8 | 8 | 2014 - Pardo Live day 3

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PardoLiveFriday · Venerdì 8 | 8 | 2014

Ariane Labed Mia FarrowJasmila ZbanicFlorian Mischa Böder Lucie BorleteauYury Bykov

67° Festival del fi lm Locarno

Pardo Live Partner:

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Prix du Public UBS

Sebastian Koch e l’effetto choc di Piazza Grande

Das Leben der AnderenVincitore del Prix du Public UBS nel 2006

“È stata l’emozione più grande della mia vita nel rapporto con gli spettatori. Trovarsi seduti insieme a 8’000 persone, con tutte le loro reazioni che si moltiplicano nel silenzio attento con cui viene guardato il fi lm, è qualcosa che ti fa accapponare la pelle”. Così racconta il suo ricordo di Piazza Grande un attore tedesco del calibro di Sebastian Koch, che a Locarno arrivò nel 2006 con un fi lm fortunato come Das Leben der Anderen. Già, perché pri-ma della lunga cavalcata di premi che condusse quella pellicola fi no all’Oscar, sulle rive del Lago Maggiore il fi lm vinse il Prix du Public UBS, il riconoscimento che ogni anno consente alla folla di spettatori locarnesi di farsi giurati e di votare qual è l’opera più gradita a livello popolare. “Prima di arrivare a Locarno mi avevano raccontato il tipo d’emozione che si prova davanti a quel grande schermo, ma poi le sensazioni che ho provato sono andate al di là di qualsiasi immagina-zione. È incredibile: uno spazio così vasto e pieno di gente può trasfor-marsi di colpo in qualcosa di intimo”. Memorie, queste di Sebastian Koch, che ora - come per tanti vincitori del premio – vengono ripropo-ste in una breve clip prima dell’avvio di ogni proiezione serale. Perché se le emozioni da Piazza Grande partono, in Piazza Grande in qualche modo ritornano come per un passaggio di testimone. Del resto, conclude Koch, a Locarno può anche accadere che le prospettive si ribaltino e sia il pubblico a fare lo spettacolo. “Quando alla fi ne siamo saliti con la troupe sul palco, tutti si sono alzati in piedi e hanno iniziato a fare luce con gli accendini. Diffi cile dire quanto fosse commovente quella cascata di luci”.

l.b.

di Piazza Grande

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Fortunately women directors – and unfortunately they are not many – are often looking for new images or dif-ferent ways of looking at reality. As we wait to welcome the dynamic Agnès Varda, Locarno brings the surreal holiday village thought up by Jasmila Zbanic to Piazza Grande. Here the disorientation typical of these non-places becomes an image with which to read a some-what disorientated Europe. At the centre is the crisis of a couple, still to form themselves into a family, with the increasingly brilliant Ariane Labed serving as the pivot of a comic love triangle. The same actress also stars in Fidelio, l’odyssée d’Alice, Lucie Borleteau’s debut fi lm, which transplants a female body into a marine world where metal and men dominate.

If we’re talking of women in fi lm and their role, I have to mention that the Festival is paying tribute to one of the directors who has best portrayed the woman’s world in all its nuances. A refi ned aesthete, LI Han-hsiang often relied on great actresses to bring fresh air and agility to his costume dramas, which are cel-ebrated for the grandiloquence of their scenes. Jiang shan mei ren (The Kingdom and the Beauty) can be considered one of the high points of the career of this director, who is often cited but rarely watched.

The most classic of contrasts, that which sets one against many, provides the structure of Yury Byk-ov’s fi lm. Held by an iron plot – the story takes place over one night in a crescendo of madness that spares no one – Durak shows the overturn of the Soviet system in a world where actions are no long driven by individual interest, but a kind of blind anarchy of which everyone is at the same time both proponent and victim.

Fermo immagineCarlo ChatrianArtistic Director

Durak

In tempi di un’Europa sempre meno compatta e vittima piuttosto di spinte e scelte disgreganti, l’idea stessa di una fantomatica unità speciale segreta comu-nitaria, composta dai migliori agenti del continente, è di per sé una delle più surreali e divertenti. La promessa fatta dall’immancabile generale pluridecorato ai suoi era che «Europe desperately needs us», ma otto anni sono passati dal post-11 settembre e l’agente tedesco Koralnik attende ancora la sua prima mis-sione con licenza di uccidere. Proprio come quell’Unione Europea che l’aveva ar-ruolato, anche lui è ormai a pezzi: la promessa di un radioso futuro è alle spalle di entrambi, logorati l’uno dalla solitudine e dall’attesa, l’altra da una crisi che

ne ha minato le fragili basi. Un giorno fi nalmente lo smartphone di Koralnik, a lungo compulsivamente consultato senza successo, annuncia l’assegnazione di una missione, ma non potrebbe succedere nel giorno più sbagliato: quello in cui nella sua vita fa irruzione Rosa. La spy-comedy di Florian Mischa Böder, nato nel 1974 e formatosi alla Kunsthochschule für Medien di Colonia, punta tutto sul talento della star tedesca Benno Fürmann, capace di passare dalla fi sicità già esibita in Der Krieger und die Kaiserin di Tom Tykwer, Mutant Chronicles e Speed Racer, ma anche in Jerichow di Christian Petzold, a un lavoro su espres-sioni e gestualità disfunzionali che sembrano essere ingredienti indispensabili di questo sotto-genere, se pensiamo al Mike Myers di Austin Powers, al Rowan Atkinson di Johnny English, e a Chevy Chase e Dan Aykroyd in Spie come noi. A guardarla bene la vita di un agente segreto sembra davvero quella di un maniaco ossessivo-compulsivo scostante, e che qualcosa si spezzi in quell’equilibrio fatto di maglie dolcevita, Mercedes superaccessoriate e valigette di pelle, tutte rigoro-samente nere, sarà inevitabile e molto divertente.

sergio fant

Piazza Grande, A Hitman’s Solitude Before the Shot, 8 | 8 |2014 – 23.30

L’euro-bond? Un agente segreto

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“ I’m not interested in seeing a film just made by a woman – not unless she is looking for new images ”agnès varda

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Forum: Leopard Club Award, Conversation with Mia FarrowSpazio Cinema, 9 | 8 | 2014 – 10.00

Locarnoè Mia

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Com’è arrivata ad interpretare Rosemary Woodhouse?

