Sans Soleil /

Visioni rare e non identificate

July 15 - 199.30 pm

A project by Filmmaker festival

> July 15

Work in progress for a documentary S50 by Michele Mellara and Alessandro Rossi (Mammut Film)
A documentary that recounts fifty years of Santarcangelo Festival is a complex and fascinating undertaking. Hundreds of shows, companies, words, meetings, passions, disappointments, tempests. From the political/popular theatre of the early ’70s to the theatre of companies and the Third Theatre of the ’80s, from the actor’s theatre to the performance theatre, and finally to the Festival without theatre: the festival of arts. Santarcangelo is a faithful mirror of the trends in the performing arts of our country, of how much they have changed over the years, and with them the very idea of culture, representation, public events. Recounting Santarcangelo means recounting a significant piece of our history, both artistic and social, and understanding which future we will walk into.

Michele Mellara and Alessandro Rossi have been working together in a solid, artistic partnership for around twenty years. They have made documentaries on the grand themes of the right to health (La vie dei farmaci/The ways of medicines; Vivere, che rischio/To live, what a risk!) and globalisation (God save the green; I’m in love with my car). Their films have been screened and broadcast all over the world, receiving awards and fostering participation in discussion. Mammut Film is one of the principle documentary production companies in Emilia Romagna, active for fifteen years mainly producing the films of Mellara and Rossi, and other important directors. Ilaria Malagutti is the production manager for the company.

by Johann Lurf (Austria 2017 – 99 min)
“And so, we went out to see the stars again.” After months barricaded, finally a moment of pure happiness on our faces: to go back to admire a magnificent, starry night, not only above but also in front of us; This is the enchantment that Johann Lurf gives us, a collection of firmaments that crosses the history of cinema (from the silent era to the present day, about 550 films, filmed only in excerpts, presented in strict chronological order and punctually listed at the end), a dizzying visual symphony capable of freeing thoughts and letting them wander, an extremely pure and deliberately inconclusive catalogue that awaits all the images still not shot, all the stars still to be seen and framed.

Johann Lurf (Vienna, 1982) studied at Vienna’s Academy of Fine Arts and at London’s Slade School of Fine Art. He graduated from Harun Farocki’s film class in 2009. He received the State Grant of Austria for Video- and Media Art and participated in the Artist-in-Residence Programs at the MAK Center for Arts and Architecture in Los Angeles 2011, the SAIC in Chicago 2015 and in Tokyo 2016. He has been awarded with the Oustanding artist award in the category experimental film by the Austrian State. His works have been internationally shown and awarded in numerous exhibitions and festivals such as Rotterdam International Film Festival, Toronto International Film Festival – Wavelenghts, Viennale, Berlinale-Forum Expanded, Oberhausen Kurzfilmtage, Cinéma du Réel, FID Marseille.

> July 16

ATLANTE 1783 (ATLAS 1783) by Maria Giovanna Cicciari (Italy 2016 – 25 min)
In the middle of the night, on the 6th of February, 1783, Goethe put his waiter on guard, saying: “Listen, we are in a solemn moment, and at this moment there has been, or is about to be, an earthquake.” Which, in fact, turned out to be true, striking Italy however. What remains today of that tremor? The cinema, which is a time machine capable of traversing and reassembling history, can find its traces again, giving way to distant suggestions to resurface in the form of rediscovered visions.

Maria Giovanna Cicciari (Milan, 1983) won the jury prize at the Turin Film Festival in 2012, with the short film, In nessun luogo resta. In 2014, she presented Hyperion at the Filmmaker Festival in Milan and, in 2016, Atlante 1783 was selected for the Critics’ Week – SIC@SIC at the Venice Film Festival and at the Filmmaker Festival in Milan.

TRIOKALA by Leandro Picarella (Italy 2015 – 75 min)
In the far south of Sicily, stood Triokala. The Greeks named the city after the “three beautiful things” that Nature gave to this land: the fertility of its countryside, the sweetness of its waters and the ancient fortress. The passing of time has dispersed the traces of that ancient world, which jumbled magic, religion and superstition. An essence that, however, can be re-found in the faces of the people who inhabit the place. Not all seems lost just yet.

Leandro Picarella (Agrigento, 1984) wrote and directed his first short films and some short documentaries (Cattedrale, Gyruss – a ciascuno il proprio Bach, Desnudez, La salita, Scolpire il tempo, Dio delle Zecche, storia di Danilo Dolci in Sicilia) between 2010 and 2014. In 2015, he made Triokala, with which he won the Movie People Award for best technical contribution to Filmmaker Festival. In 2018, he presented Epicentro at the Critics’ Week – SIC@SIC of the Venice Film Festival.

> July 17

IL MONDO O NIENTE (THE WORLD OR NOTHING) by Chiara Caterina (France, Italy 2017 – 45 min)
Christ, he will never have arrived, but time and history, which for centuries have been ignored, now, in the form of modernity, insinuate themselves into a Southern Italy that we continue to imagine ideally as a world of the past while, in fact, it is hyperconnected. A place to contemplate, full of bitterness and wonder and which, precisely because of its contradictions, appears as a true sign of the times to come, more barbaric and archaic and futuristic and more and more again.

Chiara Caterina (Salerno, 1983) won the First Prize at the 2013 Cinema Zero Festival in Trento and the First Prize in the experimental section of the Festival “A corto di donne” with the short film Avant la nuit. Her first documentary Il mondo o niente was presented in 2017 in competition at the 58th Festival dei Popoli and selected, among others, at the 15th Festival du cinéma de Brive, 21st Cinemambiente, 16th Ischia Film Festival, 16th Molise Cinema Film Festival.

