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Pablo Chavarría Gutiérrez Fotografia: Diego Amando Moreno Garza Montaggio: Alexandro Aldrete, Juan Farré Contatto: A few policemen are killed in an ambush. Alberto Patishtan, a native from the tzotzil ethnic group, is charged with the murders and condemned to 60 years in jail. Departing from the re-evocation and re-enactment of events that upset the entire community, this film resorts to expressionistic, experimental, and evocative devices to immerse in the crime scene and the colours, atmospheres, and ghosts of a faraway rural community of Chiapas.

Those places now resound with an absence, a man unjustly incarcerated, a waiting daughter, and letters that fill this emptiness, warming it up. The written words communicate strength and trust in freedom and justice, waiting for the protagonists to be able to come back and bathe together in the river.

Las Letras Alexfilm The Rest of the World Richard Muller, Jan Gogola ml. Fondo di Stato per la cinematografia della Repubblica Ceca In collaborazione con: Sergio Oksman, Carlos Muguiro Fotografia: Sergio Oksman, Carlos Muguiro Suono: Ma quella vita a cui Mallory si è aggrappata con disperazione la metterà continuamente a dura prova.

Costretta a vivere in un auto e lontana dal figlio, seguiamo con costanza, affetto e a volte anche rabbia le vicissitudini della sua kafkiana esistenza. Perché questo è Mallory: Zuzana Bielikova, Negativ Email: Ha diretto una quarantina di film, pluripremiati, e le sono state dedicate retrospettive in diversi e importanti festival internazionali.

However, that life she will desperately strive for will continuously put her to test. Forced to live in a car, far away from her son, we are experiencing the events of her Kafkian existence with perseverance, affection and, sometimes, rage.

Because this is Mallory: She has directed some forty award-winning films. Recently, her works have been the subject of retrospectives at several major festival.

Her René was part of the Official Selection of the 49th Festival dei Popoli and won the prestigious best documentary prize at the European Film Awards in Women at the Turn of the Century Trapped Touch of Light 36 Il calcio come passione e ossessione, il calcio come argomento di conversazione, il calcio come festa e come spettacolo, come filo che ricuce una relazione.

Le partite del campionato mondiale di calcio in Brasile scandiscono i giorni che padre e figlio il regista trascorrono insieme dopo anni di distanza. Sul divano di casa, in automobile, dietro il bancone di un bar o nel letto di un ospedale, il succedersi delle giocate in campo, degli incontri che seguono altri incontri, delle urla che si alzano e ripiombano nel silenzio tutto intorno, punteggiano lo scorrere del tempo, il moltiplicarsi dei giorni.

Giusto il pretesto per ricominciare a parlarsi e guardarsi, il modo per raccontare un legame senza mai nominarlo. Non significa niente, non simbolizza niente, non sostituisce niente… Semplicemente il calcio come esempio di un certo metodo. Un gioco pieno di variabili, con regole ben precise: Non era il film che volevamo fare? Ha studiato giornalismo a San Paolo e cinema a New York. A Madrid insegna cinema e dirige Dok Films Productions. Football as passion and obsession, football as a topic for conversation, football as a celebration and a show, a wire sewing relationships.

The games of the football World Cup in Brazil mark the days spent together by a father and a son the director after years far from each other. On the sofa, in the car, behind the counter of a bar or in a hospital bed, the play by play commentary, meetings following other meetings, people shouting and silence coming back, mark the passing of time, the multiplication of days.

It is a chance to look and talk to each other again, a way to talk about a relationship without mentioning it. In this renewed vicinity, the son reconciles with the father, forgiving his past and mutating his present. And we liked that. A game full of uncertain variables with perfectly set rules: Oksman] Sergio Oksman is a Madridbased filmmaker of Brazilian origin. He is a film teacher in Madrid and heads up Dok Films productions.

A Story for the Modlins Notes on the Other Andreas Mohnke, Gregor Bonse Musica: Lucia Martinez, Fabrizio Tentoni Produttori: Luisa Schwamborn, New Docs Email: Nel ha diretto il suo primo documentario: Moskatcha, che è stato proiettato in numerosi festival internazionali, tra cui il Festival dei Popoli dove ha vinto la targa Gian Paolo Paoli. Somos Cuba è il suo ultimo lungometraggio. Andres torna a Cuba dopo due mesi trascorsi in Germania.

Ha con sé una videocamera nuova e un progetto: Le sue motivazioni sono chiare e precise: Nei sogni e nelle osservazioni della bambina si ripercuotono le tante contraddizioni di un mondo in bilico, un incubo urbano che si nutre di innocenza.

Annett Ilijew is a director and producer from Germany who grew up in East Berlin. In she directed her first documentary: Moskatcha, which was screened at numerous international festivals, including the Festival dei Popoli where it was awarded with the Gian Paolo Paoli prize.

Somos Cuba is her latest feature film. Andres goes back to Cuba after spending two months in Germany. He brings with him a new camera and a project: His motivations are very clear and defined: In this lively, yet painful, micro-world, where propaganda sings triumphant slogans and alcohool clouds minds over, the little Leydis, daughter to Andres and Cuba itself, grows up and, day after day, becomes aware of herself.

The dreams and the remarks of the girl expose the contradictions of an insecure world, a urban nightmare feeding on innocence. Torino Palermo Catania Produttrice: Dopo aver completato un Master in Relazioni Internazionali a Ginevra, ha deciso di diventare documentarista. Babor Casanova è il suo primo film. Karim Sayad was born in Lausanne in to an Algerian father and to a Swiss mother. Ragazzi come tanti altri se ne trovano non solo in Algeria ma anche in Europa.

Ragazzi che passano le loro giornate alla ricerca di qualche dinaro da spendere nei locali della città o per andare allo stadio a tifare il Mouloudia, la loro squadra del cuore. I pochi dinari raccolti con qualche espediente non bastano a riempire il vuoto di prospettive, di speranze, di ragioni per rimanere ad Algeri. Babor Casanova ci mostra proprio queste anime logorate e inquiete, che potremmo vedere tra qualche tempo tra le strade di Parigi, Losanna o Firenze.

In un piccolo Internet Point nel quartiere parigino di Belleville, frequentato da immigrati, la camera osserva i gesti e le parole di persone che si trovano in uno stato di perpetua erranza, che non appartengono pienamente al luogo in cui vivono, ma al tempo stesso non appartengono più al Paese che hanno lasciato. Un film in cui il microcosmo diventa esperienza condivisa tra la macchina da presa e i corpi che vengono ripresi; un cinema che osserva e al tempo stesso partecipa di una condizione, creando immagini che fanno, di una condizione personale, uno stato collettivo.

On this shore we have told ourselves that, in other shores, people fight for survival and social change, which is cruel, however, it fills the lives of who is involved.

Karim Sayad tells us another version: Two boys like many others in Algeria and also in Europe. Boys who spend their days looking to earn some dinars to spend in the city venues or to go to the stadium to support Mouloudia, their favourite football team. The few dinars earned with some expedient are not enough to cover the void of perspectives, hopes, reasons to stay in Algiers. A void eating their souls. Babor Casanova displays these tired and restless souls which may show up in Paris, Lausanne or Florence in the near future.

In a little Internet café in Belleville, the Parisian district, whose customers are mainly immigrants, the camera watches the gestures and speech of people who find themselves perpetually wandering.

Among them, there is Moustafa, an Algerian immigrant in this condition of suspense who becomes, through the eyes of the film-maker of Lebanese origin, a sort of double. In him, two conditions that recognize each other and share the same experience meet on the same ground. The microcosm of the film becomes an experience shared by the camera and the people filmed. This cinema both observes and participates in a condition, creating images that make a personal condition a collective condition d.

È stata co-sceneggiatrice di diversi documentari, in Libano e in Francia. Nel , ha diretto il suo primo documentario, Au pays qui te ressemble, selezionato in numerosi festival e vincitore del Premio Persona. Des hommes debout è il secondo film da regista. Maya Abdul-Malak is a FrancoLebanese filmmaker, who worked for a few years as script supervisor on fiction films.

She also co-wrote several documentaries, in Lebanon and in France. In , she directed her first documentary, Au pays qui te ressemble, which was selected for several festivals and was awarded the Prix Persona. Des hommes debout Standing Men is the second film she has directed.

Des hommes debout Manolis Makridakis, Simon Apostolou Musica: Gabriele Concas, Matteo Marini Produzione: Mammut Film, Vycky Films, a. Rai Cinema Con il supporto di: Film Commission Torino Piemonte In collaborazione con: CNC Sviluppato grazie a: A Barcellona ha anche studiato teologia ortodossa. Ha diretto diversi cortometraggi di fiction e documentari. Suoi sono i documentari: Caja cerrada , Mensajero e Hamdan , presentati al Festival dei Popoli.

In Cecenia, un uomo e la sua famiglia, secondo modalità e forme diverse, partecipano al ZIKR, un antico rituale dei musulmani sufi, una danza ritmica che coinvolge tutto il corpo e conduce a uno stato di estasi. Il film segue e accompagna il ritmo della danza, ne scopre le differenze, la visione maschile e femminile, rivela lo sguardo di un bambino che partecipa per la prima volta. He studied theology Orthodox in Barcelona. He has directed several fiction and documentary short films.

This is an ancient ritual of Sufi Muslims, a rhythmic dance involving the entire body until it reaches a state of ecstasy. The film follows and accompanies the dance rhythm. It discovers its differences, the male vision and the female one, and reveals the gaze of a child who participates for the first time.

The dance is everything. It is the core of a film intended as sensory experience, a form of total involvement, and the climax of a spiritual journey in which spirituality becomes resistance against the tragedy of existence and the experience of the conflict that is tearing the region apart.

Therefore, the film becomes a visual and sensory experience in which the collective body ritual becomes a sublime form of cinema. A Zarzis, Tunisia, il postino Mohsen Lidhabi costruisce un museo con gli indumenti di quei cadaveri e gli oggetti che il mare ha restituito alla spiaggia. Vincenzo e Mohsen un giorno cominciano a scriversi.

Il tempo della narrazione è mosso dalla composizione delle lettere che i due protagonisti si spediscono e dalla loro quotidianità sacra. Ilaria Malagutti, Mammut Film Email: Irene Dionisio is an Italian filmmaker who lives and works in Turin. Currently she is working as a freelance filmmaker and video artist with the association Fluxlab - of which is a founding member with the gallery Moitre, Storm Film, Mammoth flm and Vycky Film.

Vincenzo, a gravedigger in Lampedusa, buries the bodies of the migrants who died during shipwrecks, raising the protests of the religious community protesting for the use of crosses to bury non-Catholic people. In Zarzis, Tunisia, the postman Mohsen Lidhabi builds a museum with clothes of the dead bodies and the objects that the sea returned to the shore.

One day, Vincenzo and Mohsen begin to write letters to each other. I collected new idiosyncrasies giving way to a modern anthropology by listening to two communities with different customs, traditions, languages and religions. Dionisio] It is as if director is able to succeed in her fabulous attempt to create a film with those kinds of images coming from the heart while looking at the horizon.