È stato il mio primo ruolo importante: non ero la scelta originaria, credo fosse Jane Fonda, per età e carattere era più vicina al personaggio del libro. Quando ho iniziato a girare il fi lm avevo vent’anni, ventuno alla fi ne delle riprese. È stata una lavorazione che sarebbe dovuta durare tre mesi e invece fi nimmo dopo sei o sette. Roman è un regista molto scrupoloso, i suoi ciak erano lunghi e studiati nel minimo dettaglio. Il coprotagonista John Cassavetes era un grande cineasta con uno stile completamente diverso, i suoi fi lm erano basati sulla libertà di movimento e sull’improvvisazione. Polanski non voleva cambiassimo una sola battuta dell’adattamento che lui stesso aveva scritto. Alla fi ne delle riprese i due non si parlavano più. È stato interessante assistere a questo confronto artistico…

La scena più diffi cile da girare per lei?

Il primo giorno di riprese, quando Rosemary telefona da una cabina. Avevamo poco tempo prima che il sole tramontasse, potevamo permetterci due, al massimo tre ciak. Sentivo che se fossi riuscita a farlo bene mi sarei guadagnata la fi ducia di Roman e della troupe. Per fortuna è andata bene…

Cosa può dirci del suo rapporto con Polanski?

Devo molto a Roman, non solo perché Rosemary’s Baby ha lanciato la mia carriera. Alla fi ne delle riprese a livello personale mi trovavo in una situazione diffi cile, lui e Sharon Tate mi sono stati molto vicini. Lei divenne una sorta di sorella maggiore per me, è stato molto doloroso perderla in quel modo. Purtroppo dopo che Roman si è trasferito in Francia è stato più diffi cile mantenere i contatti…

Ha già parlato di Cassavetes, uno dei miei cineasti preferiti. Quindi le chiedo di parlarmi della sua “musa” Gena Rowlands, perché ha lavorato anche con lei…

Una donna fantastica, così piena di energia. Purtroppo quando iniziammo a girare Another Woman John era già molto malato… Ricordo che sul set di Rosemary’s Baby qualcuno disse a Cassavetes che le vere storie d’amore durano solo pochi anni. Lui lo zittì ribattendo che era sposato già da tantissimo tempo e sua moglie per lui diventava ogni giorno più attraente e interessante. Insieme erano fantastici, a livello umano e artistico. Se John fosse ancora qui con noi, in questa stanza, sarebbe immediatamente riuscito a farsi amare da tutti…

Come mai oggi recita molto meno che in passato?

Ho perso interesse nei fi lm. Sarò a Broadway a settembre insieme a Brian Dennehy con Love Letters, ma soltanto per un mese. Forse ho avuto così tanto dal mio lavoro così presto… non lo so. Magari in futuro ritroverò entusiasmo, non posso dirlo, ma per il momento preferisco dedicarmi ad altro.

adriano ercolani

“ When we started shooting Rosemary’s Baby the world was changing. We could feel it through the music, the whole hippie movement had already begun, the entire world protest was very much in evidence. We entered a kind of cocoon to do this film, and at the end I came back into the world… ”

Locarnoè Mia

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Piazza Grande, Love Island, 8 | 8 | 2014 – 21.30

The Three of Life

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“ Love Island doveva essere il mio secondo film. Nella mia anima e nel mio

cinema non c’è solo il dramma, come visto finora, ma anche la commedia,

l’amore, la libertà. Proprio come nella mia Bosnia, in cui abbiamo una vita

difficile ma colorata, divertente, bella. Ho in me Grbavica e Na

putu, ma anche Love Island. Non a caso ho recitato nel Macbeth di Shakespeare: come clown. Odio seguire

uno schema fisso, amo sorprendermi ”jasmila zbanic

The loveably macho Grebo (Ermin Bravo) always has to be the center of attention. Along with his very pregnant French wife, Liliane (Ariane Labed, also starring in Fide-lio, l’odyssée d’Alice), the Speedo-sporting Bosnian is on a summer vacation for fun in the sun at a packed, all-inclusive Adri-atic seaside family resort: that’s right, Love Island. At an open-mike night Grebo se-duces the resort crowd with a balls-to-the-wall performance of the Scorpions’ classic hard-rock power anthem Wind of Change – which, in the fi lm’s best running joke, will earn him the much-deserved and repeat-ed nickname “Window Change.” (It never gets tired.) Grebo so reminds Liliane of the

young Sarajevo rocker she fell in love with, but the “glory night’s” big surprise, one that will throw all of their lives into disarray, is the young couple’s meeting with the allur-ing Flora (Ada Condeescu), scuba instruc-tor by day, song-and-dance entertainer by night. Grebo immediately falls head over heels, but little does he know that his wife has her own history with Flora, and, on Love Island, long-concealed secrets can’t stay hidden for long.

A surprising delight from start to fi nish, the latest concoction from Bosnian direc-tor Jasmila Zbanic (winner of the Berli-nale Golden Bear 2006 for Grbavica) might just throw you for a loop. In a good way.

Co-written by the director and acclaimed Sarajevo-born and U.S.-based novelist Alek-sandar Hemon, and loaded with delicious performances (including a cameo by the legendary Franco Nero), the sunny yet sub-versive Love Island is nothing less than a Lubitschian madcap comedy of remarriage, reworked for present-day Croatia. Employ-ing a classical screwball structure, Zbanic and her talented collaborators advance a bold proposition for modern-day relation-ships. A wind of change, indeed.

mark peranson

Yesterday’s prize draw winner: Luisa Izzo, I – 20900 Monza

Collect your iPad mini at the Piazza Grande branch of UBS Locarno.

PardoLive 8 | 8 | 2014 8

The next film festival awaits – at home.

Experience great cinematic moments at home with Swisscom TV 2.0, and choose from over 3,000 top films with Teleclub on Demand. Now in your Swisscom Shop and at swisscom.ch/tv2.

Welcome to the world’s most entertaining Switzerland.

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Love Island is a joyful movie in which the idea of fi ction has a predominant role. For example, you carry a fake bump...

It is my fi rst comedy movie. Jasmila Zbanic created a universe where everything is exuberant and joyful, but also dangerous. Characters take risks in their love lives, like they are actually playing a role and writing their own fi ction. Carrying that fake bump permitted me to interpret a future mom who has always to face her physical and social condition.

How did Jasmila Zbanic introduce this role to you? And how did it happen with Lucie Borleteau, director of Fidelio, l’odyssée d’Alice?

With Jasmila it was a little bit crazy... She called and she told me: “I want you to come to Zagreb for a casting. Tomorrow!”. She has such a strong character that I went to Croatia, I passed the casting and everything went very quickly. On the other hand, Lucie introduced the character of Alice to me with a lot of passion and tenderness. That’s a love and sea story, but here there is not a woman waiting for somebody at the harbour... I immediately liked that vision.”

Love Island and Fidelio, l’odyssée d’Alice, two very different roles and movies which were shot by two women. Another woman – Athina Rachel Tsangari – was the director that discovered you. Is that a coincidence?

