in collaboration with

Bologna Cinematheque

Lab 80 film

Perugia Social Film Festival

Solinas Award

THE FRAGILE DIVA

Gene Tierney in the masterpieces of four great directors

Review in collaboration with Lab 80 film

HEAVEN CAN WAIT

a film by Ernst Lubitsch

(USA 1943, 112')

Just deceased, Van Cleve arrives in the antechamber of hell where he tells the devil about his own life: he was always spoiled by his parents, he was initiated early into the pleasures of the flesh from a young maid, he liked women very much but always remained faithful to his beautiful wife. Masterpiece of elegance and exquisite transgression.

A play that, by summarizing in flashback the sixty years of one man's life, constitutes a recapitulation of a great many "exemplary" motifs and figures that have haunted Lubitsch since the beginning of his career.

VERTIGINE

a film by Otto Preminger

(Usa 1944, 88')

Police Inspector Mark McPherson must investigate the murder of Laura Hunt, a beautiful advertising director found with her face disfigured in her own apartment. Through the testimony of his friends and by reading her letters and diary, McPherson begins to to get to know Laura and slowly falls in love with her.

An absolute masterpiece of film noir, beneath its supreme elegance runs the fire of the most unmentionable passion, which only ghosts can arouse. Gene Tierney is splendid, as always.

FOLLOWING FEMALE.

by John M. Stahl

(Usa 1945, 110')

Elena and Harlan, a love to first sight and quick nuptials. But, then, her mind is unsettled from a devastating jealousy that leads her to to suppress all those she pathologically identifies as "rivals" in her relationship with her husband. Stunning melodrama to strong hues, which time has neither tarnished nor weakened. Perverse, charming, excessive in everything, even in the sets. A breathtakingly beautiful Gene Tierney from and stunning, Oscar-winning cinematography by Leon Shamroy.

THE GHOST AND MRS. MUIR

a film by Joseph L. Mankiewicz

(Usa 1947, 104')

Lucy Muir, a young widow, moves into a house by the sea inhabited by the ghost of a sea captain. The woman is overcome with dismay and considers running away, but the specter is a gentleman and the two quickly become very good friends. Without the captain, Lucy is now helpless, and he lovingly guides her through her most difficult choices. Great, poignant melodrama with surreal tones and typically Anglo-Saxon touches of comedy. The script is also excellently served by both the direction and the performers, all of whom are top class.

GIFTS

Review in collaboration with Lab 80 film and Cineteca di Bologna

Tribute to Woody Allen

MANHATTAN

a Woody Allen film

New restored version

(USA 1979, 96')

Postmodern symphony of a great city, amorous embroidery of quotations entrusted to a black and white of dizzying beauty, while New York stretches in the panoramic: paradoxically, only a very large screen does full justice to this story of fragile love affairs consummated among trendy restaurants, confidential diners, dimly-lit apartments, museum or planetarium halls, but ready to open onto the wonders of the skyline, of Central Park during a summer thunderstorm, of a Fifth Avenue filmed to running pace and in a crescendo of Rhapsody in Blue that finally fades to the melancholy notes of But not for Me. They are in their thirties and forties, they are intellectuals, they fall in and out of love, they live transported by Gershwin's music and pierced by the bitter irony of Woody Allen-Ike Davis's lines, tragicomic consciousness of a world: "All these people in Manhattan talking and fussing and creating nonexistent problems so as not to think about the real universal problems." A key film in Allen's filmography, a film of deepening and maturing, treated with spite from those who would have liked to see in Allen a moody fool to life, Manhattan is a film of poignant visual charm, and it restored as few do the neurotic sweetness of living in a certain place in the Western world, in a certain season (the late 1970s) that now seems distant to us.

