The morning of Sunday 3 December begins with the appointment with Walking with the authors, together with Marta Bulgherini and Trëndelina Halili, selected at the festival in the Intrecci Mediterranei section, with her film Prishtinë, scheduled for Tuesday 5 December. See the episode in the following link. We continue with the homage to Anna Magnani with the screening in the theater of Una voce umana, an episode from the 1948 film L’Amore by Roberto Rossellini, presented by the director and film critic Francesco Crispino.
In the evening Marta Bulgherini presents the second screening of the short films competing for the Intrecci Mediterranei section, we get to the heart of the festival also thanks to the presence in the room of Aldo Iuliano, director of the short film Dive, a work of enormous impact that left the audience breathless and with many questions. «You killed us» – begins Marta Bulgherini – «It’s an incredible and exceptionally powerful job.». Aldo had already been to the festival with his film Penalty, with Dive he was in the horizons section of the Venice film festival, he worked on the short film with his brother who took care of the writing.
«It was a long job, with my brother we think a lot about the script. The choice we considered the right one was to remove the words, because when two people know each other, words are not needed.”
In fact, only two simple sentences remained in the dialogues. Dive features two boys on a beach making their way towards the sea, surrounded by the danger of mines. «I wanted to leave the spectator dismayed, I wanted to represent one of the highest points of a human being: love. A beautiful feeling that can suddenly vanish. By now we are getting used to terrible images, so I wanted to make us reflect on some lofty images, Dive is a love story. The short is a more condensed story, short but intense. The protagonist actors are great professionals (Danylo Kamenskyi and Veronika Lukyanenko), I played on their strong friendship relationship. They took a bath in February and wanted to do the scene because they didn’t see me convinced. They were shivering from the cold and stopped as soon as the chamber engine turned on, they were phenomenal! What you hear in the underwater scenes is the ancient song of a man for the land that he no longer sees due to the war. We also reflected a lot on the situation in Kiev during the period in which we filmed.» However, Aldo did not want to tell a war episode, but a love story. For him it is important to remove time from stories because he maintains that it distracts from emotions, in fact it is not necessarily the case that a short film has less impact than a feature film due to its duration, the story is shorter, more intense, it is 10 minutes which can actually change our lives.
«We were immersed in the short film also thanks to the limited time available. I work with Daniele Ciprì, master of italian photography, we never talk about the technique but about where we want to go, I wanted the viewer to feel like they were on the beach with the characters, the technique always comes much later!»
Connected remotely from Poitiers, France, Fatima Kaci intervenes next, director of La voix des autres, a short film that tells the story of the difficulties of those who, having arrived in France and escaped from their country, want to have a new life and try to move among the obstacles of the French bureaucracy to obtain this possibility. The protagonist is a translator, who has the difficult task of telling the stories of the refugees by whom she becomes emotionally involved, feeling the need to help them and risking compromising her professional role.
«This film was born because a friend of mine arrived in France from Morocco, as a lesbian she found herself in great difficulty in her country. The shameful thing is that she was asked to prove she was one to move, I didn’t want to tell her story in the short film to preserve it and I took similar stories thanks to the consultation of an institution of political refugees, I changed them slightly to protect the privacy of the people involved. I then discovered the figure of the translator because he has a relationship with both institutions and the community. I also grew up with two languages and I understand very well the weight of this issue in this context. Mine is a film critical of the system, of how we can accept people and how we see them, it is a film that asks important questions: who can speak and who is allowed to do so? My goal is not to give answers but to raise doubts.»
The leading actress, Amira Chebli, very famous in Tunisia and politically involved, inevitably appreciated the script. Fatima talks about how she often had to film her to ask her to contain her emotions and be almost “like a ghost”, the world of institutions is made of neutrality and during the film it was a very important point. The other actors featured in the short are all artists exiled in France, a choice of great impact given the strong theme of the film.
The last guest of the evening is Alain Parroni, a Roman director who brings to the festival his first work An endless Sunday, a story of teenagers in difficulty in the outskirts of Rome, surrounded by the wonderful music of the Japanese composer Shirō Sagisu, who was personally involved in the project.
«I wanted to leave a trace of these kids, we made a story that was mainly visual, I wanted to propose a look at adolescence, it is a very personal film in which I put a lot of myself, the music is fundamental because it allows to abandon oneself to the narrative structure of my film.»
For the dialogue with the director, Marta Bulgherini gives way to the artistic director Ado Hasanović, who was truly impressed by Parroni’s work.
«The film begins with a black screen, it immediately communicates to you that the director is creating his own world in which he welcomes you, a world in which the director is creating his own personal language. You used so many visual techniques, all together, in a harmonious way, for me you are a genius!» Ado comments.
«What you say is correct, the spectator sits down and tries to welcome the film, this time it was my turn to transform everything that raised and educated me on a visual level, I wanted to do something extremely personal, I wanted the spectator to untie himself from the world he finds himself in. When I started I saw peers getting on the platform train, thinking that their film should be understood and understood by everyone, but I think that a film should convey its own personality. Initially I thought of making a short film with a photographic sequence and some helicopter shots over the city, but then I completely changed my mind and I think that in the end we made it in the best possible way. I think Shirō Sagisu’s music and European cinema really gave the right meaning to everything. I initially tried to make my film following the “respectable cinema” that we have always been told, but then I felt that it did not reflect the emotionality of my adolescence and therefore I understood that I had to cut the scenes short to restore that sense of displacement. I believe that all films are extremely personal because it is still our point of view that we put into the work, we are talking about ourselves when we make a film, as well as when we judge it.»
Alain Parroni brought his personality to the theater with a truly particular arthouse film in which you are completely immersed. He says he initially tried to make sense of the film with the music from the Evangelion anime, for which Sagisu composed the soundtrack, which did so much justice to the images that the debut director managed to get in touch with the Japanese composer who he traveled to Rome within 24 hours to see his work. He immediately understood everything about the film and gave free access to his musical archive to the production, giving songs to edit which he then reworked himself, creating harmony directly with the images. The power of cinema is also this, after all, bringing different worlds into contact to create ever new works that will enrich spectators.
Sunday was a full day, full of sharing and important words, we are waiting for you again today from 4.30pm, starting with the screenings dedicated to our territory: Sardinia. We are waiting for you in the room!