I think that I generally feel more touched by the visions of female directors. In the world of cinema the image of woman had been mostly built by men, generating (I guess) a certain kind of model. The two roles in Love Island and Fidelio, l’odyssée d’Alice represent two women which are pretty different, but they share the same way to impose theirselves. And that deeply impressed me.

In Fidelio, l’odyssée d’Alice, the “very metal context” of the ship underlines your very physical way to act...

I started acting by chance. I wanted to become a dancer, then I studied theatre and I mixed these two disciplines. I love to approach new situations, words and interactions interpreting them as something absolutely organic. In the movie I wanted to create a fl uid movement, something alive, in order to demonstrate how that sort of sensuality is made possible by the closed context of the ship.

How did you prepare your role?

I followed a young mechanic (a Lucie’s friend) for some days. I tried to become familiar with mechanical engineering, because I didn’t know anything about it; I especially focused on her way to work with machines and her male colleagues. I wanted to understand her daily life. And above all, I learned to love the smell of fuel!carlo chatrian

Five questions to Ariane Labed

Ariane’s ThreadBetween Love Island and Fidelio, l’odyssée d’Alice

© R

ené H

abermach

erThe next film festival awaits – at home.

Experience great cinematic moments at home with Swisscom TV 2.0, and choose from over 3,000 top films with Teleclub on Demand. Now in your Swisscom Shop and at swisscom.ch/tv2.

Welcome to the world’s most entertaining Switzerland.

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Vivere momenti commoventi:la Posta è anche questo.La Posta fa molto più di quanto si pensi. Noi patrociniamo vari festival cinematografici svizzeri. Favoriamo la cultura per permettervi di vivere momenti unici: posta.ch/sponsoring

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Alice is embarking on a new job as a me-chanic on the Fidelio, a commercial tanker boat. Water is her element, the ocean her wonderland. Barely affected by the sepa-ration from her perfect boyfriend, she ties her hair tight, ready to be covered in soot and sweat. As the boat’s interior still ap-pears to us as a labyrinthine structure of greasy metal, a figure appears at a bend of one of its alleys: it is the Fidelio’s dashing captain. Their chemistry is so obvious it’s palpable, as is the memory of a shared his-tory that shakes them like a subterranean earthquake.

The development of this reheated pas-sion is one of the mysteries and pleasures of Lucie Borleteau’s beautiful first fea-ture, which succeeds in making us both intrigued and almost instantaneously fa-miliar with the particularities of the boat’s organization. Whatever the balance of acquaintance and curiosity drove the film-maker’s immersion into this specific en-

vironment, she seems at ease with it and uses its dramatic angles and atmospheres as key parts of her agile compositions.

Standards are playfully reversed as we get to know a woman whose femininity is far remote from stereotypes but whose su-perstitions and views on love match our idea of a typical sailor. Private and public spaces are re-demarcated: while shared areas are narrow and functional, the nest of the cabin may not be as private a space as it ought to be; a diary ends up in a stranger’s hands, an adulterous affair quickly becomes the object of gossip.

“It hasn’t changed, I recognized it im-mediately”, says an emotional Alice about the boat. Just a bit of fresh paint. But ship and captain are one and the same: it’s really about her fidèle lover that she is talking. And if the Fidelio were to be failed by its mechan-ic, surely its romantic captain would sink to-gether with it to the bottom of the sea.

aurélie godet

Concorso internazionale, Fidelio, l’odyssée d’Alice, Auditorium FEVI, 9 | 8 | 2014 – 16.30

Men in a Woman’s World

“ Storicamente, il discorso dell’assenza è incarnato dalla Donna (che attende); l’Uomo è predatore (naviga e seduce). Lo ha scritto Barthes. Io ho sedotto, talvolta ho atteso, ho navigato; nell’incontro con i marinai, ho ascoltato il rumore del mondo, del mare, degli amori perduti o ritrovati ”lucie borleteau

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

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Vivere momenti commoventi:la Posta è anche questo.La Posta fa molto più di quanto si pensi. Noi patrociniamo vari festival cinematografici svizzeri. Favoriamo la cultura per permettervi di vivere momenti unici: posta.ch/sponsoring

Sponsor e partner retrospettiva Festival del film Locarno

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Aqua Spa Resorts | Termali Salini & Spa Lido Locarno | Via Respini 7, 6600 Locarno | T +41 91 786 96 96 [email protected] | www.lidospa-locarno.chTermali Salini & Spa is a resort of Aqua Spa Resorts. Visit our other resorts in Switzerland: www.aqua-spa-resorts.ch

20% discount for all visitors of the 67° Festival del Film. Please bring your festival ticket with you and book your SPA treatment by phone +41 91 786 96 96.

Feel like a movie star.

NOW OR

NEVER!

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Su tutto il palazzo corrono i segni del crollo. Le facciate mostrano i solchi delle fratture. Le grida all’interno coincidono col ticchet-tio invisibile dei mattoni che si incrinano. Tubature, soffi tti, intercapedini: ogni cosa sembra piegarsi e colare a picco. L’unico a restare integro è Dima Nikitin, un giovane idraulico chiamato per caso nel quartiere della piccola città russa, e che cercherà di avvertire le autorità e una popolazione di ottocento ignari abitanti, per lo più sfollati e alcolizzati, del pericolo imminente: l’intero edifi cio rischia di crollare nella notte. Chis-sà cosa avrebbe pensato Dostoevskij di que-ste memorie dal sottosuolo di Yury Bykov. Anche in Durak la cosiddetta società del benessere sembra custodire un segreto in-tento di autodistruzione e di sofferenza. Ni-kitin, tormentato dai dubbi e dal senso d’i-nadeguatezza, è forse l’unico a potersi dire ancora umano, ma è costretto a fare i conti

con un sistema politico e sociale le cui com-ponenti si rilanciano all’infi nito la propria crisi endemica, ponendo il singolo di fronte a un’ulteriore frattura, che tocca altrettante fondamenta, e che forse è ancora meno ri-marginabile. La posta in gioco, altissima, in realtà non sembra avere alcun valore. Non ci sono vinti né vincitori, ma solo abiezione e rivalsa reciproca. Le istituzioni guardano altrove, le vittime preferiscono non sapere, e anzi sono in prima fi la nel negare il pe-ricolo. Bykov tratteggia l’odissea notturna di Nikitin con toni via via sempre più con-citati e claustrofobici. La corsa da un capo all’altro della città, il freddo, la neve sporca e fradicia, la decisione di mettere in salvo la propria famiglia e di restare a combattere, la scoperta che la società tutta, più ancora del barcollante dormitorio, è un corpo ma-lato destinato al disastro.

lorenzo esposito

Concorso internazionale, Durak, Auditorium FEVI, 9 | 8 | 2014 – 14.00

La Russia oltre la crepa

“ I came up with the idea overnight – to make a movie about an ordinary honest man who fights the bureaucratic system to save other people. These days fear and indifference have become the norm, but such “fools” still exist in my country, which means that there is hope ”yury bykov

Aqua Spa Resorts | Termali Salini & Spa Lido Locarno | Via Respini 7, 6600 Locarno | T +41 91 786 96 96 [email protected] | www.lidospa-locarno.chTermali Salini & Spa is a resort of Aqua Spa Resorts. Visit our other resorts in Switzerland: www.aqua-spa-resorts.ch

20% discount for all visitors of the 67° Festival del Film. Please bring your festival ticket with you and book your SPA treatment by phone +41 91 786 96 96.