PIUCCHEPERFETTO (MORETHANPERFECT) by Riccardo Giacconi (France, Italy 2019 – 52 min)
As in a matryoshka, each screen contains another or is contained in one, the image returned – always different, always in mutation – is a reflection, that of A., a contemporary Narcissus, caught contemplating himself in the many devices through which he tries to anchor, even for a moment, his infinite incarnations. An “ombrophagus” who frees himself from his own shadow by devouring it. Behind his impenetrable face opens a fascinating void, which no definition will ever be able to fill.

Riccardo Giacconi (San Severino Marche, 1985) presented In Forma Lucrurilor Care Trebuie Sa Vine – Nella Forma delle Cose a Venire (In the Form of Things to Come) at the 2011 Torino Film Festival. In 2013, with Chi ha Lottato con l’Angelo resta Fosforescente (Who has Wrestled with the Angel Remains Phosphorescent) participated in the Rome Film Festival. In 2015, with Entrelezado (2014), he won the Grand Prix at Fid Marseille and First Prize in the “Prospettive” competition at Milan’s Filmmaker Festival. Due (Two) was presented at the Critics’ Week – SIC@SIC of the Venice Film Festival in 2017. With Piuccheperfetto, presented in its world premiere in 2019 at Visions du Réel, he won the Giuria Giovani (Young Jury) prize at the latest edition of the Filmmaker Festival in Milan.

> July 18

LA CONVOCAZIONE (THE SUMMONS) by Enrico Maisto (Italy 2017 – 56 min)
Sixty citizens, drawn by lottery from a computer system, take their places in the courtroom where the trials of the Second Chamber of the Court of Appeal are held. Who are these people? How much does their opinion affect the outcome of the sentence? To try to reflect on them, on this strange human laboratory where the ordinary citizen becomes an expression of the law, means to try to understand what makes up many of our own feelings towards Justice.

Enrico Maisto (Milan, 1988) presented his first documentary feature film Comandante at the Milano Film Festival in 2014, winning the Aprile Award. In 2015, together with Valentina Cicogna, he won the Solinas Documentary Award with La Convocazione. The film had its world premiere at the 2017 Festival dei Popoli where it won the Audience Award, and then won the Best Medium-length Film Award at the Hot Docs Canadian International Documentary Festival.

BENE! QUATTRO DIVERSI MODI DI MORIRE IN VERSI (BENE! FOUR DIFFERENT WAYS TO DIE IN VERSE) (Italy, 1974-1977, colour, video, Part 1 – 47 min)
Bene! Four different ways to die in verse. Blok-Majakovskij-Esènin-Pasternak; adaptation of texts by C.B. and R. Lerici; translations: I. Ambrogio, R. Poggioli, A. M. Ripellino, B. Carnevali; reduction, adaptation, direction and voice acting: C.B.; scenographer: M. Fiorespino; cinematographer: G. Abballe; music: by V. Gelmetti; solo voice C.B.; assistant director: C. Tempestini; video mixer: A. Lepore; RVM operators: M. Nicoletti, E. Piccirilli; RAI production; duration 103 minutes, broadcast in two parts on the 27th and 28th of October 1977, Rai 2.

Bene! Quattro diverse modi di morire in versi is one of the first television works by Carmelo Bene, aired across two evenings on the Rai 2 channel, the 27th and 28th of October 1977, but made in 1974, the same year as Amleto (da Shakespeare a Laforgue), immediately after having closed, with Un Amleto di Meno, the cinematographic parenthesis opened in 1968 with Hemitage and Nostra Signora dei Turchi. The different ways of dying are in the words of four great Russian writers – Majakovskij, Esenin. Blok and Pasternak – adapted and recited by the voice of Bene who also directs. Filmed on video, with music by Vittorio Gelmetti, it is an exploratory and fracturing work that disintegrates the theatricality inherent in television, shattering the space/studio while exalting its “fin(i)tezza” (refinement/finite nature). The verses of the four Russian poets form an anthology which revolves around the revolution seen as an anthropological and cultural apocalypse, with its fatuous fires and rubble.
Fulvio Baglivi – Fuori Orario. Cose (mai) viste Rai 3

> July 19

FELIX IN WONDERLAND by Marie Losier (France-Germany 2019 – 49 min)
Felix Kubin has been playing since he was a child. The protagonist of the experimental music scene has gone from minimal wave to post-punk, from electronic avant-garde to contemporary noise. He is an inventor of languages, always looking for a sound outside of genres. The filmmaker Marie Losier does the same with images: their encounter is marked by improvisation and performance; the intersection of their sensibilities unlocks the doors of a bizarre Wonderland where spectators are called to playful sharing.

Marie Losier (Boulogne-Billancourt, 1972) is a filmmaker, artist, and curator. Daughter of the cinema of Jacques Demy and Georges Franju, she reinvents it by applying it to the practice of video portraits. Her “characters” are artists such as Genesis P-Orridge (The Ballad of Genesis and Lady Jaye, 2011) or wrestling stars of lucha libre (Cassandro, the Exotico!, 2018). Filmmaker Festival dedicated a retrospective to her in 2016 while, in 2019, she won its First Prize in the International Competition with Felix in Wonderland.

BENE! QUATTRO DIVERSI MODI DI MORIRE IN VERSI (BENE! FOUR DIFFERENT WAYS TO DIE IN VERSE)
(Italy, 1974-1977, colour, video, Part 2 – 49 min)

free event
  • Piazza Ganganelli

to access the venue it is necessary to purchase the ticket on the spot at least 1 hour before the show

we warmly recommend you arrive at the performance venue at least 30 minutes before the start of the show (the venue will open 1 hour before the performance starts)

free tickets are valid until 15 minutes before the start of the show, after that they will expire and be reassigned