has this year a new head, journalist and director Stefano Knuchel. Around 80 promising young talents from all over the world are selected by the Locarno Summer Academy and its partners, and invited to participate in one of the four programs on offer:

• Ernst Göhner Stiftung • Università della Svizzera italiana • Centro didattico cantonale • Indiewire • Film Society of Lincoln Center • Swiss Association of Film Journalists • Semaine de la critique

4th Locarno Summer Academy: a training program of 4 initiatives

(12 – 17 August 2013)

A program for 25 young filmmakers from all over the world who are working on their first feature. The program will give participants the opportunity to extend their professional network and to broaden their knowledge of the various aspects of being a filmmaker, in the innovative spirit and auteur tradition that Locarno has always embodied.

(7 – 17 August 2013)

A training program for 8 young film journalists/critics, who will work under the editorial guidance of Indiewire’s Eric Kohn by filing reviews of films in the program, articles on special events, Festival section profiles and analysis, or interviews with Festival guests.

(12 – 17 August 2013)

Enrols 20 university students following film, audio-visual and communication curricula that will have the opportunity to analyze various aspects of documentary filmmaking, and meet with directors from the Semaine de la critique section’s selection.

(7 – 17 August 2013)

An initiative aimed at 32 high school and university students or those coming from a vocational training school, in Switzerland and Northern Italy. Over eleven days, the young participants (17 – 21 years old) will participate in the Festival, as jury members and as privileged spectators.

Filmmakers Academy

Facts& Figures2012

Partners

Critics Academy

Cinema&Gioventù

Documentary Summer School

40 Meetings

80 Participants

16 Guests

24 Countries represented

24 – 27 March 2013 saw the first highly successful edition of L’immagine e la parola, the first Festival del film Locarno spin-off event that, alongside two other events (Eventi letterari al Monte Verità and Youtopia – Eventi collaterali) comprised the cultural offering collectively entitled Primavera Locarnese.This Locarno Festival spring spin-off focussed on the relationship between film and literature, the moving image and the written word, with premieres, workshops, screenings and discussions. Guests included directors Claudio Giovannesi (Alì Blue Eyes), Richard Dindo (Arthur Rimbaud, une biographie), Paolo Benvenuti (Gostanza da Libbiano), Salvatore Mereu (Bellas Mariposas), screenwriter Bernard Comment (Alain Tanner’s Requiem), along

L’immagine e la parola, the first Locarno spin-off

with a number of the Locarno’s former artistic directors.Guest of honour was the Russian maestro Aleksandr Sokurov, who participated in a number of different events, and a special highlight was the first ever workshop held on Russian Ark, explaining all the work behind the scenes that went into that famous single continuous 99-minute-long take. The entire masterclass can be viewed on the site www.pardo.ch.

Aleksandr Sokurov and Carlo Chatrian

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The square of Piazza Grande, which seats up to 8,000 viewers a night, is both the heart of the Festival and its showcase. With its giant screen, one of the biggest in the world, endowed with truly exceptional projection quality, the Piazza Grande is one of the finest open-air screening sites in Europe, with a highly sophisticated system of image and sound reproduction specifically conceived for this place, but also unveiling, with its stars’ ceiling, an unrivalled lyrical urbanity. The programming on the Piazza Grande offers prestigious screenings, most of them world, international or European premieres, introduced by the director and the cast.

The Concorso internazionale presents a panorama of cinema in all its rich diversity. Making no distinctions as to genre, origin or format, the section includes work by both established directors and emerging talents, major international productions and genuinely independent films. Films with a strong emotional and/or social impact and rigorous aesthetic standards will unspool over the event’s 11 days at the enormous Auditorium fevi (3,000 seats).A jury composed of 5 authoritative figures

Piazza Grande

Concorso internazionale

Concorso Cineasti del presente

Pardi di domani (Short Films)

The section that enables audiences to discover those filmmakers who are shaping the cinema of tomorrow, the Concorso Cineasti del presente is open to first or second films. The section aims to offer a panorama of the most original experiments conceived of and directed by emerging directors from all four corners of the globe. Around fifteen titles, documentaries, animations or fictions, presented as world or international premières, will compete for the Pardo d’oro Cineasti del presente.