Feel like a movie star.

NOW OR

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Semaine de la critique

ELECTROBOYMarcel GislerDocumentary, 113 min.Switzerland

Saturday, 11:00, Teatro KursaalWorld premiere

Panorama Suisse

SLEEPLESS IN NEW YORKChristian FreiDocumentary, 92 min.Switzerland

Saturday, 11:00, FEVI

Fuori concorso

YALOM’S CURESabine GisigerDocumentary, 77 min.Switzerland

Saturday, 16:15, La SalaWorld premiere

The promotion agency for Swiss filmmaking

Swiss Highlights in Locarno on Saturday, August 9

www.swissfilms.ch

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Rivellino GardenCaffèBartolomeo

Happy Carrot Project

Club Seventy7Bar Magnolia @Spazio RSI

The sweetest place in town

Tasty fl avours before and after movies

Il salotto della Cittàdi Locarno

FilmLounge

Refresh your day and chill out

Food / Drinks / Events / Music / Party / Chill

Café literaire and international press corner

Dinner · Bar · Live Music in a magical garden

Luxury Oriental Lounge

Four main areas of fun

Aperò & Cocktail bar

LiveMusic Bar

Tasty frame of natural fl avours

The place to pleasure your night

La Rotondadel Festival

Lido Patrizialedi Ascona

Way

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Difficile ignorare o considerare accessoria la scelta di un titolo, quando questo suona come scolpito nel marmo, quello delle Alpi Apuane dov’è girato il secondo lungometrag-gio del siculo-canadese Simone Rapisarda Casanova, già a Locarno nel 2011 con El árbol de las fresas. Se una creazione di significato è possibile, qualunque esso sia, il film straubianamente crede ciò possa acca-dere solo grazie a una rilettura della storia tra le faglie del territorio che le ha fatto da teatro. Come la Linea Gotica evocata nella scena iniziale tagliava la penisola dal Tirreno all’Adriatico, dividendo un paese tra oscuro passato e possibile futuro, così il film sezio-

na la recente storia d’Italia, dalla II Guerra Mondiale al ventennio berlusconiano, dal punto di vista atipico di queste impervie montagne. Il protagonista Pacifico ha visto, bambino, quella storia passargli davanti agli occhi, poi resistendo a vivere tra valli e pen-dii è divenuto uno dei tanti “vinti” (come li ha chiamati il partigiano e scrittore piemon-tese Nuto Revelli) da un progresso passato esclusivamente da città, periferie e fabbri-che, e che possiamo dichiarare fallimentare. Settant’anni fa in quei boschi echeggiavano i canti partigiani, oggi la radio di Pacifico rimanda i programmi che cinicamente rac-colgono voci e rabbia della “gente”, per fare

spettacolo della crisi sociale del paese. Ma dopo lo spopolamento conosciuto nei decen-ni precedenti, come altre montagne in Italia e in Europa anche quel territorio torna a es-sere scenario possibile di un cambiamento: la dignità dei rituali rurali ha tenuto quoti-dianamente in esercizio quella espressa e difesa dalla Resistenza, animali domestici e un orto garantiscono il sostentamento, si af-facciano nuovi visitatori e abitanti. Pacifico è meno solo, e non ancora troppo vecchio per assaporare una tarda vendetta sulla storia.

sergio fant

Concorso Cineasti del presente, La creazione di significato, La Sala, 9 | 8 | 2014 – 11.00

Montagne di resistenza

“ To make sense of the world that surrounds us we tell stories, even if we know that they are ephemeral as our lives. My film tells a simple story where the viewer is invited to seek out the narrative threads running between past and present and in thus doing so partake in an ephemeral creation of meaning ”simone rapisarda casanova

Damit auch dein Film in vier Jahren hier läuft.Jetzt anmelden für den Studiengang Film HF: www.ffzh.ch

Schule für Kunst und Design

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Azienda Elettrica Ticinese

www.aet.ch Sponsor principale del Festival del fi lm Locarno

Anche quest’anno, AET e il Festival del fi lm Locarno uniscono la loro energia per illuminare la Piazza Grande d’emozione. Buona visione!

Insieme, l’energia diventa emozione.

17 PardoLive 8 | 8 | 2014

Tokyo, Dec. 30th 2017. A handful of night watchmen are wandering through a large factory’s dark offi ces and hangars. The building appears imposing as it is mostly silent and unlit: its emptiness strikes us as anomalous, a parenthesis to be closed when workers will swarm back in after the Christmas holiday. Surely, they are bound to return? Unless the anomaly perceived were an indication of something stranger still. Something pre-apocalyptic. Or pre-Tokyo2020. Indeed, the perspective of the Olympic Games hosted by Japan does not seem to enthuse fi lmmaker IGARASHI Ko-hei, who appears to see it as a smokescreen used to cover a gloomy reality.

In the disquieting environment of the factory, our little sample of humanity is iso-lated from a “real world” that we won’t get to know: attempts to leave the building lead the coworkers right back inside. There, they do what everybody does to kill time: play videogames (of the most universally loved sport) and replay love disputes whose lines were said a million times already. Are they like lost mongrel dogs, with names such as “Nobody”, begging to be found? Is it all a big role-play, in which they simply take the poses of an existing pattern of interactions, like little tin soldiers? Granted these hu-man fi gurines can play, dance, laugh, love, fear, cry. But be happy? Not so easy. Moreo-

ver, they seem to tie bonds mostly for self-ish reasons – a boy resents his colleague’s upcoming marriage because he’ll lose his gaming partner, or cries over a friend’s death because he fears for his own life.

Is the factory a shelter from a threaten-ing war, we wonder, or is it hell already? If so, it sure plays sweet music. And images of claustrophobia can’t defeat our awe at IGA-RASHI’s majestic shots. The future may be a dark place. But “never mind the gloomy”.

aurélie godet

“ In effetti non abbiamo niente da fare durante il turno

di notte alla fabbrica, giochiamo solo ai videogiochi.

Un amico mi sorride, tenendo il suo bambino.