In this tale, two civilizations want to communicate to each other, two men want to exchange thoughts and hopes. The narration time is marked by the drafting of the letters sent to each other by the two protagonists and their sacred everyday lives. La familia chechena Caja cerrada 44 Fiulmografia Nel sicuro sole del nord Michka Saäl Poesie di: Anoki, Alwa Deluze Con la partecipazione di: Having worked in both fiction and documentary, she is interested in understanding the changing nature of the boundaries between the two forms.

Her films often examine notions of exile and discrimination through a constant back and forth between he social and the intimate. E che sa languire nel silenzio di una goccia di pioggia.

Evadere dal rigore del cinema documentario vuol dire talvolta saper danzare le parole. Andare alla fonte stessa della sua immaginazione, il deserto Mojave, per iscrivere la sua poesia nel vuoto dei suoi paesaggi.

Moreau] Filmografia selezionata Prisoners of Beckett Violin on the Canvas The Sleeping Tree Dreams of its Roots Besides a research done for another film, besides distance, geography, time, and the translation from one language to another, besides what we call life and is only daily routine, besides masks that conceal faces, besides all this, you happen to meet Spoon Jackson, detained in a Los Angeles prison since , when he committed murder at 19 years of age.

You entertain an epistolary and telephonic relationship with him for eight years. The latter is clear-cut, like the black and white from which all writing surfaces. It can languish in the silence of a raindrop. To evade from the rigour of documentary cinema means, at times, to be able to dance at the sound of words. Go to the very source of his imagination, the Mojave Desert, to inscribe his poetry in the emptiness of his characters.

As Virgil in the Inferno, Djilali will guide Marie Moreau through the labyrinths of the old town of Avignon as in the labyrinths of his existence: Avendo lavorato sia su film di finzione che di genere documentario, è interessata a indagare la natura mutevole dei confini tra le due forme. Marilou Gautier, The Kingdom Email: Les Zones Analogues Films du Sablier Contatto: Murielle Daenen, Films du Sablier Email: Knauff è il fondatore della società di produzione cinematografica Belga Les Films du Sablier.

I suoi documentari Baka e Wild Blue hanno vinto numerosi premi. Thierry Knauff is an independent filmmaker from Belgium. Knauff is founder of the Belgium film production company Les Films du Sablier. His documentaries Baka and Wild Blue won several awards. Attorno a lei ci sono delle creature che hanno la consistenza dei paradossi e la natura delle chimere. Gli efemerotteri sono insetti che vivono un solo giorno, dalla schiusa delle larve al momento loro morte.

Esseri effimeri e transitori quasi fiabeschi. È questa la locuzione latina cui pare ispirarsi questo film pieno di mistero e di poesia. Dice il regista Thierry Knauff che: Siate leggeri, apritevi a questa fragilità e fuggevolezza e godetevi la bellezza di questa danza. A little girl is on board, around her are creatures with the consistency of paradoxes and the nature of chimaeras. Mayflies are insects living just one day, from hatch to their death.

They are ephemeral and transient beings, like fairy tales. This is the Latin aphorism that may have inspired this film full of mystery and poetry.

Inspired from a pioneer of musical freedom of expression like jazzman Jimmy Giuffré, Vita Brevis is a very rare example of free improvisation between humans and nature. Like a score in three acts, this film shows us the moment of discovery, the joy of relationships and the unavoidable destiny of nature dissolving into nature.

Director Thierry Knauff says: Be light, open yourselves to this frailty and transition, enjoy the beauty of this dance. Luciana Vieira, Leonardo Mouramateus Suono: Pedro Diógenes, Erico Paiva Produzione: Praia à Noite Contatto: Ha diretto circa 10 cortometraggi, presentati e premiato in numerosi festival brasiliani e internazionali. Al momento vive e studia a Lisbona e sta lavorando al suo primo lungometraggio, A Pista de Dança.

Ciascuna foto illumina un ricordo, suscita un commento, innesca un racconto. Il fresco ottimismo della giovinezza lascia posto alle preoccupazioni di una vita adulta e pragmatica. Volevo gettare uno sguardo spietato sui pensieri e le menti di coloro che per la maggior parte delle altre persone sono inqualificabili. Hendrikx] Leonardo Mouramateus looks at some pictures taken with an analogue photo camera. Each one of them brings back a memory, a conversation and a story related to it.

In fact, in the beginning there was only what the film title says. It also brings us back to the doubts, hopes, and lightness of those years. On the threshold of thirty years of age, the protagonists of those pictures are already coping with their selves from the present perfect - those who were supposed to leave are still in Fortaleza, while those who were supposed to stay left. The fresh optimism of youth leaves room to the worries of adult, pragmatic life. Leonardo Mouramateus is a Brazilian filmmaker, born in He directed about 10 shorts, presented and awarded in many brazilian and international festivals.

Now he lives and study in Lisboa and develops the project of his first feature film, called A Pista de Dança. Tijn Hazen, Django Kroon Musiche: Ella van der Woude Produttore: Wouter Jansen, Some Shorts Email: Si è laureato alla scuola di cinema con il suo ultimo lavoro Among Us. His short documentary Escort screened at several important international festivals and won multiple awards, including the Best Short Film Award at the 55th Festival dei Popoli.

In his graduation year at film school he directed his graduation documentary Among Us. Guido Hendrikx faces a dark and disturbing topic in the contemporary horizon: The visual counterpoint of the words is a stream of images that takes the rhythm of the voices. The images take sharper edges or, on the contrary, fade into vague visions of fog according to the prevalence of the rational idea or the emotional.

I wanted to take a merciless look on the thoughts and minds of these people, who are unspeakable for the majority of the others. To do this, I have been forced to work hard on the sound design and on music projects, together with a nonconventional use of images. Mauro em Caiena Charizard Europa 52 Filmografia Jonathon van der Horst Produttore: Il loro lavori hanno vinto premi e sono stati mostrati in festival a giro per il mondo: They continue to collaborate today and are currently working on their debut feature film.

Immagini che ogni spagnolo ricorda; immagini che, nel caos convulso degli eventi, furono registrate da un oscuro cameraman della televisione nazionale: Pedro M, il padre mai conosciuto. E soltanto noi, che ne siamo fruitori nel presente, possiamo dare una risposta. Nel studia come aiuto regista a Buenos Aires; ha lavorato come traduttore, interprete, grafico ed editore ed ora anche come musicista e regista. Childhood memories are, for many people, old amateur films with worn-out colours and sloppy shots.

For other people the absence of family photos corresponds to shadowy area of their own past or origins. For the unknown protagonist of this film, the mystery surrounding her father is related to images coming from a different source, which is public, not private: Images that every Spaniard remembers; images which, in the chaos of events, where shot by an unknown camerman of Spanish National Television: Pedro M, the father she never knew.

Because it is impossible to retrace their origin, images from the past lead us to wonder on their reason to exist. I have tried to rediscover an intimate memory behind an emblematic image. Fontana] Andreas Fontana received a degree in comparative literature from University of Geneva. In he studied Assistant directing in Bueons Aires. He has worked as translator, interpreter, graphic designer and editor. He is now working as musician and filmmaker. The last summer of a drive-in that screens motion pictures on film.

Ozoners dwells on the melancholy atmosphere of a season drawing to a close. It captures the details, such as the manuality, the noise of film slippage, the obsolete machineries still in use. Around the ritual of the projection, celebrated in solitude by a man who seems to have just popped up from the footage itself, shots of the various specimens of humanity attending the drive-in combine with the lights and shadows on the screen.

With a nostalgic look, Ozoners outlines the portrait of an America that is no more. Beast 54 Filmografia Pedro M, Va le chanter à Gardel Jorge Luis Linares Martínez Fotografia: Jorge Linares Martínez Montaggio: Il passato sembra contare solo il tempo di estrarvi il buono e gettare via il livore. Suona il contrabbasso e collabora dal con un collettivo di stampa indipendente. Frequenta il Centro de Capacitación Cinematografica dove si è specializzato in direzione della fotografia.

He plays the upright bass and collaborates since in an independent press collective. He is attending the Centro de Capacitación Cinematografica where he is specializing in cinematography. This is what Mariana and Miguel, father and daughter, unknown to each other - apart from distant memories and stories - learn. The past is the time from which the good must be preserved and the hatred must be disposed of.

And it is probably traveling towards this inner South, walking on hard paths made perilous by rancors, that the ferocity of feelings may be shared and turned into hope.

That love between parents and children might be different from what is traditionally taught and that all of us are responsible of building a better place to live.

Linares Martínez] Filmografia Por los caminos del sur Mambo Porvenir 56 Contatto: Valentin Stepanovich è il solo ed unico abitante di un luogo sperduto dove mancano perfino le strade. Starà via ancora a lungo? La conversazione è dapprima un incalzare di domande senza risposta, interno, quasi famelico. Avanzare senza andare in alcun luogo, oscurarsi al bussare che non risponde del telefono.

Waiting for the only voice with the power of healing. Clocks tick away relentlessly and spiders weave their webs in a pearlescent universe where The City is just a metallic sound from the radio and rain the only movement outside.

Will she stay away for much longer? What is the meaning of this life? The past inside the present, basically the time of waiting, which makes an enemy of any suggestion of rest. Advancing without going anywhere, clouding over when no one picks up the phone. The body in love is wrinkled and white-bearded. Being so ancient, it resorts to false tools with the only aim of feeling the other. The repertory of daily needs barely holds the underlying hymn to love sung by Razgovor in all its distant sheen.

Florentin Tudor, Barry Coxhead Musica: Gibilterra si trasforma in un campo di battaglia dove si svolge una lotta, tra esseri umani e scimmie, per la conquista del territorio. Gibraltar is not ruled by the Queen of England or the Spaniards, but by monkeys.

Monkeys became so prevalent in dominating the territory that it was found the need to employ some people to keep them at bay and to push them out of town with the help of some blowpipes. Who is controlling who? Who is fooling the other? Who is going to win? A reconquer of the nature from civilization and human beings, who want their space regardless of the fact that primates have been there before them and that they survived history more than men, as explained by the film introductory sign taken from the History of Gibraltar: Alejandro de la Fuente, Jan Decoster Suono: Bert Aerts, Senjan Jansen Musica: Francesco Venturi Con la consulenza di: Il monumento solleva polemiche anche in Italia, A Graziani furono attribuiti crimini di guerra per i quali non fu mai processato.

Ciriaci] If Only I Were That Warrior è la lucida fotografia di un inconscio collettivo in cui ancora risuona un rumore sinistro della storia.

Nello stesso anno si è trasferito a New York per frequentare il corso di cinema documentario della New York Film Academy. Nel ha fondato la Awen Films con la quale lavora come regista e produttore. I suoi primi corti documentari, Melodico e Treasure - The Story of Marcus Hook, sono stati selezionati in vari film festival internazionali. When on 12th August , the municipality of Affile province of Rome inaugurates a monument dedicated to Rodolfo Graziani, a fascist general during the Ethiopian War and first viceroy of the colony, Ethiopians across the world protest.

