Film in competition | Filming cinema

ARABIC MOUVIE

Regia | Director Eyal Sagui Bezawie, Sara Tsifroni
Fotografia | Photography Sara Tsifroni
Montaggio | Editing Avigail Spherber
Produzione | Production Trabelsi Productions
Israele, 2015, 62’,Ebreo, arabo, inglese con sottotitoli in inglese e italiano | Hebrew, Arabic, English with Italian subtitles

When Egypt was Israel’s biggest enemy, an Egyptian film was screened weekly on the Israeli TV quickly becoming a ritual which people are still nostalgic about. Nobody ever wonder why Israeli TV insisted on showing movies made by “the enemy” and how they arrived to the Israeli TV. Though these films let us catch a glimpse at our neighbours across the border, most of us didn’t really want to see those people. “Arabic Movie” brings us to a fleeting moment, when we shared the same cultural heroes as everyone else in the Middle East.
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I DON’T BELONG ANYWHERE – LE CINÉMA DE CHANTAL AKERMAN

Regia | Director Marianne Lambert
Fotografia | Photography Rémon Fromont
Montaggio | Editing Marc De Coster
Produzione | Production Artemis productions
Italia-Singapore, 2014, 80’ inglese, tagalog, indonesiano e thai con sottotitoli in inglese e italiano | English, Tagalog, Indonesian and Thai with English and Italian subtitles

From Brussels to Tel Aviv, from Paris to New York, the documentary takes us to all of the places Chantal Akerman visited on her travels. An experimental filmmaker and a nomad, she shares with us her cinematographic journey, which continually questions the meaning of her existence. With her editor, Claire Atherton, she explains the origins of her language and of its esthetical biases.

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L’UOMO CHE AMAVA IL CINEMA

Great, mysterious and unsurpassed “lover of cinema”, Piero Tortolina was taken as an example, he was a tutelary deity for an entire generation of film fans. A pioneer of film clubs and a film collector, a bad guy face like the one of the actors he used to love, Tortolina, despite being one of the central figures in the history of the Italian cinema, still remains unknown to most people today. Always far from the limelight by choice and by necessity, his story is intertwined with the story of the various film clubs born in the sixties and seventies, with many festivals and with many film adventures that have characterized the Italian cinema after the war in the nineties. A film about the undying passion that inspired the whole life of Piero Tortolina, who was the engineer, corsair and diver of the invisible cinema.

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NEMICO DELL’ISLAM? UN INCONTRO CON NOURI BOUZID

Regia | Director Stefano Grossi
Fotografia | Photography Felice D’Agostino, Arturo Lavorato
Montaggio | Editing Luca Mandrile
Produzione | Production Own Air Srl
Italia/Tunisia, 2015, 72’ italiano, francese, arabo con sottotitoli in inglese e italiano | Italian, French and Arabic with Italian and English subtitles

Why did Tunisia, the country of dates, of tourist resorts and mass tourism, turn overnight into a powder keg, produce the first of the so-called “Arab Spring” and today, after the Revolution of 2010- 2011, become the country that provides more volunteers to Isis militias? Here is the idea of this film: a trip, even a road movie, between the images produced by a culture and within that culture, to understand the roots of a crisis that the cinema by Nouri Bouzid has said for twenty years.

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SOUTHEAST ASIAN CINEMA. WHEN THE ROOSTER CROWS

Regia | Director Leonardo Cinieri Lombroso
Fotografia | Photography Leonardo Cinieri Lombroso, Roszali Bin Samad, Ian Marasigan
Montaggio | Editing Valeria Biclungo
Produzione | Production Blue film
Italia-Singapore, 2014, 80’ inglese, tagalog, indonesiano e thai con sottotitoli in inglese e italiano | English, Tagalog, Indonesian and Thai with English and Italian subtitles

“Southeast Asian Cinema. When the Rooster Crows” is a voice of diversity reaching for change. Brillante Mendoza, Eric Khoo, Garin Nugroho, Pen Ek Ratanaruang give voice to a region rich with traditions, ethnic groups, languages, politics, and religions. It is cinema, at its purest form, fighting for freedom of expression, documenting real lives of ordinary people, giving voice to the underdogs and the outcasts. The amalgamation of these aspects gives birth to an ultra-neo-realistic cinema language currently unique to films from this region.

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S IS FOR STANLEY

Regia | Director Alex Infascelli
Fotografia | Photography Edoardo Carlo Bolli, Luigi “Gigi” Martinucci
Montaggio | Editing Alex Infascelli
Produzione | Production Kinethica, Lock And Valentine
Italia, 2015, 78’ italiano e inglese con sottotitoli italiano | Italian and English, with Italian subtitles

“S is For Stanley” is the story of Emilio D’Alessandro, personal driver of Stanley Kubrick. D’Alessandro met Kubrick in London by chance in 1971, who wanted him as his driver and with who he developed a bond of deep friendship crowned in 1999 with a series of tributes that the filmmaker gave him in his last film, “Eyes Wide Shut”: D’Alessandro made a cameo appearance, Stanley Kubrick gave his name to the bar where Tom Cruise goes, he “employed” his wife and his daughter Marisa as background actors. A friendship that has spanned thirty years of life, that has created meticulously four masterpieces of cinema history and united two people, apparently opposed to each other who have found, far from home, their ideal travel companion.

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