In quel momento la sua storia mi ha spinto a occuparmi di

ciò che significa il mondo di oggi per noi e per il futuro

dei nostri figli ”igarashi kohei

Concorso Cineasti del presente, Hold Your Breath Like a Lover, La Sala, 9 | 8 | 2014 – 18.30

Never Mind the Gloomy

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Azienda Elettrica Ticinese

www.aet.ch Sponsor principale del Festival del fi lm Locarno

Anche quest’anno, AET e il Festival del fi lm Locarno uniscono la loro energia per illuminare la Piazza Grande d’emozione. Buona visione!

Insieme, l’energia diventa emozione.

PardoLive 8 | 8 | 2014 18

9 | 8 | 2014 Events

10.00 Spazio Cinema

Forum: Leopard Club Award

Conversation with Mia Farrow Hosted by Jay Weissberg

9 | 8 | 2014 Films

09.00 Auditorium FEVI

Concorso internazionale

& 8, 10 | 8 | 2014 Ventos de Agosto Dir.: Gabriel Mascaro Brazil · 2014 · DCP · Color · 77' · o.v. Portuguese · Subt. English, French

09.00 La Sala

Concorso Cineasti del presente

& 8, 10 | 8 | 2014 Songs from the North Dir.: Soon-mi YOO USA/South Korea/Portugal · 2014 · DCP · Color and Black and White · 72' · o.v. Korean/English · Subt. English, French

09.00 PalaVideo

Signs of Life

& 8 | 8 | 2014 Favula Dir.: Raúl Perrone Argentina · 2014 · DCP · Black and White · 84' · o.v. Spanish · Subt. English

09.00 Cinema Ex*Rex

Retrospettiva Titanus

& 15 | 8 | 2014 Prossimamente…Titanus – Una storia lungo i trailer Italy · 2014 · Beta digital · Color and Black and White · 60' · o.v. Italian · Subt. English

11.00 La Sala


& 10, 11 | 8 | 2014 La creazione di signifi cato Dir.: Simone Rapisarda Casanova Canada/Italy · 2014 · DCP · Color · 95' · o.v. Italian · Subt. English, French

11.00 L’altra Sala

Pardi di domani

& 8, 10 | 8 | 2014 Concorso nazionale

Totems Dir.: Sarah Arnold France · 2014 · DCP · Color · 29' · o.v. French · Subt. English, Italian

Peau Dir.: Marine Koenig Belgium/Switzerland · 2014 · DCP · Color · 12' · o.v. French · Subt. English, Italian

Abseits der Autobahn Dir.: Rhona Mühlebach Switzerland · 2014 · DCP · Color · 22' · o.v. Swiss-German · Subt. English, French

Le Mal du citron Dir.: Kaspar Schiltknecht, Jeremy Rosenstein Switzerland · 2014 · DCP · Color · 21' · o.v. French · Subt. English, Italian

Prose du transsibérien Dir.: David Epiney Switzerland · 2014 · DCP · Color · 11' · o.v. French · Subt. English, Italian

11.00 Cinema Ex*Rex


Siamo donne Dir.: Alfredo Guarini, Gianni Franciolini, Roberto Rossellini, Luigi Zampa, Luchino Visconti Italy · 1953 · 35 mm · Black and White · 101' · o.v. Italian · Subt. English Introduced by Jean Douchet

11.00 Teatro Kursaal


& 10, 12 | 8 | 2014 Electroboy Dir.: Marcel Gisler Switzerland · 2014 · DCP · Color · 113' · o.v. Swiss-German/English · Subt. English, French


Panorama Suisse

Sleepless in New York Dir.: Christian Frei Switzerland · 2013 · DCP · Color · 92' · o.v. English · Subt. French, German

12.30 PalaVideo


& 7, 8 | 8 | 2014 La princesa de Francia Dir.: Matías Piñeiro Argentina · 2014 · DCP · Color · 70' · o.v. Spanish · Subt. English



& 10, 11 | 8 | 2014 Durak (The Fool) Dir.: Yury Bykov Russia · 2014 · DCP · Color · 116' · o.v. Russian · Subt. English, French

14.00 La Sala

Pardi di domani

& 10, 11 | 8 | 2014 Concorso internazionale

Sleeping Giant Dir.: Andrew Cividino Canada · 2014 · DCP · Color · 17' · o.v. English · Subt. French, Italian

Kookaburra Love Dir.: Sjoerd Oostrik Netherlands · 2013 · DCP · Color and Black and White · 19' · o.v. English · Subt. French, Italian

Cai putere (Horsepower) Dir.: Daniel Sandu Romania · 2014 · DCP · Color · 27' · o.v. Romanian · Subt. English, French

Single Stream Dir.: Pawel Wojtasik, Toby Kim Lee, Ernst Karel USA · 2013 · DCP · Color · 23' · no dialogue

14.00 PalaVideo

Premi speciali: Pardo d’onore Swisscom Agnès Varda

& 8 | 8 | 2014 Agnès de ci de là Varda (Episodes 4 — 5) Dir.: Agnès Varda France · 2011 · Beta digital · Color · 43' x 2 · o.v. French · Subt. English

14.00 Cinema Ex*Rex


Poveri ma belli Dir.: Dino Risi Italy/France · 1956 · 35 mm · Black and White · 101' · o.v. Italian · Subt. French


Open Doors

Nelson Mandela: The Myth & Me Dir.: Khalo Matabane South Africa/Germany · 2014 · DCP · Color · 86' · o.v. English



& 8, 10 | 8 | 2014 Sud Eau Nord Déplacer Dir.: Antoine Boutet France · 2014 · DCP · Color · 110' · o.v. Mandarin · Subt. English, French

9 | 8 | 2014 Events

10.00 Spazio Cinema

Forum: Leopard Club Award

Conversation with Mia Farrow Hosted by Jay Weissberg

L’altra Sala & 8, 10 | 8 | 2014

Conversation with Mia Farrow

Conversation with Mia Farrow

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19 PardoLive 8 | 8 | 2014

16.15 La Sala

Fuori concorso

& 10 | 8 | 2014 Yalom’s Cure Dir.: Sabine Gisiger Switzerland · 2014 · DCP · Color · 77' · o.v. English · Subt. German, French

16.15 PalaVideo

Fuori concorso

& 11 | 8 | 2014 Parole de kamikaze Dir.: SAWADA Masa France · 2014 · DCP · Color · 75' · o.v. Japanese · Subt. English



& 10, 11 | 8 | 2014 Fidelio, l’odyssée d’Alice Dir.: Lucie Borleteau France · 2014 · DCP · Color · 95' · o.v. French/Romanian/English/Tagalog/Norwegian · Subt. English, French

