cineuropa.org
lux film prizeGiornate degli Autori - Venice Days

08 September, 2010

SCHEDULE - Thursday, September 9th


09/09/2010

08:45
LA VIDA DE LOS PECES - THE LIFE OF FISH
Sala Volpi

11:00
27 Times Cinema
Villa degli Autori
The second time around: Debut films and second films

18:30
COGUNLUK - MAJORITY
Sala Darsena
Followed by Q&A

22:00
LA VITA AL TEMPO DELLA MORTE
Sala Volpi
Followed by Q&A

Discussion 7: The documentary format: is this the real cinema?


Giorgio Gosetti chaired again the 7th debate – on the fictional model and the different forms of documentary – with the 27 young cinema lovers. Special guests included Italian film-maker Andrea Caccia (La vita al tempo della morte) and Dutch director Walter Stokman (Scena del crimine).












Morricone & Hellbenders (Sergio Corbucci, 1967)


while waiting for one of the movies to be screened I was thinking about intro of Venice days and music playing in it. it sounded familiar especially because my friend and I had a movie night of classics from Spaghetti Westerns before I left for Venice. if you watch western movies (especially Spaghetti ones), you are most likely to hear THE musician for sub-genre mentioned - Ennio Morricone. I love his work not only for his legendary contribution to the whole feeling/concept of westerns but also his later works which includes many film scores and works with Orchestras so I think a brilliant choice was made by the artists making this intro. I think that the music was taken from a movie called The Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966) which is well known as one of the most powerful ones about war between Algerians against French colonial authorities (it’s really cruel, it doesn’t bring us heroes but the humanity in its darkest forms and I like it because it’s indifferent, you feel like an observer, it doesn’t take sides but it’s just showing us the events following one another) but I won’t write about this one too much because I just wanted to mention it for the music’s sake. today (00:30) I saw Hellbenders (I Crudeli, Sergio Corbucci, 1967) and I enjoyed it so much I will try to describe it without exajerating things. after the civil war an ex-confederate leads his people (family) to New Mexico where he wants to reorganize Confederate troops and revive the Confederation. he has a huge amount of stolen money in a coffin (to finance reorganization), alcoholic woman (which is no good and no good takes you nowhere in westerns), sons (3 different ones) and they are being hunted/they are wanted (just that everyone confronting them doesn’t know that). it did feel like a road movie as I’ve read in one review because the group is travelling towards south/southwest, they are constantly moving from one point to another and we get to know the characters on the road. it is a proper Spaghetti - Morricone sealing it like one with his music and it has loads of guns, shooting, alcohol, moral lessons, death, horses and a good point.

SCHEDULE - Wednesday, September 8th

08/09/2010

11:00
27 Times Cinema
Villa degli Autori
The documentary format: is this the real cinema?

19:15
ET IN TERRA PAX - AND PEACE ON EARTH
Sala Darsena
Followed by Q&A

22:00
SCENA DEL CRIMINE [out of competition]
Sala Volpi
Followed by Q&A


all together now!


"Ladies and gentlemen. Please take your seats, the screening is about to begin. Please switch off your mobile phones. We remind you that during the screening taking pictures in any form of audio video is strictly forbidden. Thank you for your collaboration."

Discussion 6: What purposes do festivals serve nowadays?


The 27 European movie-goers had the chance to talk about the purpose festivals serve nowadays with Bosnian director Danis Tanović and his Slovenian producer Čedomir Kolar (Cirkus Columbia), alongside Giorgio Gosetti, who participated in the debate as director of Venice Days and RomeFilmFest.


















Circus Columbia


Tanovic’s Circus Columbia has a multidimensional semiotic importance that is throughout its flow many motifs, patterns and mise-en-scene are incorporated in order to underlie cultural expressions such as language, local customs and way of thinking but also the given sociopolitical conditions that existed in that era in Bosnia-Herzegovina. As it was stated it the discussion today, the film indeed encompasses a variety of thematic features, therefore it does not deserve a single labeling with regards to its main topic that it addresses. Nevertheless, apart from the political aspect, namely the fall of Communism and the welcoming of a new era, that is Nationalism and its emerging state of affairs, the film includes many other elements of socially anthropological merit. To begin with, the arrival of Divko, after his 20 year exile in Germany, signifies the nouveau rich mentality of those returning back to their homeland. Suffering from nostalgia to repatriate, having undergone distress and subsequently worked many years in order to survive and eventually having made a lot of money, they return to their basis with another social status, that immensely changes them as humans. Similarly Divko becomes literally ruthless, totally apathetic, measures everything on the basis of money and has a materialistic attitude; also, his patriarchal norms oblige him to behave in a hegemonic, inhuman and superior way that undermines those in lower social strata. In an era which welcomes a new state of affairs in political regards, the phenomenon of imperialism is also implied in the film. Remember the scene whereby the main protagonist provokingly buys the hair-saloon which was the main economic source of his previous wife, and generally his appetite of changing the indigenous character of the things he acquires (the scene where he gets rid of the photographs of his ex-wife and some alterations he makes in the house is typical of this attitude). All these occurrences take place during a phase of political instability and preparation for war turmoil. Nevertheless, although this spirit highly prevails throughout the film, Tanovic marks his original Balkan signature, by incorporating an interplay of sense of humor, and that is what simply renders the film with a great deal of distinctiveness, stimulation and authenticity. All in all, it was an exceptional film to watch, not because it had a happy ending, but primarily because of its polysemic nature and its meaningful sociopolitical implications as well the means of representing these implications.