Designed for short auteur films, the Pardi di domani section has two competitions: one for recent Swiss productions and the other, international, for films from all over the world. The selection allows for films of all genres and styles, made by young independent filmmakers or film school students who have not yet made a feature

film. Films that explore the potential of the short form as a unique form of expression. The shorts, world or international premières, are selected by a committee of experts chaired by Alessandro Marcionni.

Sections

from the film world will select the recipient of the prestigious Pardo d’oro that will go to one of the twenty or so fictions, animation or documentary films that come from all over the world, and which are screened as either world or international premières. Prizes

Pardo d’oro 90,000 chf

Special Jury Prize 30,000 chf

Pardo for the Best Director 30,000 chf

Pardo for the Best Actress

Pardo for the Best Actor

Prizes

Prix du Public UBS: 30,000 chf

Variety Piazza Grande Award

Prizes

Pardo d’oro George Foundation 40,000 chf

CINÉ + Special Jury Prize 30,000 chf

Pardo for the Best New Director 20,000 chf

Prizes

Pardino d’oro for the Best International

Short Film – Premio SRG SSR 10,000 chf

Pardino d’oro for the Best Swiss

Short Film – Premio Swiss Life 10,000 chf

Pardino d’argento Swiss Life

for the International competition 5,000 chf

Pardino d’argento Swiss Life

for the National competition 5,000 chf


For the last 24 years the Festival del film Locarno’s Pardo d’onore Swisscom has been awarded to masters of contemporary cinema; previous recipients include film-makers of such stature as Jacques Rivette, Bernardo Bertolucci, Manoel de Oliveira, Aleksandr Sokurov, Hou Hsiao-hsien, William Friedkin, Leos Carax.

Pardo d’onoreSwisscom

Awards

The Excellence Award Moët&Chandon celebrates since 2004 internationally acclaimed actors or actresses. Among the recipients of this award: Susan Sarandon, John Malkovich, Willem Dafoe, Michel Piccoli, Isabelle Huppert, Charlotte Rampling and Gael García Bernal.

Excellence Award Moët&Chandon

The Premio Raimondo Rezzonico for the Best Independent Producer was established in 2002 wishing to highlight a key figure in film, and to salute their courage, their ability to take a risk and support auteurs. With this Award the Locarno Festival has already paid tribute to the work of such renowned producers as Karl Baumgartner, Jeremy Thomas, Christine Vachon, Mike Medavoy and Arnon Milchan.

The Lifetime Achievement Award was created in 2011 to salute film personalities with an extraordinary career. In the past two years it was presented to two film legends, Harrison Ford (2011) and Alain Delon (2012), and is supported by Parmigiani this year for the first time.

A new Festival del film Locarno laurel, the Vision Award Electronic Studio recognizes film personalities that, with their work and creations, brought a broadening to the horizons of cinema.

PremioRaimondoRezzonico

Lifetime Achievement Award Parmigiani

Vision Award Electronic Studio

Prizes

Prix du Public UBS: 30,000 chf

Variety Piazza Grande Award

It all began here, in these hotel gardens. On the evening of 23 August, 1946.

At Locarno’s Grand Hotel the screen lit up to inaugurate both a great story and a long history. The Festival del film Locarno’s history is both “old” – historically speaking – and “young” in the way it has retained that youthful drive and ambition to serve as a platform, and launch-pad, for significant new films, filmmakers, film

In the cinema, nervous laughter was a reaction to a provocative portrait of a

disintegrating bourgeois family, but was also accompanied by an awareness that this was the debut of a filmmaker about to make waves. It was 1965, the film was I pugni in tasca, the director, Marco Bellocchio.