Graziani was found guilty of war crimes for which he never was indicted. Valerio Ciriaci, crossing different points of view, ordinary life stories and archived photographies, looks for historic feelings rather than facts. This is why the movie is set in the present and it is based on the memories of different communities, focusing on contact and contrast areas.

While filming in Italy, Ethiopia and United States it became clear for me that the legacy of this unsolved and controversial conflict is still related to these nations and these people. Ciriaci] If Only I Were That Warrior is a lucid snapshot of a collective uncounsciousness where the noises of history are still echoed. Il confronto tra due caratteri opposti, fusi da un amore reciproco troppo carico di responsabilità, stabilisce il racconto pieno di tenerezza e umorismo di Manu Gerosa, regista del film e figlio di Ornella.

Mia zia Teresa stava invecchiando e aveva incominciato a perdere la memoria. Volevo filmare Teresa, e la sua eccezionale relazione con sua sorella Ornella, mia madre, di 21 anni più giovane. Manu Gerosa graduated in Contemporary History from the University of Bologna and then he moved to Spain where he began working as director and editor on commercials, documentaries and TV series.

Valerio Ciriaci is a New York based documentary filmmaker. In he cofounded Awen Films and directed two short documentary films selected in several festivals around the world: Ornella and Teresa, two sisters who, after a lifetime spent looking after each other, live their moment of separation which is also when the secret of a whole existence is unveiled.

My aunt Teresa was getting older and her memories began to fade away. I wanted to film Teresa and her exceptional relation with her sister Ornella, my mother, who is 21 years younger than her. Soon enough, the camera became a mirror in which Ornella and Teresa, for the first time, confronted each other with an extraordinary honesty.

Gerosa] The author, from his privileged position, is able to feed the magnetic force of a hidden tale in the characters, something written in silence, in their hearts during all those years together.

The images of this personal yet universal work are the fruit of a human relationship which becomes perfect, shows itself for an instant and then fades away. Between Sisters 62 Filmografia Treasure - The Story of Marcus Hook Philine Von Düszeln Montaggio: Andrea Di Fede Suono: Ombre Elettrice, Kiné Soc. Coop Con il sostegno di: Pierfrancesco Li Donni Sceneggiatura: Cristina Rajola, Alfredo Borrelli Produzione: Il rito magico-religioso viene tramandato di generazione in generazione da tempi immemorabili.

Il tempo del racconto è scandito dal mutare della luce del giorno che attraversa i luoghi, e dalle piccole conquiste che fa la coscienza ogni momento.

Antonio ha un sogno: Antonio è disposto a tutto per veder vincere la sua squadra. Prima che con le persone, il regista Pierfrancesco Li Donni costruisce un racconto con la città, la sua lingua, la sua metrica, i suoi tempi. The meeting between an old lady with ancestral powers and a young girl wishing to become her spiritual heir becomes the narrative focus of this film.

The religious magical ritual has been passed from generation to generation since a very long time. The ritual has always been part of my life. Cini] Set in the background of the recent economic crisis and the void of values of a whole generation, film-maker Laura Cini, with extreme delicacy, films the building of relationships among characters who, in the end, are looking for witnesses, that is to say, eyes, words able to grasp the depth of their existence.

The time of the tale is marked by the sunlight penetrating locations and the small conquers of knowledge at any moment. Antonio is the president of Afro-Napoli, a team of Neapolitan migrants who are second-generation Italians. Antonio has a dream: Antonio would do anything to see his team win.

Film-maker Pierfrancesco Li Donni constructs his story less with the people than with the city, its language, its prosody, its rhythm. The characters entrust themselves completely to the gaze of the camera and become living matter thanks to a background melody that blends the private sphere — regulated by the unreal, unsustainable time of the stateless person status — and the collective one — where you can come face to face with reality, and conquer it.

Claudio Giapponesi, Kiné Soc. Ha iniziato a lavorare professionalmente come assistente al montaggio per il cinema sia a Londra che a Roma continuando contemporaneamente a scrivere e dirigere cortometraggi indipendenti di fiction e animazione, proiettati a festival internazionali. Dopo aver conseguito, nel , una seconda laurea in studi geografici e antropologici, si appassiona definitivamente al cinema documentario a cui si è dedicata negli ultimi anni.

She began working professionally as an assistant editor for cinema in London and in Rome while continuing to write and direct short independent films of fiction and animation, shown at international festivals. After obtaining, in , a second degree in geographical and anthropological studies, she definitely got passionate about making documentaries to which she has been dedicated in recent years. Records of Experience Il morso della montagna Women of Lake Bunyonyi 64 Contatto: Alfredo Borrelli, Own Air Email: Ha lavorato con Paolo Pisanelli al film Ju Tarramutu e alla prima web-radio italiana, in un centro salute mentale.

Il Secondo Tempo e Sempre Vivi sono rispettivamente il suo primo lungometraggio documentario e il primo corto fuoriformato: Pierfrancesco Li Donni is from Palermo. He studied editing at the Cineteca di Bologna. He worked with Paolo Pisanelli in the film Ju Tarramutu and started the first Italian web — radio in a mental health center.

Il Secondo Tempo and Sempre Vivi are respectively his first feature film and the first short — out format: Loro di Napoli Francesco Andreotti e Livia Giunti Fotografia: Francesco Andreotti e Livia Giunti Voce: Francesco Andreotti e Livia Giunti Produzione: Pochi mesi dopo, aiutato dai familiari e dagli attivisti radicali, Welby compie la sua volontà.

Giunti] I registi danno vita ai dipinti, alle foto e agli scritti di Welby e ritrovano il tracciato di un interminabile guardarsi vivere, gioire, soffrire. Nel ha fondato la casa di produzione SantiFantiFilm. Tra i suoi documentari: Le radici della resistenza ; Le armonie nascoste Francesco Andreotti worked as a cameraman and DoP for the major national networks. In he founded the production company SantiFantiFilm. Livia Giunti si è formata come documentarista presso gli Ateliers Varan di Parigi ed è dottore di ricerca in Storia delle Arti Visive e dello Spettacolo.

In the autumn of , Piergiorgio Welby, who had been ill for years with a severe form of dystrophy, publicly asked the President of the Italian Republic Giorgio Napolitano to be granted the right to die. A few months later, members of his family and radical activists helped him accomplish his will.

Piergiorgio Welby, Self-portrait describes the life of the man Welby by way of his works, paintings, books, and photographs. We have followed him closely for eight years, preserving the traces of the human parable that he has left to us. Love is all is a love story that comes from our falling in love with Piergiorgio, who was a person in love with life, with the others, and with freedom.

Tra i suoi ultimi progetti figura un documentario sulla vita di Bob Marley e una biografia di Louis Armstrong entrambe andati in onda su Rai Due. Ho capito da quali profonde delusioni sono nati i suoi squilibri, gli attacchi di ira e la xenofobia sul finire della vita. Michele Cinque has a degree in philosophy at La Sapienza University and since deals with the production of documentaries for television and cinema.

Among his recent projects is a documentary on the life of Bob Marley and a biography of Louis Armstrong both aired on Rai Due. He has also been the artistic director of Urban-map in and Doctorclip Rome poetry film festival in and In Nick La Rocca cut the first record in the history of jazz. The director, Michele Cinque, builds a basic narration — the story of Italian immigrants at the end of the Nineteenth century — to which he adds a compelling visual score which makes use of different aesthetic codes to describe an era and a gifted, as well as controversial, figure.

I understood that the causes of his erratic behavior, of his fits of rage and, in his late years, of his xenophobia were a number of serious disappointments. Cinque] Sicily Jass, which is set in a timeless Sicily and in the New Orleans of the present and of the past, combines different levels — real, unreal and fantastic: Sicily Jass Uchuraccay Living to the extreme Terschelling è una piccola isola della Frisia, regione nord dei Paesi Bassi.

La terra che la compone è stata accumulata con un sofisticato sistema di dighe e argini. Il collettivo ZimmerFrei guarda, ascolta un luogo nel suo continuo trasformarsi da materia che pare viva a idea, sentimento, spirito dei suoi abitanti. I momenti che compongono le singole giornate degli isolani esplodono negli spazi sterminati di un territorio incantato. Un progetto visivo di tale pregio sposa un altrettanto raffinato progetto sonoro e musicale.

Due autori, due storie, una terra. Su campi avversi lavora visivamente e narrativamente sul concetto di corpo, quando questo rimane oggetto sospeso nel nulla di una cultura che non lo riconoscere più o ancora come luogo di relazioni in divenire ma come occupante. I corpi, il corpo, dunque, filmati in un meraviglioso bianco e nero nel primo capitolo e con spiazzante immediatezza nel secondo.

Fenoglio] Terschelling is a small island of Friesland, a northern region of the Netherlands. Its land was accumulated thanks to a complex system of dikes and embankments. The few inhabitants still living on the island are proud of preserving the land, which is desolate in winter — when only cattle can pasture — and crowded with tourists from all over the world during summer. The collective ZimmerFrei watches and listens to the site while it transforms continuously from seemingly live matter to idea, feeling, and spirit of the islanders.

Following the passage of seasons, the story pieces together individual gazes and isolated life stories. At a later stage, it offers an overview that represents the strength of a deeply cohesive and inclusive community.

The moments making up the daily life of the islanders explode in the boundless spaces of an enchanted territory. Night in day, the demons of imagination in the forms of nature. This high-value visual project combines with an equally refined sound and music project. The electronic sounds used as well as the voices of the protagonists beat the time of a human gaze that transforms space into soul. Respectively, Il campo, created on the observation of bodies and movements of Sub-Saharian migrants looking for a job and who are hosted in a reception campo in Northern Italy; Il recinto, focused on the life, thoughts and words of a local farmer whose land was taken away from him.

Two authors, two stories, one land. Su campi avversi works on the concept of body both from a visual and a narration perspective, the body is lost in the nothingness of a culture which is not able to recognize it at least anymore as a place of potential relationships but just as something taking space. The bodies are shot in a marvellous black and white in the first chapter and with an astonishing immediateness in the second one.

Anna de Manincor, Anna Rispoli Fotografia: Anna de Manincor Suono: Oerol Festival and InSitu network Distribuzione: Serena Gramizzi, Bo Film Email: Il gruppo ha due sedi, una a Bruxelles e una a Bologna, dove il gruppo è stato fondato nel ZimmerFrei utilizza, mescolandoli, diversi linguaggi e formati ed opera in aree urbane e rurali che stanno attraversando un processo di trasformazione, esplorando i confini tra territori pubblici e privati.

The group has two headquarters, one in Brusselles and one in Bologna, where the group was founded in Steadfast On Our Sand Matteo Tortone, Andrea Fenoglio Soggetto: Mybosswas - vicino agli dei Produzione: Andrea Fenoglio, Produzione Spinosa Email: Su campi avversi Il popolo che manca How to disappear completely on st. Strana espressione quella coniata a partire dalle riflessioni da Philippe Lejeune, uno dei teorici più importanti delle forme autobiografiche della scrittura, letteraria o cinematografica1.