16.30 Cinema Ex*Rex


& 13 | 8 | 2014 L’ultimo Gattopardo Dir.: Giuseppe Tornatore Italy · 2010 · 35 mm · Color · 100' · o.v. Italian · Subt. English Introduced by Guido Lombardo and Cesarina Marchetti

18.30 La Sala


& 10, 11 | 8 | 2014 Hold Your Breath Like a Lover Dir.: IGARASHI Kohei Japan · 2014 · DCP · Color · 85' · o.v. Japanese · Subt. English, French

18.30 PalaVideo

Histoire(s) du cinéma: Omaggio a LI Han-hsiang

& 10 | 8 | 2014 Feng yue qi tan (Legends of Lust) Dir.: LI Han-hsiang Hong Kong · 1972 · Beta digital · Color · 98' · o.v. Mandarin · Subt. English, Chinese



& 8 | 8 | 2014 Ming Tian Hui Geng Hao (On the Rim of the Sky) Dir.: XU Hongjie Germany/China · 2014 · DCP · Color · 102' · o.v. Chinese · Subt. English

19.00 Cinema Ex*Rex

Premi speciali: Pardo d’onore Swisscom Agnès Varda

& 16 | 8 | 2014 Les Glaneurs et la glaneuse Dir.: Agnès Varda France · 2000 · 35 mm · Color · 82' · o.v. French · Subt. English


Pardi di domani

& 7, 8 | 8 | 2014 Concorso internazionale

Thirst Dir.: Rachel McDonald USA · 2014 · DCP · Color · 24' · o.v. English · Subt. French, Italian

Helix Aspersa Dir.: Grégoire Graesslin France · 2014 · DCP · Color · 20' · o.v. French · Subt. English, Italian

Shipwreck Dir.: Morgan Knibbe Netherlands · 2014 · DCP · Color · 15' · o.v. Tigrinya · Subt. English, French

An Hun Qu (Requiem) Dir.: WEN Mu Ye China · 2014 · Beta digital · Color · 13' · o.v. Chinese · Subt. Chinese, English, French

Lystopad (Fallen Leaves) Dir.: Masha Kondakova Ukraine · 2014 · DCP · Color · 21' · o.v. Ukrainian · Subt. English, French

21.00 PalaVideo

Signs of Life

& 10 | 8 | 2014 Fort Buchanan Dir.: Benjamin Crotty France/Tunisia · 2014 · DCP · Color · 65' · o.v. French · Subt. English

21.00 La Sala

Premi speciali: Lifetime Achievement Award – Parmigiani Armin Mueller-Stahl

Shine Dir.: Scott Hicks Australia · 1996 · 35 mm · Color · 105' · o.v. English · Subt. German, French

21.00 Cinema Rialto 1

Histoire(s) du cinéma: Omaggio a LI Han-hsiang

& 14 | 8 | 2014 Jiang shan mei ren (The Kingdom and the Beauty) Dir.: LI Han-hsiang Hong Kong · 1958 · 35 mm · Color · 96' · o.v. Mandarin · Subt. Chinese, English

21.15 Cinema Ex*Rex


& 7 | 8 | 2014 Estate violenta Dir.: Valerio Zurlini Italy/France · 1959 · 35 mm · Black and White · 98' · o.v. Italian · Subt. English

21.30 Piazza Grande

Presentation of the Titanus Retrospective with Guido Lombardo and Dario Argento

Hin und weg Dir.: Christian Zübert Germany · 2014 · DCP · Color · 95’ · o.v. German · Subt. English, French

Il Gattopardo Dir.: Luchino Visconti Italy/France · 1963 · DCP 4K · Color · 187' · o.v. Italian · Subt. EnglishPresentation of the Titanus Retrospective with Guido Lombardo and Dario Argento



& 7, 8 | 8 | 2014 Frère et sœur Dir.: Daniel Touati France · 2014 · DCP · Color · 60' · o.v. French/Czech · Subt. English

23.00 Cinema Ex*Rex

Premi speciali: Premio Raimondo Rezzonico Nansun SHI

Shun liu ni liu (Time and Tide) Dir.: TSUI Hark Hong Kong/China · 2000 · 35 mm · Color · 113' · o.v. Cantonese · Subt. English

23.15 La Sala


& 8, 10 | 8 | 2014 La sapienza Dir.: Eugène Green France/Italy · 2014 · DCP · Color · 97' · o.v. French/Italian · Subt. English, Italian, French



& 7, 8 | 8 | 2014 Exit Dir.: CHIENN Hsiang Taiwan/Hong Kong · 2014 · DCP · Color · 94' · o.v. Chinese · Subt. English

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PardoLive 8 | 8 | 2014 20

Carte Blanche

The Brazilian Way of CinemaFestivals like Locarno are made for every kind of film, even those which are not “in the can” yet. For projects still in the making, since 2011, the Industry office has created the Carte Blanche section, where the focus is on a specific country and its upcoming production.

During Carte Blanche, a number of pro-jects at different stages of post-production are shown to buyers, sellers, programmers and other industry insiders. And if you think you’ve seen enough of this country already this year, because of the World Cup

and the hours and hours of live broadcasts from there, get ready to be pleasantly sur-prised, once again, by Brazil and its Cinema of incredible charms, unique stories and breath-taking landscapes.

“Brazil is the biggest country in Latin America.” says Nadia Dresti, delegate to the Artistic Direction and Head of Interna-tional, but also the creator of Carte Blanche. “It is composed of regions that are extreme-ly different between them, and in a way Brazilian cinema reflects the different souls of these regions.”

The response to Locarno’s call has been “overwhelming”, says Dresti. “Cinema do Brasil, the office for International promo-tion of Brazilian Cinema worldwide, has received 45 projects at different stages of post-production, and among them we se-lected the most promising seven, which will be showcased here.”

With jury member Alice Braga, the ac-tress of Cidade de Deus (City of God) and I Am Legend, as the official Carte Blanche Ambassador and an award for the best film consisting of a prize of 10,000 chf, given by

Aspirantes Cinema Rialto 3, 9 | 8 | 2014 – 11.30

Oração do Amor Selvagem Cinema Rialto 3, 9 | 8 | 2014 – 14:30

Beco Cinema Rialto 3, 9 | 8 | 2014 – 16.30

21 PardoLive 8 | 8 | 2014

Carte Blanche

The Brazilian Way of Cinemaprofessionals coming from the Cannes, San Sebastián and Berlin Film Festivals, this sec-tion held for three days within the Industry Days (9-11 August) promises to deliver new and exciting stories to its current audience of film professionals, and of course the fes-tival audiences of tomorrow.