Part of his graduation thesis for New York University, but also his first long film. 1983

was the year the world discovered - at Locarno - Spike Lee and his Joe’s Bed-Stuy Barbershop: We Cut Heads. Further evidence of the impact of new American independent cinema came the following year, with the Pardo d’oro going to Jim Jarmusch for Stranger Than Paradise.

Let’s call them Bleak Moments. Those that brought to Locarno another

future stand-bearer for British cinema, Mike Leigh, whose very first cinema film won him the Pardo d’oro.

1965

1946

1983

A Festival History

forms and national cinematic movements that are subsequently recognised as an integral part of film history. Examples include Roma città aperta and the first manifestations of Italian neo-realism, or Chabrol’s Le beau Serge winning Locarno’s Silver Sail (as the main prize was then called), the first international award to signal recognition of the French New Wave. Similarly, Locarno was a pioneer in parting the cold war’s Iron Curtain to discover films from the “Soviet-

bloc” and offering them international exposure and critical acclaim. An outpost of freedom that has succeeded, in a way few others have done, in providing a haven for a particular notion of auteur cinema, and giving a warm welcome, over and over, to a wide range of innovative approaches to film as well as an overview of world cinema. This tradition continues to make Locarno a genuine “seismograph” for what is happening in cinema all over the world.

1972

14

PhotographyMarco Abram, Reto Albertalli, Ivana De Maria-TimbalSamuel Golay (©TiPress), Massimo Pedrazzini, Gabriele Putzu (©TiPress), Sailas Vanetti

Festival del film LocarnoVia Ciseri 23, ch–6601 Locarnot +41 (0)91 756 21 21, f +41 (0)91 756 21 [email protected], www.pardo.ch

In 1949, Ladri di biciclette (Bicycle Thieves), directed by Vittorio De Sica

(here with Gina Lollobrigida), won the Special Jury Prize. The Festival became a regular rendezvous for the high season of Italian neo-realism, and as early as 1954 it was Locarno that organised the first ever retrospective of the startling new directions taken by the immediate post-war Italian cinema.

A blue angel comes to Locarno. 1960: among the prestigious guests at

the Festival’s 13th edition, here is the divine Marlene Dietrich, accompanied by her mentor, the great Josef Von Sternberg.

The opening of a East European front, and the discovery of its new

auteurs. In 1964 the highest prize went to a young Czechoslovak filmmaker. This was Milos Forman, whose feature film Cerny Petr won out over competition from such films as Jean-Luc Godard’s Le Mépris and Michelangelo Antonioni’s Il deserto rosso.

And it was at Locarno that the new Iranian cinema made an impact, and was

subsequently recognised throughout Europe and the entire world. From its progenitor Abbas Kiarostami (here, in 1990, for his film Khane-ye doust kodjast?- Where is my friend’s house?) and back in 1995 for what was the first retrospective of his work to be organised, to Jafar Panahi who in 1997 won Locarno’s major award for Ayneh (The Mirror).

The Festival’s feeling for Asian cinema dates back a long way, as evidenced by

the many Golden Leopards won by Chinese and Japanese films, and the high profile afforded to some of the most interesting new generation of filmmakers. In 2003 the South Korean filmmaker Kim Ki-Duk featured in the Concorso internazionale with his Bom yeoreum gaeul gyeoul geurigo bom (Spring, Summer, Fall, Winter… and Spring).

Harrison Ford, Daniel Craig, and Oliva Wilde (Cowboys & Aliens). Just a reminder that

Locarno also regularly rolls out the red carpet for major American stars. In 2011, the Piazza Grande had a sell-out audience that turned out, despite the rain, to see them.

1960 1949 1964

1990 2003 2011

(Lorenzo Buccella)


Pardo Live – Preview 2013

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Transcript of Pardo Live – Preview 2013