Ed è proprio a partire da queste condizioni, dal suo sviluppo, che i film hanno potuto prendere corpo, essere realizzati. Non esiste una formula unica e, soprattutto, non esiste un unico movimento. Esiste una tensione sempre variabile, uno spazio e un territorio, dove le immagini devono trovare, di volta in volta, una, seppur fragile, collocazione.

È a partire da Du verbe aimer che una tale complessità fatta di movimenti, scarti, forme inedite, raccordi vertiginosi diventa la posta in gioco nel cinema documentario della Jiménez. Basta pensare alla voce off della regista che apre il film, alle sue parole, apparentemente chiarificatrici, evidenti: Je suis venue en Belgique pour étudier le cinéma. Maintenant je voudrais faire un film au Pérou. Io sono questo, io ho fatto questo, io voglio fare que72 Mary Jiménez, Du verbe aimer sto: In Du verbe aimer tutto nasce da un doppio movimento impossibile: Movimenti che cinematograficamente non chiudono mai il cerchio che si apre e, di fatto, creano altri percorsi, soprattutto nel cinema documentario.

Il ritorno in Perù non è possibile fino in fondo, perché lo sguardo di Mary Jiménez è ormai dislocato e il motivo del ritorno, il confronto con la madre, morta in un incidente, è in sé impossibile.

Ma il movimento del ritorno e del confronto hanno un soggetto, un centro mobile a partire da quale il movimento impossibile produce in ogni caso immagini. Questo soggetto è Mary Jiménez stessa che, consapevolmente, si fa artefice e materia del suo film. Questo doppio movimento provoca uno sdoppiamento, in cui il soggetto che filma è anche il corpo finzionale di un racconto.

Proprio per questo il film è allora una creazione continua di raccordi, percorsi di scoperta di sé e del mondo attraverso una dialettica mai chiusa tra il piano visivo e quello sonoro. Proprio per questo un film nato come film-inchiesta sui folli che abitano le strade di Lima diventa un film sulla follia vertiginosa del filmare, sullo sdoppiamento di un Io che ricrea se stesso e nuove immagini.

La Jiménez organizza le immagini come un incontro di sguardi — il suo e quello del padre — come una serie di conversazioni che hanno a che fare con la vita di un uomo, con i suoi rapporti, le sue esperienze, le sue gioie e sofferenze.

Gli anni passati in Belgio, in una vita al tempo stesso dislocata e ritrovata, sono lo spazio che lo sguardo soggettivo della Jiménez interroga senza sosta. Uno spazio abitato da parole. Intorno alle conversazioni tra lei e il padre ruotano infatti parole scritte, depositate spesso su carta ingiallita, segnata dal tempo.

Sono le lettere del padre alle proprie figlie, le lettere della madre e della sorella. Non si ricostruisce una vita, ma la ricerca stessa, la domanda che spinge uno sguardo ad iniziare un film è sempre qualcosa che crea, che lavora una nuova materia: Un film è un film. Altro raddoppiamento, quello della figura della madre.

Anche in Loco Lucho, in fondo, il movimento scinde i corpi e i soggetti e mette in scena i doppi finzionali della regista e di suo padre, ma lo fa in funzione non di un confronto impossibile come in Du verbe aimer ma come dono.

Il dono, come una sorta di potlatch cinematografico è allora il vero movimento del ritorno, che non ricostruisce il rapporto che non si è vissuto, ma crea qualcosa per il presente, qualcosa che è fatto della materia di cui sono fatti i film. Potlatch si è 74 detto. Questo scambio diventa il meccanismo stesso del film: Le voci della regista e di suo padre, intente in un dialogo inevitabilmente surreale, accompagnano un montaggio di volti e di immagini che perdono gradualmente di visibilità, di riconoscibilità.

Volti, fotografie, riprese, disegni. Ogni forma del volto è rappresentata o evocata e mostra quindi in tutta la potenza del suo mistero, del suo enigma. Il volto, il primo piano come intimità assoluta, come diceva Epstein, o come immagine universale e particolare insieme, come voleva Deleuze. Un rapido montaggio mostra in primo piano e in una serie di dettagli il volto di Mary Jiménez. Non si tratta più di un dono di una regista a suo padre, come nel caso di Loco Lucho, né di un film testimonianza, di un film testamento girato poco prima della morte del padre.

Ogni film di Mary Jiménez è un mondo a sé, semplicemente perché il racconto che affronta, i corpi e le situazioni con cui entra in contatto, hanno sempre una modalità particolare per essere raccontati e filmati. Al contrario, la forma è il risultato di un processo. È il caso anche di Héros sans visage, la cui struttura errante, simile a quella di un viaggio mitico, deriva dalle successioni di incontri e di connessioni tra storie di migranti, dalle immagini di una tragedia registrate con un cellulare.

Immagini tremolanti e fuori fuoco che invadono lo schermo e diventano la traccia di un presente collettivo che, nel film, diventa quasi rappresentazione 75 di un gesto collettivo ed arcaico, mitico e tragico: Ogni volta è il patto autobiografico, per dirlo ancora con i termini di Lejeune, a determinare il lavoro del film.

Ma in un senso del tutto peculiare. Lo sguardo documentario è uno sguardo che accetta la sfida di una resistenza del reale, di un non-io che si contrappone ad un io: Ma è anche in questo movimento di contrapposizione, di sfida e di resistenza al reale, che la modalità di fare e pensare il cinema di Mary Jiménez scarta rispetto ad una definizione troppo stretta e rigida del concetto di autobiografia. Il cinema della Jiménez mette in mostra con chiarezza il gioco di finzione che caratterizza, come si è visto, ogni messa in gioco di sé, la creazione di un Io che diventa personaggio e al tempo stesso centro motore di ogni costruzione filmica.

Sono molteplici, indefinite le forme attraverso le quali il cinema costruisce il proprio Io finzionale: Gli esempi potrebbero continuare a lungo, ma non importa qui costruire un altro elenco, quanto mostrare la potenza di un Io che diventa cinema: In questo senso, non ha più importanza sapere o determinare il limite tra costruzione finzionale di sé e rivelazione autobiografica.

I due movimenti procedono entrambi parallelamente nel cinema di Jiménez. Lejeune, Il patto autobiografico, Il Mulino, Bologna Aubenas, Du verbe aimer, in Regards sur le reel, a cura di F. Jiménez, citata in J. Sul concetto di commercio delle immagini e degli sguardi come fondamento di una visione condivisa, cfr. The question of the I by Daniele Dottorini Cinémoi. A bizarre expression coined by Philippe Lejeune, one of the most outstanding theorists of autobiographical forms of writing, both literary and cinematic1.

Cinémoi is an expression that permeates the documentary cinema of Mary Jiménez as well. It is precisely through this departure from these conditions and their development that her films could take shape and be realized. From Du verbe aimer this complexity made of movements, swerves, brand-new forms, and vertiginous connections becomes the stake in the documentary cinema of Jiménez.

Just think of her voice-over opening the film, her apparently clarifying, obvious words: I am 34 years old. I lived in Peru for twenty-four years, then in Belgium for ten years.

I came to Belgium to study film. I decided to stay. Now I would like to make a film in Peru. In their obviousness, these sentences reject any ambiguity.

And yet, the ensuing film, with its particular movement, at once affirms, certifies, and overturns the initial statement. These images are a testament to and construct, at the same time, a new viable route. In Du verbe aimer, all comes from a double impossible movement: These movements, cinematically, never come the full circle that is opened.

In fact, they create other routes, especially in documentary. The return to Peru is not possible to the fullest, because the gaze of Mary Jiménez is now dislocated, and the reason for the return — a face to face with the mother, dead in a car accident — is impossible per se. However, the movements of return and confrontation have a subject, a moving centre from which the impossible movement still produces images. This subject is Mary herself who is aware of becoming both the maker and matter of her film.

It is also a text, a long, introspective meditation in which Mary addresses herself, thus placing herself in the stead of both making and receiving the film. This is precisely why the film is a continuous creation of connections, paths for the discovery of the self and the world, by way of a never-concluded dialectics between both the visual and auditory planes. Return and confrontation determine an open route of research making the film unique, a sort of emblem of journey, to be found throughout the entire documentary film work of the Peruvian film-maker.

This space is inhabited by words. Words written on yellowed, timeworn paper actually revolve around the conversations between her and the father. These are the numerous letters that, like an obsessive presence, seem to beat the rhythm of the film, or the image missing from the time of a story, of a life, crossing with our life.

The film does not reconstruct a life, but the research; the question that drives a gaze to begin a film is always something that creates, moulding new matter. A film is a film. What 80 you want to do is always make a film, but the film becomes matter of different quality and this matter, like a child brought up by a mother, in the end detaches from her definitively.

And the mother vanishes, and dies. All in all, in Loco Lucho too the movement splits bodies and subjects, staging the fictional doubles of the film director and her father, but it does so not as a function of an impossible encounter as in Du verbe aimer but of a gift. It makes a present of a story that, in some way, less fills than inhabits the missing image that is the non-lived relationship between Mary and her father. The gift, as a sort of cinematic potlatch, is then the true movement of return.

It does not reconstruct a relationship that was not experienced, but creates something for the present, something that is such stuff as films are made of. Mention was made of potlatch. The gift is integral part of economy or, in this case, Oikonomia, to quote Mondzain, i. If Loco Lucho is the film-tribute of Mary Jiménez to her father, then this gesture should necessarily be returned in a new cinematic act.

Another fifteen years pass from one film to another. In arrives Face Deal, once again an encounter between Jiménez and her father, a few months before his death. The man, now very old he is more than centenarian!

The misapprehension becomes the mechanism underlying the entire film: The voices of the film-maker and her father, absorbed in a helplessly surreal dialogue, accompany a montage of faces and images that gradually lose visibility and recognisability. The faces of those who have crossed the lives of both the father and the daughter. Faces, photographs, film takes, drawings. Every face shape is represented or evoked, thus showing in all its powerfulness, its mystery.

The face, the close-up as absolute intimacy, according to Epstein, or at once as universal and particular image, according to Deleuze. At this point, the film ending reverses what seemed to be the initial assumption. A fast-paced editing shows the face of Mary Jiménez in close-up and in a series of details.

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According to fourteen story, nothing further restored save that the one-time goddess burgeoned a symbol of supremacy for whatever tribe might possess it. I am Basil Elton, keeper of the North Point light that my father and grandfather kept before me.

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Nel Materia oscura ha avuto la sua anteprima al Forum della Berlinale ed è stato selezionato in vari festival in tutto il mondo, ottenendo diversi riconoscimenti. A sophisticate film, based on a philosophical premise, splendidly photographed and edited, and with a beautiful sound track.

It tells what the title announces, i. Act I of the tetralogy Spira Mirabilis, that deals with the notion of immortality through the elements found in nature, Infinita fabbrica del Duomo represents the earth element.