“The films and stories presented are very different from project to project” Dresti tells us. “The opening film of Carte Blanche, As-pirantes, deals with a very relevant topic in Brazil, the dream of becoming a profession-al football player. The documentary Beco

is a slice of life of the region of Pernam-buco, Oração do Amor Selvagem is about religious fundamentalism in rural parts of Brazil. Que Horas ela volta? is the story of a middle-aged woman that for financial rea-sons is forced to leave her daughter to be an au-pair in São Paulo. Nise da Silveira is a portrayal of a psychanalist using creativ-ity to work with schizofrenic patients and achieving unexpected results. Ponto Zero is a tragic family story set in Puerto Alegre, and O Touro is a documentary about Bra-zil’s most deep traditions.”

The 2014 edition of Carte Blanche is sup-ported by the Swiss Agency for Develop-ment and Cooperation (SDC) of the Federal Department of Foreign Affairs, and Cinema do Brasil.

massimo benvegnú

Ponto Zero Cinema Rialto 3, 10 | 8 | 2014 – 16.30

Que Horas ela volta? Cinema Rialto 3, 11 | 8 | 2014 – 11.00

Nise da Silveira Cinema Rialto 3 , 11 | 8 | 2014 – 14:30

PardoLive 8 | 8 | 2014 22

Das gibt sicher ein Happy End sieht anders aus.Das Leben ist voller Wendungen.Swiss Life unterstützt als offizieller Partner der Pardi di domani Schweizer Filmtalente.

Pardo Live Zeitung, A4, Deutsch, Sujet 2

Ins_Wende_Pardo-Live_Locarno2013_Suj1-5_IT_DE_4C_A4.indd 2 11.06.14 14:44

23 PardoLive 8 | 8 | 2014

Fuori concorso, Yalom’s CureLa Sala, 9 | 8 | 2014 – 16.15

Un tuffo nella psiche Il tuffo nei meandri della psiche diventa anche l’immer-sione nelle curve della propria esperienza. Sono confes-sioni che non possono non intrecciarsi, soprattutto se il protagonista di questo documentario è un padre della psichiatria contemporanea – a detta di molti, lo psico-terapeuta più infl uente degli Stati Uniti. Anche perché dall’alto dei suoi 83 anni, Irvin D. Yalom rimane fi gura carismatica e poliedrica. Con i suoi best-sellers da scrit-tore ha bypassato ogni tipo di settorialità, raggiungen-do le librerie di milioni di lettori. E non a caso il ritratto Yalom’s Cure, che segna il ritorno a Locarno di una re-gista habituée del Festival come Sabine Gisiger, si affi -da alla stessa voce di Yalom per condurci passo a passo nei luoghi fi sici e mentali del suo universo. Dal buon ritiro nella casa californiana di Palo Alto ai tanti altro-ve esistenziali. Perché se la cornice del racconto viene classicamente scandita tra memorie in prima persona e materiali d’archivio, è nel rapporto profondo tra le vicen-de della propria biografi a e la messa a fuoco delle evo-luzioni psichiche che i fatti quotidiani s’illuminano dei riverberi della vita spirituale. Dalla crescita senza vera infanzia in una famiglia povera alla passione per lo stu-dio, passando per lutti e vicende familiari che portano in campo anche mogli-complici e fi gli dai destini differenti. In altre parole, i cambiamenti nella vita dell’uomo che, attraverso la terapia e il dialogo, ha cambiato la vita a molte persone.

lorenzo buccella

20% auf DVDsGültig vom 01.08.14 – 31.08.14

auch auf www.pressbooks.chGute Filmmomente durchgehend geniessen:

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PardoLive 8 | 8 | 2014 24

Spensierati all’evento e prevendita alla stazione FFS.

Shopping

First at a bus stop, where he strikes up a song, and then in front of a large empty table, where model airplanes and ships take their place a few at a time, needed to describe the indescribable action of a pi-lot fl ying an engine-less aircraft, a lanky old man tells a story whose force renders superfl uous any attempt at staging. The starting point is an explanation of how the kamikaze troops functioned, but then the subject moves to the underlying system, the relationship of absolute, but never blind, obedience to authority.

It’s here that HAYASHI Fujio – the man destined for sacrifi ce who suffered the shame of returning alive, simply because his commander never chose him – makes the leap that separates the old world from the modern. Stuck midstream, he makes an extraordinary witness: he knows and respects the sacred duty of authority, but he also heard the divine emperor beco-me human and fail in the simple task of saying a word of thanks and apology to his many companions in misfortune.

This small fi lm subtly resembles Miya-zaki’s beautiful refl ection on the Second World War, almost serving as its reverse shot, the “wind that rises” translated into the murmur of HAYASHI Fujio’s words.

carlo chatrian

Fuori concorso, Parole de kamikazePalaVideo, 9 | 8 | 2014 – 16.15

Story of a Failed Kamikaze

25 PardoLive 8 | 8 | 2014

Four seasons to tell the fluctuating moods and mores of a small community that sha-res its daily chores and life experiences in the military base of Fort Buchanan.

In this imagined (perhaps dreamed?) location, peculiar habits respond to the needs of a peculiar environment. Roger, a fragile gay man, and his female com-panions, trying to cope with the absence of their husbands, go through their own brand of challenges for survival, with

their own form of outdoor camaraderie, thought-occupying chat and DIY activities. Roger has a tough daughter who runs him ragged, but he has buddies willing to help: Justine, Denise, Pamela and Claudia-Joy.

The crossing of cultural codes foreign to one another sometimes produces awkward collages, but when handled by an astute modeler with a creative, sharp eye, such experimentations can take us a few steps into new territories.

Benjamin Crotty is one of these explo-rers. An American whose country of choice is France, where he’s lived for a decade, the filmmaker has composed, with a welcome sense of humor, a surprising, hybrid tran-sposition of narrative codes from Ameri-can fiction into a decidedly French estheti-cal realm. A strange territory indeed.

aurélie godet

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Signs of Life, Fort Buchanan, PalaVideo, 9 | 8 | 2014 – 21.00

While the Men are Fighting

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Il regista Antoine Boutet La firma del regista Luc Besson L’attrice Yael Abecassis

La squadra di A Hitman’s Solitude Before the Shot: da sinistra gli attori Erik Madsen e Wolf Roth, il regista Florian Mischa Böder e l’interprete Ivan Shvedoff

Il cast di La sapienza: gli attori Arianna Nastro, Fabrizio Rongione, Christelle Prot Landman e Ludovico Succio

La giuria dei Pardi di domani

La regista Jasmila Zbanic

Il regista Gabriel Mascaro

L’attrice Dandara de Morais

L’attore Ermin Bravo

Armin Mueller-Stahl fotografato da Alessio Pizzicannella

La regista Soon-mi YOO

Armin Mueller-Stahl con il suo Lifetime Achievement Award – Parmigiani

PardoLive 8 | 8 | 2014 28

Nuova residenza a Tenero.Affi ttiamo 44 nuoviappartamenti da 2½ a 4½ locali in posizione strategica.