Tribute to Jean Luc Godard

THE PRICE.

a film by Jean Luc Godard

New restored version - Director's cut

(France, Italy1963, 105')

For the first time in theaters the director's cut of a nouvelle vague classic, at the time distorted by the production (for the Italian edition Carlo Ponti had it shortened by about twenty minutes). Moravia's novel becomes the pretext for one of Godard's most linear and narrative films, where the Mediterranean and seascape offer a sumptuous contrast to the vulgarity of the cinematic milieu and the bitterness of a couple's end. Between Cinecittà and an irresistibly pop-colored Capri, Michel Piccoli works on the set of an unlikely adaptation of the Odyssey (the aristocratic director is Fritz Lang playing himself), while his wife Brigitte Bardot is courted by the producer.

Tribute to Andrei Tarkovsky

THE STEAMROLLER AND THE VIOLIN

a film by Andrei Tarkovsky

(USSR 1960, 55')

Sasha, a seven-year-old violinist, is defended from Sergej, a steamroller worker, during an argument with a group of children. Through his friendship with the man, Sasha will learn to cope with difficulties. Film made from Tarkovsky to twenty-eight years old as the graduation work of the directing course.

Tribute to Andrei Tarkovsky

THE MIRROR.

a film by Andrei Tarkovsky

(USSR 1974, 105')

Forced to bed for an illness, Aleksei thinks about his own life, interweaving the past with the present, reality with imagination. He remembers his father abandoning his mother, and this immediately brings him back to his condition. The man is in fact experiencing a similar situation to that experienced by his parents: he lives separated from his wife Natalija and has a son, Ignat, who refuses to see him. The same actress impersonates the mother and wife, and the same child is Aleksei from small and her son Ingat. Said Tarkovsky, "Repetition is a law, because experience is not transmitted and each person must live it."

THE NEW EUROPEAN CINEMA

Review in collaboration with Lab 80 film

THE RED SPIDER

a film by Marcin Koszalka

(Poland, Slovakia, Czech Republic 2015, 95')

The first fiction by the great Polish documentary filmmaker.

Krakow, 1960s. Young Karol is an accomplished diver and a boast to his family. One night at the amusement park, he accidentally discovers the body of a young boy, a victim of the serial killer known as "The Red Spider." Karol notices a mysterious individual near the corpse, but decides not to report it to the authorities. He tracks down the man, a creepy yet seemingly harmless veterinarian. The two meet, study each other, tensions rise....

Koszalka, known as a cinematographer and documentary filmmaker, in The Red Spider, his debut fiction directorial film, once again demonstrates remarkable authorial talent, accurately recreating the leaden atmosphere of communist Poland and subtly delineating the psychology of his characters.

THE SWEDISH THEORY OF LOVE

by Erik Gandini

(Sweden 2015, 76')

from a cult author a film that is already a classic.

Erik Gandini, Italian-born director from Italian father and Swedish mother, tells (in Italian) a story that begins in Sweden and ends to Zygmunt Bauman, via Ethiopia.

Erik Gandini, an Italian-Swedish director, sets out from Sweden on a cinematic journey that takes him all the way to Ethiopia. The film was born from a reflection on the manifesto proposed by the Swedish parliament in 1972, "The Family of the Future." The concept is that every genuine human relationship is based on independence: a woman from her husband, teenagers from their parents, the elderly from their children. But independence limits contact and interaction: so half the population lives alone, more and more women become single mothers by artificial insemination. Why can a safe and secure life prove so unsatisfying? One possible answer is entrusted to noted Polish sociologist Zygmunt Bauman, who shows why a life free of problems is not necessarily a happy life.

THE LOST SONG

a film by Erol Mintaş

(Turkey, France, Germany 2014, 103')

Ali, a young teacher, lives with his elderly mother Nigar in the far suburbs of Istanbul, "home" to many Kurdish refugees forced to to leave their villages in the 1990s. Nigar is convinced that everyone else has returned to their country of origin: tormented, she repeatedly packs her bags to return and then wanders around the city, lost. The woman insists to she wants to find an old traditional song that no one seems to know, however. Ali takes care of her, caring for her and doing everything to recover the unknown song, while trying to find time to work and write her books and failing to to fully reciprocate the dedication she shows for

he his fiancée. When the latter becomes pregnant, the call of the homeland and the desire to fit into Turkish reality seem irreconcilable.