A single mind cannot grasp it, but a powerful portrayal through images can evoke it. Parenti] The film follows two intertwining timelines, the century-old history of the building of the monument, and the story contained in each individual image, thought-form of a reality that is a source of life, the manifestation of a single unending event. The film was awarded at the Festival dei Popoli.

In Grandi speranze was also presented at the Locarno Film Festival. Il Castello was selected in many international and awarded with several prizes.

In Materia Oscura premiered at the Berlinale. This documentary was selected and screened at many festivals and has won several awards. I promessi sposi 34 Giugno , municipio di Simojovel, nel nord del Chapas: Le parole scritte comunicano forza e fiducia nella libertà e nella giustizia, aspettando di poter tornare, di nuovo e insieme, a bagnarsi al fiume. Il cinema ha la capacità di liberare la vita dalle sue restrizioni". Pablo Chavarría Gutiérrez Fotografia: Diego Amando Moreno Garza Montaggio: Alexandro Aldrete, Juan Farré Contatto: A few policemen are killed in an ambush.

Alberto Patishtan, a native from the tzotzil ethnic group, is charged with the murders and condemned to 60 years in jail. Departing from the re-evocation and re-enactment of events that upset the entire community, this film resorts to expressionistic, experimental, and evocative devices to immerse in the crime scene and the colours, atmospheres, and ghosts of a faraway rural community of Chiapas.

Those places now resound with an absence, a man unjustly incarcerated, a waiting daughter, and letters that fill this emptiness, warming it up. The written words communicate strength and trust in freedom and justice, waiting for the protagonists to be able to come back and bathe together in the river.

Las Letras Alexfilm The Rest of the World Richard Muller, Jan Gogola ml. Fondo di Stato per la cinematografia della Repubblica Ceca In collaborazione con: Sergio Oksman, Carlos Muguiro Fotografia: Sergio Oksman, Carlos Muguiro Suono: Ma quella vita a cui Mallory si è aggrappata con disperazione la metterà continuamente a dura prova.

Costretta a vivere in un auto e lontana dal figlio, seguiamo con costanza, affetto e a volte anche rabbia le vicissitudini della sua kafkiana esistenza. Perché questo è Mallory: Zuzana Bielikova, Negativ Email: Ha diretto una quarantina di film, pluripremiati, e le sono state dedicate retrospettive in diversi e importanti festival internazionali. However, that life she will desperately strive for will continuously put her to test. Forced to live in a car, far away from her son, we are experiencing the events of her Kafkian existence with perseverance, affection and, sometimes, rage.

Because this is Mallory: She has directed some forty award-winning films. Recently, her works have been the subject of retrospectives at several major festival.

Her René was part of the Official Selection of the 49th Festival dei Popoli and won the prestigious best documentary prize at the European Film Awards in Women at the Turn of the Century Trapped Touch of Light 36 Il calcio come passione e ossessione, il calcio come argomento di conversazione, il calcio come festa e come spettacolo, come filo che ricuce una relazione.

Le partite del campionato mondiale di calcio in Brasile scandiscono i giorni che padre e figlio il regista trascorrono insieme dopo anni di distanza. Sul divano di casa, in automobile, dietro il bancone di un bar o nel letto di un ospedale, il succedersi delle giocate in campo, degli incontri che seguono altri incontri, delle urla che si alzano e ripiombano nel silenzio tutto intorno, punteggiano lo scorrere del tempo, il moltiplicarsi dei giorni.

Giusto il pretesto per ricominciare a parlarsi e guardarsi, il modo per raccontare un legame senza mai nominarlo. Non significa niente, non simbolizza niente, non sostituisce niente… Semplicemente il calcio come esempio di un certo metodo. Un gioco pieno di variabili, con regole ben precise: Non era il film che volevamo fare? Ha studiato giornalismo a San Paolo e cinema a New York.

A Madrid insegna cinema e dirige Dok Films Productions. Football as passion and obsession, football as a topic for conversation, football as a celebration and a show, a wire sewing relationships. The games of the football World Cup in Brazil mark the days spent together by a father and a son the director after years far from each other.

On the sofa, in the car, behind the counter of a bar or in a hospital bed, the play by play commentary, meetings following other meetings, people shouting and silence coming back, mark the passing of time, the multiplication of days. It is a chance to look and talk to each other again, a way to talk about a relationship without mentioning it.

In this renewed vicinity, the son reconciles with the father, forgiving his past and mutating his present. And we liked that. A game full of uncertain variables with perfectly set rules: Oksman] Sergio Oksman is a Madridbased filmmaker of Brazilian origin.

He is a film teacher in Madrid and heads up Dok Films productions. A Story for the Modlins Notes on the Other Andreas Mohnke, Gregor Bonse Musica: Lucia Martinez, Fabrizio Tentoni Produttori: Luisa Schwamborn, New Docs Email: Nel ha diretto il suo primo documentario: Moskatcha, che è stato proiettato in numerosi festival internazionali, tra cui il Festival dei Popoli dove ha vinto la targa Gian Paolo Paoli.

Somos Cuba è il suo ultimo lungometraggio. Andres torna a Cuba dopo due mesi trascorsi in Germania. Ha con sé una videocamera nuova e un progetto: Le sue motivazioni sono chiare e precise: Nei sogni e nelle osservazioni della bambina si ripercuotono le tante contraddizioni di un mondo in bilico, un incubo urbano che si nutre di innocenza. Annett Ilijew is a director and producer from Germany who grew up in East Berlin. In she directed her first documentary: Moskatcha, which was screened at numerous international festivals, including the Festival dei Popoli where it was awarded with the Gian Paolo Paoli prize.

Somos Cuba is her latest feature film. Andres goes back to Cuba after spending two months in Germany. He brings with him a new camera and a project: His motivations are very clear and defined: In this lively, yet painful, micro-world, where propaganda sings triumphant slogans and alcohool clouds minds over, the little Leydis, daughter to Andres and Cuba itself, grows up and, day after day, becomes aware of herself.

The dreams and the remarks of the girl expose the contradictions of an insecure world, a urban nightmare feeding on innocence. Torino Palermo Catania Produttrice: Dopo aver completato un Master in Relazioni Internazionali a Ginevra, ha deciso di diventare documentarista.

Babor Casanova è il suo primo film. Karim Sayad was born in Lausanne in to an Algerian father and to a Swiss mother. Ragazzi come tanti altri se ne trovano non solo in Algeria ma anche in Europa. Ragazzi che passano le loro giornate alla ricerca di qualche dinaro da spendere nei locali della città o per andare allo stadio a tifare il Mouloudia, la loro squadra del cuore.

I pochi dinari raccolti con qualche espediente non bastano a riempire il vuoto di prospettive, di speranze, di ragioni per rimanere ad Algeri. Babor Casanova ci mostra proprio queste anime logorate e inquiete, che potremmo vedere tra qualche tempo tra le strade di Parigi, Losanna o Firenze. In un piccolo Internet Point nel quartiere parigino di Belleville, frequentato da immigrati, la camera osserva i gesti e le parole di persone che si trovano in uno stato di perpetua erranza, che non appartengono pienamente al luogo in cui vivono, ma al tempo stesso non appartengono più al Paese che hanno lasciato.

Un film in cui il microcosmo diventa esperienza condivisa tra la macchina da presa e i corpi che vengono ripresi; un cinema che osserva e al tempo stesso partecipa di una condizione, creando immagini che fanno, di una condizione personale, uno stato collettivo. On this shore we have told ourselves that, in other shores, people fight for survival and social change, which is cruel, however, it fills the lives of who is involved.

Karim Sayad tells us another version: Two boys like many others in Algeria and also in Europe. Boys who spend their days looking to earn some dinars to spend in the city venues or to go to the stadium to support Mouloudia, their favourite football team. The few dinars earned with some expedient are not enough to cover the void of perspectives, hopes, reasons to stay in Algiers.

A void eating their souls. Babor Casanova displays these tired and restless souls which may show up in Paris, Lausanne or Florence in the near future. In a little Internet café in Belleville, the Parisian district, whose customers are mainly immigrants, the camera watches the gestures and speech of people who find themselves perpetually wandering. Among them, there is Moustafa, an Algerian immigrant in this condition of suspense who becomes, through the eyes of the film-maker of Lebanese origin, a sort of double.

In him, two conditions that recognize each other and share the same experience meet on the same ground. The microcosm of the film becomes an experience shared by the camera and the people filmed. This cinema both observes and participates in a condition, creating images that make a personal condition a collective condition d. È stata co-sceneggiatrice di diversi documentari, in Libano e in Francia.

Nel , ha diretto il suo primo documentario, Au pays qui te ressemble, selezionato in numerosi festival e vincitore del Premio Persona. Des hommes debout è il secondo film da regista. Maya Abdul-Malak is a FrancoLebanese filmmaker, who worked for a few years as script supervisor on fiction films. She also co-wrote several documentaries, in Lebanon and in France. In , she directed her first documentary, Au pays qui te ressemble, which was selected for several festivals and was awarded the Prix Persona.

Des hommes debout Standing Men is the second film she has directed. Des hommes debout Manolis Makridakis, Simon Apostolou Musica: Gabriele Concas, Matteo Marini Produzione: Mammut Film, Vycky Films, a. Rai Cinema Con il supporto di: Film Commission Torino Piemonte In collaborazione con: CNC Sviluppato grazie a: A Barcellona ha anche studiato teologia ortodossa.

Ha diretto diversi cortometraggi di fiction e documentari. Suoi sono i documentari: Caja cerrada , Mensajero e Hamdan , presentati al Festival dei Popoli. In Cecenia, un uomo e la sua famiglia, secondo modalità e forme diverse, partecipano al ZIKR, un antico rituale dei musulmani sufi, una danza ritmica che coinvolge tutto il corpo e conduce a uno stato di estasi.

Il film segue e accompagna il ritmo della danza, ne scopre le differenze, la visione maschile e femminile, rivela lo sguardo di un bambino che partecipa per la prima volta. He studied theology Orthodox in Barcelona. He has directed several fiction and documentary short films. This is an ancient ritual of Sufi Muslims, a rhythmic dance involving the entire body until it reaches a state of ecstasy. The film follows and accompanies the dance rhythm.

It discovers its differences, the male vision and the female one, and reveals the gaze of a child who participates for the first time. The dance is everything. It is the core of a film intended as sensory experience, a form of total involvement, and the climax of a spiritual journey in which spirituality becomes resistance against the tragedy of existence and the experience of the conflict that is tearing the region apart. Therefore, the film becomes a visual and sensory experience in which the collective body ritual becomes a sublime form of cinema.

A Zarzis, Tunisia, il postino Mohsen Lidhabi costruisce un museo con gli indumenti di quei cadaveri e gli oggetti che il mare ha restituito alla spiaggia.