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Residenza

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6 von 18 Wohnungen sind als Zweitwohnsitz käuflich.

• Terrassenfläche: ca. 22 – 86.50 m²• Kaufpreis: ab CHF 2'490'000.--

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In stile mediterraneo, mq 140 ca., ampia terrazza, giardino botanico con piscina e aree relax. Posizione collinare con stupen- da vista lago e panoramica. Terreno mq 1'000 ca. (in parte edificabile), 1 garage. Residenza secondaria possibile.

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29 PardoLive 8 | 8 | 2014

Proudly presents the latest arrivals

Radaman Suleman, directorAriane Labed, acrtessLucie Borleteau, directorJulia Koschitz, actress

Ariane Schröder, screenwriterMiriam Stein, actressArtem Bystrov, actorAgnès Varda, director

Ricardo Pretti, directorYury Bykov, directorSimone Rapisarda Casanova, directorBenjamin Crotty, director

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

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Writing music for a movie deeply based on music is like being a painter and fac-ing a huge, white canvas: he can feel over-whelmed by terror or excited for the oppor-tunity. The latter was the case for Roman Lerch, the 26-year-old Solothurn-based com-poser who won the FONDATION SUISA Film Music Prize for Shana – The Wolf’s Music score, which includes a monetary award of 15,000 chf.

A “very inspired, passionate and masterly composed score”: that was the motivation

of the fi ve-member jury and its president Marco Blaser. “I wanted to compose a very distinctive music for the protagonist, Shana, because it contibutes a lot to the develop-ment of her character” answered the young artist, who completed his studies at the Bern and Zurich Universities of the Arts. Like in the last years, the prize was presented at the Festival del fi lm Locarno during a special broadcast live from La Magnolia, followed by the award ceremony.

Moreover, the Festival audience will have the opportunity to appreciate Lerch’s score in Nino Jacusso’s movie on Sunday, August 17th, at 21.00: Shana – The Wolf’s Music – the story of a young, talented vio-linist who befriends a wild wolf that guides her to reconnect with her ancestors – will be screened in Piazza Grande as the tradi-tional movie for families which will close this 67th edition.

m. b.

Beyond the Festival

SUISA in the World of Wolves

August 2014 1 / 2

FONDATION SUISA’s 2014 Film Music Prize goes to Roman Lerch Media Release

Embargo period: Friday, 8 August 2014, 2 pm

Roman Lerch is the winner of the FONDATION SUISA Film Music Prize, which includes a monetary award of CHF 15’000.-. The music Lerch composed for the film “Shana - The Wolf's Music”, directed by Nino Jacusso, was the first complete score for a feature film he had ever written. A truly promising start to the 26-year-old Solothurn-based composer’s career. “Shana - The Wolf’s Music” tells the story of a young, talented violinist, a member of Canada’s First Nations community. For that reason, the music is an integral part of the plot of the Swiss-Canadian co-production rather than simply an accompanying element. As a result, a significant portion of the score had to be composed before filming even began. A challenging assignment, which director Nino Jacusso entrusted to the young composer Roman Lerch.

“The music contributes a lot to the development of the "Shana" character”, said Lerch. “I wanted to compose a very distinctive music for the protagonist, without producing a kitschy imitation of the music of Canada’s First Nations.” Roman Lerch succeeded so well that the six-member jury for the FONDATION SUISA Film Music Prize unaniomously selected him as this year’s winner, describing his music as “very inspired, passionate and masterly in its craftsmanship”.

The prize, which includes a CHF 15’000.- award, will be presented to Roman Lerch by the jury’s president Marco Blaser on Friday, 8 August 2014 as part of the 67th International Film Festival in Locarno. The winner will be announced during a special broadcast live from the Film Festival ("Magnolia") by Radio RSI RETE 2, from 4:30 to 5 pm; the award ceremony will follow. Roman Lerch was born in Solothurn in 1987. After years of experience as a band-member, the pianist decided to pursue professional training. He completed his studies, focussing in part on composition for film and theatre, at the Bern and Zurich Universities of the Arts. His university lecturers included in particular Peter Scherer and Niki Reiser, both of whom are past winners of the FONDATION SUISA Film Music Prize. Thus the 2014 Film Music Prize for Roman Lerch also represents satisfying proof that Switzerland is home to a young, talented and well-trained generation of film music composers. The Italian version of the film “Shana – The Wolf’s Music” will be screened on the Piazza Grande in Locarno at 9 pm on Sunday, 17 August 2014, presented by the Locarno association Gruppo Genitori Locarnese (www.ggl.ch). www.romanlerch.com www.shanafilm.com

Roman Lerch (Photo: Stefanie Daumüller)

Close your eyes, and imagine the next fron-tier of a cinema. No, go beyond 3D movies and embrace to a new dimension with lo-cal frame rate variation, local pixel timing, super slow motion effects and a variety of artistic shutter functions which showcase a technique called “The-Flow-of-Time”. Done? Welcome to the Lucid Dreams Of Gabriel, an experimental short fi lm project created by the Disney Research Laboratory in Zurich in a collaboration with the Federal Institute of Technology (ETH) and shot at 120 frames

per second in Engadin, Switzerland, in 2013.Supporting a surrealistic and non-linear

story about a mother achieving immortality through her son, the massive use of innova-tive technologies permitted the director Sa-sha A. Schriber to describe their relationship in a novel way, and without using a green screen. An experimental piece of fi lmic art that aims to represent the fl uidity of time and portray moments of transition from re-ality (at 24 fps) to a supernatural world (at 48 fps).

A glimpse behind the scenes of this inno-vative research fi lm project will be presented at PalaVideo (on August 9th, at 11.00) by Dis-ney Research Zurich together with SRG SSR (the Swiss Broadcasting Corporation).

Come, and have a seat. Close your eyes.Done?Fine. It’s time to have a lucid dream.

mattia bertoldi

It’s Time for Lucid Dreams

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EditorLorenzo Buccella

Graphic designSimon SmeraldiDimitri BianchiniMichela Di Savino

WritersMassimo BenvegnùMattia BertoldiAlessandro De Simone Adriano ErcolaniLorenzo EspositoSergio Fant

Aurélie GodetCristian GomezSara GroismanMark PeransonDaniela PersicoBoris Sollazzo

Guest photographersAlessio PizzicannellaMichael von Graffenried Xavier Lambours René Habermacher (cover)

PhotographersGabriele Putzu (TiPress)Fotofestival (Marco Abram, Massimo Pedrazzini, Samuel Golay, Sailas Vanetti)

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