PASSERS

a film by Rúnar Rúnarsson

(Iceland, Denmark, Croatia 2015, 99')

Becoming an adult in Iceland. A wonderful location for an award-winning film.

When his mother decides to leave on a mission trip to Uganda with her new partner, 16-year-old Ari is forced to to move from Reykjavik to the desolate and remote village where he had lived from as a young boy. Here he rediscovers a loving and present grandmother, an awkward, unemployed and often busy father to drinking, and a community where violence and abjectness are often linked to alcohol. His former friends, now grown into boys, no longer recognized him and Ari struggled to fit into the group. In the brightly lit Icelandic summer by day and by night, the boy will have to grow up and make a choice: take in the small signs of beauty that are shown to him, thanks in part to the gentle presence of young Làra, or allow himself to be swallowed up by the reality around him.

MÓZES, THE FISH AND THE DOVE

a film by Virág Zomborácz

(Hungary 2014, 95')

Mózes is an insecure young man who has from recently finished his studies in theology. After a brief stint in a psychiatric facility, he returns to to live with his family in a village on the Hungarian plains. Her relationship with her father is decidedly complicated. The latter, in fact, is an authoritarian Protestant pastor who holds the entire family in awe: a submissive mother, a shy and shy adopted daughter, and an overly intrusive aunt. One day, the father dies suddenly, and the Hamletian paternal ghost begins to appear and to stalk Mózes, who is the only one able to see him. Mózes tries in vain to rid himself of the uncomfortable presence, enlisting the help of from a mechanic who is fond of spiritualism; to nothing, however, is worth the strange practices suggested by his friend. The young man realizes that he must complete to the works left undone by the Pastor before his departure. Mózes sets to work, supported by the perplexed Angela, a young former drug addict who works for the Parish in a social recovery project.

The path to liberation is an opportunity for Mózes to resolve - in a rather bizarre way - his relationship problems with the deceased and to regain, at last, his self-confidence.

ENCLAVE

a film by Goran Radovanović

(Serbia, Germany 2015, 92')

Nenad is a Serbian child living in an Albanian village in post-conflict Kosovo: he lives in an isolated hamlet with his father and his gravely ill grandfather, to whom the child is very fond of. Every morning he goes to school in a United Nations armored car, which protects him from aggression, and in his classroom he is alone with his teacher. The other children in the village are Albanians, and one of them, Bashkim, is full of hatred toward all Serbs. One day, as the Albanian community celebrates a wedding, his grandfather dies and Nenad crosses enemy lines in order to

manage to warn the priest. While on the streets of the village wedding and funeral cross each other like two parallel universes incapable of dialogue, Nenad suddenly finds himself face to to face with Bashkim: in the hands of the two children lies the possibility of either reproducing hatred and division or giving history a small, new course.

THE GLASS CHILD

a film by Federico Cruciani

(Italy 2015, 85')

The relationship between a father and a 10-year-old son is challenged by the truths the man hides from his family. An unconditional bond in a reality where relationships break down.

Palermo today. Giovanni, a ten-year-old boy, comes bitterly to to discover that evil can lurk in the word "family." In a slow and gradual realization, the child will irreparably undermine the unconditional bond with his father Vincenzo, opening his eyes to a reality in which "criminal families" can be more than one and in which his own "natural family" hides a secret capable of striking at the heart.