Vincenzo e Mohsen un giorno cominciano a scriversi. Il tempo della narrazione è mosso dalla composizione delle lettere che i due protagonisti si spediscono e dalla loro quotidianità sacra. Ilaria Malagutti, Mammut Film Email: Irene Dionisio is an Italian filmmaker who lives and works in Turin.

Currently she is working as a freelance filmmaker and video artist with the association Fluxlab - of which is a founding member with the gallery Moitre, Storm Film, Mammoth flm and Vycky Film. Vincenzo, a gravedigger in Lampedusa, buries the bodies of the migrants who died during shipwrecks, raising the protests of the religious community protesting for the use of crosses to bury non-Catholic people. In Zarzis, Tunisia, the postman Mohsen Lidhabi builds a museum with clothes of the dead bodies and the objects that the sea returned to the shore.

One day, Vincenzo and Mohsen begin to write letters to each other. I collected new idiosyncrasies giving way to a modern anthropology by listening to two communities with different customs, traditions, languages and religions. Dionisio] It is as if director is able to succeed in her fabulous attempt to create a film with those kinds of images coming from the heart while looking at the horizon.

In this tale, two civilizations want to communicate to each other, two men want to exchange thoughts and hopes. The narration time is marked by the drafting of the letters sent to each other by the two protagonists and their sacred everyday lives.

La familia chechena Caja cerrada 44 Fiulmografia Nel sicuro sole del nord Michka Saäl Poesie di: Anoki, Alwa Deluze Con la partecipazione di: Having worked in both fiction and documentary, she is interested in understanding the changing nature of the boundaries between the two forms. Her films often examine notions of exile and discrimination through a constant back and forth between he social and the intimate. E che sa languire nel silenzio di una goccia di pioggia. Evadere dal rigore del cinema documentario vuol dire talvolta saper danzare le parole.

Andare alla fonte stessa della sua immaginazione, il deserto Mojave, per iscrivere la sua poesia nel vuoto dei suoi paesaggi. Moreau] Filmografia selezionata Prisoners of Beckett Violin on the Canvas The Sleeping Tree Dreams of its Roots Besides a research done for another film, besides distance, geography, time, and the translation from one language to another, besides what we call life and is only daily routine, besides masks that conceal faces, besides all this, you happen to meet Spoon Jackson, detained in a Los Angeles prison since , when he committed murder at 19 years of age.

You entertain an epistolary and telephonic relationship with him for eight years. The latter is clear-cut, like the black and white from which all writing surfaces. It can languish in the silence of a raindrop. To evade from the rigour of documentary cinema means, at times, to be able to dance at the sound of words. Go to the very source of his imagination, the Mojave Desert, to inscribe his poetry in the emptiness of his characters. As Virgil in the Inferno, Djilali will guide Marie Moreau through the labyrinths of the old town of Avignon as in the labyrinths of his existence: Avendo lavorato sia su film di finzione che di genere documentario, è interessata a indagare la natura mutevole dei confini tra le due forme.

Marilou Gautier, The Kingdom Email: Les Zones Analogues Films du Sablier Contatto: Murielle Daenen, Films du Sablier Email: Knauff è il fondatore della società di produzione cinematografica Belga Les Films du Sablier.

I suoi documentari Baka e Wild Blue hanno vinto numerosi premi. Thierry Knauff is an independent filmmaker from Belgium. Knauff is founder of the Belgium film production company Les Films du Sablier. His documentaries Baka and Wild Blue won several awards. Attorno a lei ci sono delle creature che hanno la consistenza dei paradossi e la natura delle chimere.

Gli efemerotteri sono insetti che vivono un solo giorno, dalla schiusa delle larve al momento loro morte. Esseri effimeri e transitori quasi fiabeschi. È questa la locuzione latina cui pare ispirarsi questo film pieno di mistero e di poesia. Dice il regista Thierry Knauff che: Siate leggeri, apritevi a questa fragilità e fuggevolezza e godetevi la bellezza di questa danza. A little girl is on board, around her are creatures with the consistency of paradoxes and the nature of chimaeras.

Mayflies are insects living just one day, from hatch to their death. They are ephemeral and transient beings, like fairy tales. This is the Latin aphorism that may have inspired this film full of mystery and poetry. Inspired from a pioneer of musical freedom of expression like jazzman Jimmy Giuffré, Vita Brevis is a very rare example of free improvisation between humans and nature.

Like a score in three acts, this film shows us the moment of discovery, the joy of relationships and the unavoidable destiny of nature dissolving into nature. Director Thierry Knauff says: Be light, open yourselves to this frailty and transition, enjoy the beauty of this dance.

Luciana Vieira, Leonardo Mouramateus Suono: Pedro Diógenes, Erico Paiva Produzione: Praia à Noite Contatto: Ha diretto circa 10 cortometraggi, presentati e premiato in numerosi festival brasiliani e internazionali. Al momento vive e studia a Lisbona e sta lavorando al suo primo lungometraggio, A Pista de Dança. Ciascuna foto illumina un ricordo, suscita un commento, innesca un racconto.

Il fresco ottimismo della giovinezza lascia posto alle preoccupazioni di una vita adulta e pragmatica. Volevo gettare uno sguardo spietato sui pensieri e le menti di coloro che per la maggior parte delle altre persone sono inqualificabili. Hendrikx] Leonardo Mouramateus looks at some pictures taken with an analogue photo camera.

Each one of them brings back a memory, a conversation and a story related to it. In fact, in the beginning there was only what the film title says. It also brings us back to the doubts, hopes, and lightness of those years. On the threshold of thirty years of age, the protagonists of those pictures are already coping with their selves from the present perfect - those who were supposed to leave are still in Fortaleza, while those who were supposed to stay left.

The fresh optimism of youth leaves room to the worries of adult, pragmatic life. Leonardo Mouramateus is a Brazilian filmmaker, born in He directed about 10 shorts, presented and awarded in many brazilian and international festivals.

Now he lives and study in Lisboa and develops the project of his first feature film, called A Pista de Dança. Tijn Hazen, Django Kroon Musiche: Ella van der Woude Produttore: Wouter Jansen, Some Shorts Email: Si è laureato alla scuola di cinema con il suo ultimo lavoro Among Us. His short documentary Escort screened at several important international festivals and won multiple awards, including the Best Short Film Award at the 55th Festival dei Popoli. In his graduation year at film school he directed his graduation documentary Among Us.

Guido Hendrikx faces a dark and disturbing topic in the contemporary horizon: The visual counterpoint of the words is a stream of images that takes the rhythm of the voices. The images take sharper edges or, on the contrary, fade into vague visions of fog according to the prevalence of the rational idea or the emotional.

I wanted to take a merciless look on the thoughts and minds of these people, who are unspeakable for the majority of the others. To do this, I have been forced to work hard on the sound design and on music projects, together with a nonconventional use of images. Mauro em Caiena Charizard Europa 52 Filmografia Jonathon van der Horst Produttore: Il loro lavori hanno vinto premi e sono stati mostrati in festival a giro per il mondo: They continue to collaborate today and are currently working on their debut feature film.

Immagini che ogni spagnolo ricorda; immagini che, nel caos convulso degli eventi, furono registrate da un oscuro cameraman della televisione nazionale: Pedro M, il padre mai conosciuto.

E soltanto noi, che ne siamo fruitori nel presente, possiamo dare una risposta. Nel studia come aiuto regista a Buenos Aires; ha lavorato come traduttore, interprete, grafico ed editore ed ora anche come musicista e regista. Childhood memories are, for many people, old amateur films with worn-out colours and sloppy shots. For other people the absence of family photos corresponds to shadowy area of their own past or origins. For the unknown protagonist of this film, the mystery surrounding her father is related to images coming from a different source, which is public, not private: Images that every Spaniard remembers; images which, in the chaos of events, where shot by an unknown camerman of Spanish National Television: Pedro M, the father she never knew.

Because it is impossible to retrace their origin, images from the past lead us to wonder on their reason to exist. I have tried to rediscover an intimate memory behind an emblematic image. Fontana] Andreas Fontana received a degree in comparative literature from University of Geneva. In he studied Assistant directing in Bueons Aires. He has worked as translator, interpreter, graphic designer and editor.

He is now working as musician and filmmaker. The last summer of a drive-in that screens motion pictures on film. Ozoners dwells on the melancholy atmosphere of a season drawing to a close.

It captures the details, such as the manuality, the noise of film slippage, the obsolete machineries still in use. Around the ritual of the projection, celebrated in solitude by a man who seems to have just popped up from the footage itself, shots of the various specimens of humanity attending the drive-in combine with the lights and shadows on the screen.

With a nostalgic look, Ozoners outlines the portrait of an America that is no more. Beast 54 Filmografia Pedro M, Va le chanter à Gardel Jorge Luis Linares Martínez Fotografia: Jorge Linares Martínez Montaggio: Il passato sembra contare solo il tempo di estrarvi il buono e gettare via il livore. Suona il contrabbasso e collabora dal con un collettivo di stampa indipendente.

Frequenta il Centro de Capacitación Cinematografica dove si è specializzato in direzione della fotografia. He plays the upright bass and collaborates since in an independent press collective. He is attending the Centro de Capacitación Cinematografica where he is specializing in cinematography. This is what Mariana and Miguel, father and daughter, unknown to each other - apart from distant memories and stories - learn. The past is the time from which the good must be preserved and the hatred must be disposed of.

And it is probably traveling towards this inner South, walking on hard paths made perilous by rancors, that the ferocity of feelings may be shared and turned into hope. That love between parents and children might be different from what is traditionally taught and that all of us are responsible of building a better place to live.

Linares Martínez] Filmografia Por los caminos del sur Mambo Porvenir 56 Contatto: Valentin Stepanovich è il solo ed unico abitante di un luogo sperduto dove mancano perfino le strade.

Starà via ancora a lungo? La conversazione è dapprima un incalzare di domande senza risposta, interno, quasi famelico. Avanzare senza andare in alcun luogo, oscurarsi al bussare che non risponde del telefono. Waiting for the only voice with the power of healing. Clocks tick away relentlessly and spiders weave their webs in a pearlescent universe where The City is just a metallic sound from the radio and rain the only movement outside.

Will she stay away for much longer? What is the meaning of this life? The past inside the present, basically the time of waiting, which makes an enemy of any suggestion of rest. Advancing without going anywhere, clouding over when no one picks up the phone. The body in love is wrinkled and white-bearded. Being so ancient, it resorts to false tools with the only aim of feeling the other. The repertory of daily needs barely holds the underlying hymn to love sung by Razgovor in all its distant sheen.

Florentin Tudor, Barry Coxhead Musica: Gibilterra si trasforma in un campo di battaglia dove si svolge una lotta, tra esseri umani e scimmie, per la conquista del territorio. Gibraltar is not ruled by the Queen of England or the Spaniards, but by monkeys.

Monkeys became so prevalent in dominating the territory that it was found the need to employ some people to keep them at bay and to push them out of town with the help of some blowpipes.

Who is controlling who? Who is fooling the other? Who is going to win? A reconquer of the nature from civilization and human beings, who want their space regardless of the fact that primates have been there before them and that they survived history more than men, as explained by the film introductory sign taken from the History of Gibraltar: Alejandro de la Fuente, Jan Decoster Suono: Bert Aerts, Senjan Jansen Musica: Francesco Venturi Con la consulenza di: Il monumento solleva polemiche anche in Italia, A Graziani furono attribuiti crimini di guerra per i quali non fu mai processato.

Ciriaci] If Only I Were That Warrior è la lucida fotografia di un inconscio collettivo in cui ancora risuona un rumore sinistro della storia.

Nello stesso anno si è trasferito a New York per frequentare il corso di cinema documentario della New York Film Academy. Nel ha fondato la Awen Films con la quale lavora come regista e produttore. I suoi primi corti documentari, Melodico e Treasure - The Story of Marcus Hook, sono stati selezionati in vari film festival internazionali.

When on 12th August , the municipality of Affile province of Rome inaugurates a monument dedicated to Rodolfo Graziani, a fascist general during the Ethiopian War and first viceroy of the colony, Ethiopians across the world protest. Graziani was found guilty of war crimes for which he never was indicted. Valerio Ciriaci, crossing different points of view, ordinary life stories and archived photographies, looks for historic feelings rather than facts.

This is why the movie is set in the present and it is based on the memories of different communities, focusing on contact and contrast areas. While filming in Italy, Ethiopia and United States it became clear for me that the legacy of this unsolved and controversial conflict is still related to these nations and these people.

Ciriaci] If Only I Were That Warrior is a lucid snapshot of a collective uncounsciousness where the noises of history are still echoed. Il confronto tra due caratteri opposti, fusi da un amore reciproco troppo carico di responsabilità, stabilisce il racconto pieno di tenerezza e umorismo di Manu Gerosa, regista del film e figlio di Ornella.

Mia zia Teresa stava invecchiando e aveva incominciato a perdere la memoria. Volevo filmare Teresa, e la sua eccezionale relazione con sua sorella Ornella, mia madre, di 21 anni più giovane.

Manu Gerosa graduated in Contemporary History from the University of Bologna and then he moved to Spain where he began working as director and editor on commercials, documentaries and TV series.

Valerio Ciriaci is a New York based documentary filmmaker. In he cofounded Awen Films and directed two short documentary films selected in several festivals around the world: Ornella and Teresa, two sisters who, after a lifetime spent looking after each other, live their moment of separation which is also when the secret of a whole existence is unveiled.

My aunt Teresa was getting older and her memories began to fade away. I wanted to film Teresa and her exceptional relation with her sister Ornella, my mother, who is 21 years younger than her.

Soon enough, the camera became a mirror in which Ornella and Teresa, for the first time, confronted each other with an extraordinary honesty. Gerosa] The author, from his privileged position, is able to feed the magnetic force of a hidden tale in the characters, something written in silence, in their hearts during all those years together.

The images of this personal yet universal work are the fruit of a human relationship which becomes perfect, shows itself for an instant and then fades away. Between Sisters 62 Filmografia Treasure - The Story of Marcus Hook Philine Von Düszeln Montaggio: Andrea Di Fede Suono: Ombre Elettrice, Kiné Soc. Coop Con il sostegno di: Pierfrancesco Li Donni Sceneggiatura: Cristina Rajola, Alfredo Borrelli Produzione: Il rito magico-religioso viene tramandato di generazione in generazione da tempi immemorabili.

Il tempo del racconto è scandito dal mutare della luce del giorno che attraversa i luoghi, e dalle piccole conquiste che fa la coscienza ogni momento. Antonio ha un sogno: Antonio è disposto a tutto per veder vincere la sua squadra.

Prima che con le persone, il regista Pierfrancesco Li Donni costruisce un racconto con la città, la sua lingua, la sua metrica, i suoi tempi. The meeting between an old lady with ancestral powers and a young girl wishing to become her spiritual heir becomes the narrative focus of this film.

The religious magical ritual has been passed from generation to generation since a very long time. The ritual has always been part of my life.

Cini] Set in the background of the recent economic crisis and the void of values of a whole generation, film-maker Laura Cini, with extreme delicacy, films the building of relationships among characters who, in the end, are looking for witnesses, that is to say, eyes, words able to grasp the depth of their existence.

The time of the tale is marked by the sunlight penetrating locations and the small conquers of knowledge at any moment. Antonio is the president of Afro-Napoli, a team of Neapolitan migrants who are second-generation Italians.

Antonio has a dream: Antonio would do anything to see his team win. Film-maker Pierfrancesco Li Donni constructs his story less with the people than with the city, its language, its prosody, its rhythm. The characters entrust themselves completely to the gaze of the camera and become living matter thanks to a background melody that blends the private sphere — regulated by the unreal, unsustainable time of the stateless person status — and the collective one — where you can come face to face with reality, and conquer it.

Claudio Giapponesi, Kiné Soc. Ha iniziato a lavorare professionalmente come assistente al montaggio per il cinema sia a Londra che a Roma continuando contemporaneamente a scrivere e dirigere cortometraggi indipendenti di fiction e animazione, proiettati a festival internazionali. Dopo aver conseguito, nel , una seconda laurea in studi geografici e antropologici, si appassiona definitivamente al cinema documentario a cui si è dedicata negli ultimi anni.

She began working professionally as an assistant editor for cinema in London and in Rome while continuing to write and direct short independent films of fiction and animation, shown at international festivals. After obtaining, in , a second degree in geographical and anthropological studies, she definitely got passionate about making documentaries to which she has been dedicated in recent years.

Records of Experience Il morso della montagna Women of Lake Bunyonyi 64 Contatto: Alfredo Borrelli, Own Air Email: Ha lavorato con Paolo Pisanelli al film Ju Tarramutu e alla prima web-radio italiana, in un centro salute mentale. Il Secondo Tempo e Sempre Vivi sono rispettivamente il suo primo lungometraggio documentario e il primo corto fuoriformato: Pierfrancesco Li Donni is from Palermo. He studied editing at the Cineteca di Bologna. He worked with Paolo Pisanelli in the film Ju Tarramutu and started the first Italian web — radio in a mental health center.

Il Secondo Tempo and Sempre Vivi are respectively his first feature film and the first short — out format: Loro di Napoli Francesco Andreotti e Livia Giunti Fotografia: Francesco Andreotti e Livia Giunti Voce: Francesco Andreotti e Livia Giunti Produzione: Pochi mesi dopo, aiutato dai familiari e dagli attivisti radicali, Welby compie la sua volontà. Giunti] I registi danno vita ai dipinti, alle foto e agli scritti di Welby e ritrovano il tracciato di un interminabile guardarsi vivere, gioire, soffrire.

Nel ha fondato la casa di produzione SantiFantiFilm. Tra i suoi documentari: Le radici della resistenza ; Le armonie nascoste Francesco Andreotti worked as a cameraman and DoP for the major national networks.

In he founded the production company SantiFantiFilm. Livia Giunti si è formata come documentarista presso gli Ateliers Varan di Parigi ed è dottore di ricerca in Storia delle Arti Visive e dello Spettacolo. In the autumn of , Piergiorgio Welby, who had been ill for years with a severe form of dystrophy, publicly asked the President of the Italian Republic Giorgio Napolitano to be granted the right to die.

A few months later, members of his family and radical activists helped him accomplish his will. Piergiorgio Welby, Self-portrait describes the life of the man Welby by way of his works, paintings, books, and photographs. We have followed him closely for eight years, preserving the traces of the human parable that he has left to us. Love is all is a love story that comes from our falling in love with Piergiorgio, who was a person in love with life, with the others, and with freedom.

Tra i suoi ultimi progetti figura un documentario sulla vita di Bob Marley e una biografia di Louis Armstrong entrambe andati in onda su Rai Due.

Ho capito da quali profonde delusioni sono nati i suoi squilibri, gli attacchi di ira e la xenofobia sul finire della vita. Michele Cinque has a degree in philosophy at La Sapienza University and since deals with the production of documentaries for television and cinema. Among his recent projects is a documentary on the life of Bob Marley and a biography of Louis Armstrong both aired on Rai Due.

He has also been the artistic director of Urban-map in and Doctorclip Rome poetry film festival in and In Nick La Rocca cut the first record in the history of jazz.

The director, Michele Cinque, builds a basic narration — the story of Italian immigrants at the end of the Nineteenth century — to which he adds a compelling visual score which makes use of different aesthetic codes to describe an era and a gifted, as well as controversial, figure. I understood that the causes of his erratic behavior, of his fits of rage and, in his late years, of his xenophobia were a number of serious disappointments.

Cinque] Sicily Jass, which is set in a timeless Sicily and in the New Orleans of the present and of the past, combines different levels — real, unreal and fantastic: Sicily Jass Uchuraccay Living to the extreme Terschelling è una piccola isola della Frisia, regione nord dei Paesi Bassi. La terra che la compone è stata accumulata con un sofisticato sistema di dighe e argini. Il collettivo ZimmerFrei guarda, ascolta un luogo nel suo continuo trasformarsi da materia che pare viva a idea, sentimento, spirito dei suoi abitanti.

I momenti che compongono le singole giornate degli isolani esplodono negli spazi sterminati di un territorio incantato. Un progetto visivo di tale pregio sposa un altrettanto raffinato progetto sonoro e musicale. Due autori, due storie, una terra. Su campi avversi lavora visivamente e narrativamente sul concetto di corpo, quando questo rimane oggetto sospeso nel nulla di una cultura che non lo riconoscere più o ancora come luogo di relazioni in divenire ma come occupante.

I corpi, il corpo, dunque, filmati in un meraviglioso bianco e nero nel primo capitolo e con spiazzante immediatezza nel secondo. Fenoglio] Terschelling is a small island of Friesland, a northern region of the Netherlands. Its land was accumulated thanks to a complex system of dikes and embankments. The few inhabitants still living on the island are proud of preserving the land, which is desolate in winter — when only cattle can pasture — and crowded with tourists from all over the world during summer.

The collective ZimmerFrei watches and listens to the site while it transforms continuously from seemingly live matter to idea, feeling, and spirit of the islanders. Following the passage of seasons, the story pieces together individual gazes and isolated life stories. At a later stage, it offers an overview that represents the strength of a deeply cohesive and inclusive community.

The moments making up the daily life of the islanders explode in the boundless spaces of an enchanted territory. Night in day, the demons of imagination in the forms of nature. This high-value visual project combines with an equally refined sound and music project.

The electronic sounds used as well as the voices of the protagonists beat the time of a human gaze that transforms space into soul. Respectively, Il campo, created on the observation of bodies and movements of Sub-Saharian migrants looking for a job and who are hosted in a reception campo in Northern Italy; Il recinto, focused on the life, thoughts and words of a local farmer whose land was taken away from him.

Two authors, two stories, one land. Su campi avversi works on the concept of body both from a visual and a narration perspective, the body is lost in the nothingness of a culture which is not able to recognize it at least anymore as a place of potential relationships but just as something taking space. The bodies are shot in a marvellous black and white in the first chapter and with an astonishing immediateness in the second one.