PERUGIA SOCIAL FILM FESTIVAL / SOLINAS AWARD

Perugia Social Film Festival

VIVIAN, VIVIAN

a film by **Ingrid Kamerling **(Netherlands 2016, 54')

Perugia Social Film Festival

TO FAMILY AFFAIR

a film by Tom Fassaert

(Netherlands, Denmark 2015, 110')

Solinas Award

FREE ME

a film by Federica Di Giacomo (Italy 2016, 90')

Solinas Award

CASTRO

a film by **Paolo Civati **(Italy 2016, 82')

PROGRAM

Sunday, July 2

at 17.30

MANHATTAN

a Woody Allen film (USA 1979, 96')

at 20.00

THE RED SPIDER

a film by Marcin Koszalka (Poland, Slovakia, Czech Republic 2015, 95')

at 22.30

THE SWEDISH THEORY OF LOVE

by Erik Gandini (Sweden 2015, 76')

Monday 3 July

at 17.30

HEAVEN CAN WAIT

a film by Ernst Lubitsch (Usa 1943, 112')

at 20.00

THE PRICE.

a film by **Jean Luc Godard **(France, Italy1963, 105')

at 22.30

VERTIGINE

a film by** Otto Preminger** (Usa 1944, 88')

Tuesday, July 4

at 17.30

THE LOST SONG

a film by Erol Mintaş (Turkey, France, Germany 2014, 103')

at 20.00

PASSERS

a film by Rúnar Rúnarsson (Iceland, Denmark, Croatia 2015, 99')

at 22.30

MÓZES, THE FISH AND THE DOVE

a film by **Virág Zomborácz **(Hungary 2014, 95')

Wednesday, July 5

at 17.30

THE SWEDISH THEORY OF LOVE

by **Erik Gandini **(Sweden 2015, 76')

at 20.00

ENCLAVE

a film by Goran Radovanović (Serbia, Germany 2015, 92')

at 22.30

FOLLOWING FEMALE.

by John M. Stahl (Usa 1945, 110')

Thursday, July 6

at 18.30

THE STEAMROLLER AND THE VIOLIN

a film by **Andrei Tarkovsky **(Urss 1960, 55')

at 20.00

TO FAMILY AFFAIR

a film by** Tom Fassaert **(Netherlands, Denmark 2015, 110')

at 22.30

CASTRO

a film by Paolo Civati (Italy 2016, 82´)

friday July 7

at 20.00

THE GHOST AND MRS. MUIR

a film by Joseph L. Mankiewicz (Usa, 1947, 104´)

at 22.30

THE MIRROR.

a film by **Andrej Tarkovsky **(Urss 1974, 105')

Sunday, July 9

at 17.30

THE PRICE.

a film by Jean Luc Godard (France, Italy1963, 105')

at 20.00

THE GHOST AND MRS. MUIR

a film by **Joseph L. Mankiewicz **(Usa 1947, 104')

at 22.30

HEAVEN CAN WAIT

a film by Ernst Lubitsch (Usa 1943, 112')

Monday 10 July

at 17.30

FOLLOWING FEMALE.

by **John M. Stahl **(Usa 1945, 110')

at 20.00

MANHATTAN

a Woody Allen film (USA 1979, 96')

at 22.30

THE RED SPIDER

a film by Marcin Koszalka (Poland, Slovakia, Czech Republic 2015, 95')

Tuesday, July 11

at 17.30

THE GLASS CHILD

a film by Federico Cruciani (Italy 2015, 85')

at 20.00

THE SWEDISH THEORY OF LOVE

by **Erik Gandini **(Sweden 2015, 76')

at 22.30

PASSERS

a film by Rúnar Rúnarsson (Iceland, Denmark, Croatia 2015, 99')

Wednesday, July 12

at 17.30

VERTIGINE

a film by Otto Preminger (Usa 1944, 88')

at 20.00

THE LOST SONG

a film by Erol Mintaş (Turkey, France, Germany 2014, 103')

at 22.30

ENCLAVE

a film by** Goran Radovanović** (Serbia, Germany 2015, 92')

Thursday, July 13

at 17.30

CASTRO

a film by** Paolo Civati** (Italy 2016, 82')

at 20.00

VIVIAN, VIVIAN

a film by Ingrid Kamerling (Netherlands 2016, 54´)

at 22.30

MANHATTAN

a Woody Allen film (USA 1979, 96')

friday July 14

at 22.30

THE GLASS CHILD

a film by Federico Cruciani (Italy 2015, 85')