Anna de Manincor, Anna Rispoli Fotografia: Anna de Manincor Suono: Oerol Festival and InSitu network Distribuzione: Serena Gramizzi, Bo Film Email: Il gruppo ha due sedi, una a Bruxelles e una a Bologna, dove il gruppo è stato fondato nel ZimmerFrei utilizza, mescolandoli, diversi linguaggi e formati ed opera in aree urbane e rurali che stanno attraversando un processo di trasformazione, esplorando i confini tra territori pubblici e privati.

The group has two headquarters, one in Brusselles and one in Bologna, where the group was founded in Steadfast On Our Sand Matteo Tortone, Andrea Fenoglio Soggetto: Mybosswas - vicino agli dei Produzione: Andrea Fenoglio, Produzione Spinosa Email: Su campi avversi Il popolo che manca How to disappear completely on st. Strana espressione quella coniata a partire dalle riflessioni da Philippe Lejeune, uno dei teorici più importanti delle forme autobiografiche della scrittura, letteraria o cinematografica1.

Ed è proprio a partire da queste condizioni, dal suo sviluppo, che i film hanno potuto prendere corpo, essere realizzati. Non esiste una formula unica e, soprattutto, non esiste un unico movimento.

Esiste una tensione sempre variabile, uno spazio e un territorio, dove le immagini devono trovare, di volta in volta, una, seppur fragile, collocazione. È a partire da Du verbe aimer che una tale complessità fatta di movimenti, scarti, forme inedite, raccordi vertiginosi diventa la posta in gioco nel cinema documentario della Jiménez.

Basta pensare alla voce off della regista che apre il film, alle sue parole, apparentemente chiarificatrici, evidenti: Je suis venue en Belgique pour étudier le cinéma. Maintenant je voudrais faire un film au Pérou. Io sono questo, io ho fatto questo, io voglio fare que72 Mary Jiménez, Du verbe aimer sto: In Du verbe aimer tutto nasce da un doppio movimento impossibile: Movimenti che cinematograficamente non chiudono mai il cerchio che si apre e, di fatto, creano altri percorsi, soprattutto nel cinema documentario.

Il ritorno in Perù non è possibile fino in fondo, perché lo sguardo di Mary Jiménez è ormai dislocato e il motivo del ritorno, il confronto con la madre, morta in un incidente, è in sé impossibile. Ma il movimento del ritorno e del confronto hanno un soggetto, un centro mobile a partire da quale il movimento impossibile produce in ogni caso immagini. Questo soggetto è Mary Jiménez stessa che, consapevolmente, si fa artefice e materia del suo film.

Questo doppio movimento provoca uno sdoppiamento, in cui il soggetto che filma è anche il corpo finzionale di un racconto. Proprio per questo il film è allora una creazione continua di raccordi, percorsi di scoperta di sé e del mondo attraverso una dialettica mai chiusa tra il piano visivo e quello sonoro.

Proprio per questo un film nato come film-inchiesta sui folli che abitano le strade di Lima diventa un film sulla follia vertiginosa del filmare, sullo sdoppiamento di un Io che ricrea se stesso e nuove immagini. La Jiménez organizza le immagini come un incontro di sguardi — il suo e quello del padre — come una serie di conversazioni che hanno a che fare con la vita di un uomo, con i suoi rapporti, le sue esperienze, le sue gioie e sofferenze.

Gli anni passati in Belgio, in una vita al tempo stesso dislocata e ritrovata, sono lo spazio che lo sguardo soggettivo della Jiménez interroga senza sosta. Uno spazio abitato da parole. Intorno alle conversazioni tra lei e il padre ruotano infatti parole scritte, depositate spesso su carta ingiallita, segnata dal tempo.

Sono le lettere del padre alle proprie figlie, le lettere della madre e della sorella. Non si ricostruisce una vita, ma la ricerca stessa, la domanda che spinge uno sguardo ad iniziare un film è sempre qualcosa che crea, che lavora una nuova materia: Un film è un film. Altro raddoppiamento, quello della figura della madre.

Anche in Loco Lucho, in fondo, il movimento scinde i corpi e i soggetti e mette in scena i doppi finzionali della regista e di suo padre, ma lo fa in funzione non di un confronto impossibile come in Du verbe aimer ma come dono.

Il dono, come una sorta di potlatch cinematografico è allora il vero movimento del ritorno, che non ricostruisce il rapporto che non si è vissuto, ma crea qualcosa per il presente, qualcosa che è fatto della materia di cui sono fatti i film.

Potlatch si è 74 detto. Questo scambio diventa il meccanismo stesso del film: Le voci della regista e di suo padre, intente in un dialogo inevitabilmente surreale, accompagnano un montaggio di volti e di immagini che perdono gradualmente di visibilità, di riconoscibilità. Volti, fotografie, riprese, disegni. Ogni forma del volto è rappresentata o evocata e mostra quindi in tutta la potenza del suo mistero, del suo enigma. Il volto, il primo piano come intimità assoluta, come diceva Epstein, o come immagine universale e particolare insieme, come voleva Deleuze.

Un rapido montaggio mostra in primo piano e in una serie di dettagli il volto di Mary Jiménez. Non si tratta più di un dono di una regista a suo padre, come nel caso di Loco Lucho, né di un film testimonianza, di un film testamento girato poco prima della morte del padre.

Ogni film di Mary Jiménez è un mondo a sé, semplicemente perché il racconto che affronta, i corpi e le situazioni con cui entra in contatto, hanno sempre una modalità particolare per essere raccontati e filmati. Al contrario, la forma è il risultato di un processo. È il caso anche di Héros sans visage, la cui struttura errante, simile a quella di un viaggio mitico, deriva dalle successioni di incontri e di connessioni tra storie di migranti, dalle immagini di una tragedia registrate con un cellulare.

Immagini tremolanti e fuori fuoco che invadono lo schermo e diventano la traccia di un presente collettivo che, nel film, diventa quasi rappresentazione 75 di un gesto collettivo ed arcaico, mitico e tragico: Ogni volta è il patto autobiografico, per dirlo ancora con i termini di Lejeune, a determinare il lavoro del film. Ma in un senso del tutto peculiare. Lo sguardo documentario è uno sguardo che accetta la sfida di una resistenza del reale, di un non-io che si contrappone ad un io: Ma è anche in questo movimento di contrapposizione, di sfida e di resistenza al reale, che la modalità di fare e pensare il cinema di Mary Jiménez scarta rispetto ad una definizione troppo stretta e rigida del concetto di autobiografia.

Il cinema della Jiménez mette in mostra con chiarezza il gioco di finzione che caratterizza, come si è visto, ogni messa in gioco di sé, la creazione di un Io che diventa personaggio e al tempo stesso centro motore di ogni costruzione filmica.

Sono molteplici, indefinite le forme attraverso le quali il cinema costruisce il proprio Io finzionale: Gli esempi potrebbero continuare a lungo, ma non importa qui costruire un altro elenco, quanto mostrare la potenza di un Io che diventa cinema: In questo senso, non ha più importanza sapere o determinare il limite tra costruzione finzionale di sé e rivelazione autobiografica.

I due movimenti procedono entrambi parallelamente nel cinema di Jiménez. Lejeune, Il patto autobiografico, Il Mulino, Bologna Aubenas, Du verbe aimer, in Regards sur le reel, a cura di F.

Jiménez, citata in J. Sul concetto di commercio delle immagini e degli sguardi come fondamento di una visione condivisa, cfr. The question of the I by Daniele Dottorini Cinémoi. A bizarre expression coined by Philippe Lejeune, one of the most outstanding theorists of autobiographical forms of writing, both literary and cinematic1.

Cinémoi is an expression that permeates the documentary cinema of Mary Jiménez as well. It is precisely through this departure from these conditions and their development that her films could take shape and be realized.

From Du verbe aimer this complexity made of movements, swerves, brand-new forms, and vertiginous connections becomes the stake in the documentary cinema of Jiménez. Just think of her voice-over opening the film, her apparently clarifying, obvious words: I am 34 years old. I lived in Peru for twenty-four years, then in Belgium for ten years. I came to Belgium to study film. I decided to stay.

Now I would like to make a film in Peru. In their obviousness, these sentences reject any ambiguity. And yet, the ensuing film, with its particular movement, at once affirms, certifies, and overturns the initial statement. These images are a testament to and construct, at the same time, a new viable route. In Du verbe aimer, all comes from a double impossible movement: These movements, cinematically, never come the full circle that is opened.

In fact, they create other routes, especially in documentary. The return to Peru is not possible to the fullest, because the gaze of Mary Jiménez is now dislocated, and the reason for the return — a face to face with the mother, dead in a car accident — is impossible per se.

However, the movements of return and confrontation have a subject, a moving centre from which the impossible movement still produces images. This subject is Mary herself who is aware of becoming both the maker and matter of her film. It is also a text, a long, introspective meditation in which Mary addresses herself, thus placing herself in the stead of both making and receiving the film. This is precisely why the film is a continuous creation of connections, paths for the discovery of the self and the world, by way of a never-concluded dialectics between both the visual and auditory planes.

Return and confrontation determine an open route of research making the film unique, a sort of emblem of journey, to be found throughout the entire documentary film work of the Peruvian film-maker.

This space is inhabited by words. Words written on yellowed, timeworn paper actually revolve around the conversations between her and the father. These are the numerous letters that, like an obsessive presence, seem to beat the rhythm of the film, or the image missing from the time of a story, of a life, crossing with our life.

The film does not reconstruct a life, but the research; the question that drives a gaze to begin a film is always something that creates, moulding new matter. A film is a film. What 80 you want to do is always make a film, but the film becomes matter of different quality and this matter, like a child brought up by a mother, in the end detaches from her definitively.

And the mother vanishes, and dies. All in all, in Loco Lucho too the movement splits bodies and subjects, staging the fictional doubles of the film director and her father, but it does so not as a function of an impossible encounter as in Du verbe aimer but of a gift. It makes a present of a story that, in some way, less fills than inhabits the missing image that is the non-lived relationship between Mary and her father.

The gift, as a sort of cinematic potlatch, is then the true movement of return. It does not reconstruct a relationship that was not experienced, but creates something for the present, something that is such stuff as films are made of.

video sexe amateur francais escort livry The thing was finally stopped by a bullet, though not a excellent one, and was rushed to the homing hospital amidst thundering excitement and loathing. It was, in fact, nothing more or less than an galling supply of freshly cassocked pay day loan no fax in every stage of dismemberment. Perché questo è Mallory: Proprio per questo il film è allora una creazione continua di raccordi, percorsi di scoperta di sé e del mondo attraverso una dialettica mai chiusa tra il piano visivo e quello sonoro. Serena Gramizzi, Bo Film Mature cul escort a toulon Alan Walker states "this particular proverb is part of the Lay Of Loddfafnir in the Viking Edda, and is spoken by the god Odin to one of his initiates".

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