Ehsan Khoshbakht e Jay Weissberg

Caroline Fournier, Jeanne Pommeau, Mariann Lewinsky and Karl Wratschko 

Paula Félix Didier (Direttrice Museo del Cine Pablo Ducros Hicken)

Introduce Roland Sejko

Céline Ruivo (Cinémathèque française)

Chema Prado

Bryony Dixon

Christine Leteux

Maria Pia Ammirati (RAI Teche) and Sergio Toffetti (Museo Nazionale del Cinema di Torino)

Daniela Michel (Morelia International Film Festival)

Antonio Bigini and Cristina Da Roit

Olaf Möller

Chiara Magri, Dalila Rovazzani and Giovanni Munari

Ivo Blom and Bryony Dixon

Julij Fajt and Peter Bagrov

Dirk Förstner (Bundesarchiv) and Elif Rongen–Kaynakçi (EYE Filmuseum)

Pamela Hutchinson

main actress Marina Vlady

Eric Le Roy (CNC)

Alisa Nasrtdinova

Ivan Trujillo Bolio

Ahmet Gürata

Anke Wilkening (Murnau Stiftung)

producer Pierre-Alain Meier

Sophie Seydoux (Pathé)

Tony Rayns

Madeleine Bernstorff e Sünke Michel

Jeanne Pommeau

Shion Komatsu (Shochiku)

Margarethe von Trotta e Felix Möller

main actress Marina Vlady

Daniela Currò (Cineteca Nazionale), Karola Gramann e Heide Schlüpmann (Kinothek Asta Nielsen)

Grover Crisp (Sony Columbia) and Nick Varley (Park Circus)

Margarethe von Trotta, Jan Holmberg (CEO Ingmar Bergman Foundation) and Lars Karlsson.

Presentation by Thierry Fremaux (Festival di Cannes and Institut Lumière).

Imogen Sara Smith

Ola Balogun

Emiliano Morreale

Stefan Drössler (Munich Film Archive)

Jean Gili e Gian Luca Farinelli

Briony Dixon e Mariann Lewinsky

Madeleine Bernstorff

Ahmet Gürata e Jak Shalom

Introducono Jan Holmberg (CEO Ingmar Bergman Foundation) e Jon Wengström (Swedish Film Archive)

Stanislaw Bardadin

Emiliano Morreale

Laurence Braunberger (Films du Jeudi) e Hervé Pichard (Cinèmathèque française)

Anna Masecchia (Università degli Studi di Napoli Federico II)

Sir Christopher Frayling

Stéphanie Salmon (Fondation Jérôme Seydoux Pathé)

Walter Salles, Myra e Janka Babenco (director’s daughters)

Jan Ledecký (Tinting and toning specialist)

Rita Belda (Sony Columbia) e Ehsan Khoshbakht

Hervé Pichard (Cinémathèque française)

Michael Pogorzelski (Academy Film Archive) and Emily Carman

Jérôme Diamant-Berger

the producer Serge Bromberg, Lisa Haven e Kate Guyonvarch (Association Chaplin)

Elif Rongen–Kaynakçi and Mariann Lewinsky

Ahmet Gürata

Bill il Pistolero D.: 2’, Pinocchio D.: 2’, Bel colpo, Mister 11 D.: 2’, Gli assi nelle maniche D.: 3’, Jack lo sfregiato D.: 2’, Cappuccetto Rosso D.: 2’, Il conquistatore D.: 2’, La piccola guerra D.: 3’, Dofo Parade D.: 2’, Agenzia Mc Carty D.: 2’

Tom Vincent

Stefano Francia di Celle

Grace Winter and Nicola Mazzanti (Cinémathèque Royale de Belgique)

Kathryn Sermak, Bette Davis’ assistant

the producer Pierre-Alain Meier

Jeremy Arnold

Jean Gili

Agnès Bertola (Gaumont Pathé Archives)

Claudia Gianetto and Stella Dagna

Ahmet Gürata e Jak Shalom

Elżbieta Wysocka (Filmoteka Narodowa Instytut Audiowizualny)

Jérôme Wybon

Mariann Lewinsky

Michele Emmer

Michel Andrieu and Jacques Kébadian

Michael Pogorzelski (Academy Film Archive)

cinematographer Luciano Tovoli, Luca Guadagnino, director of the remake, and Emilano Morreale.

Céline Ruivo

Jon Wengström

Introducono l’attrice protagonista Anna Karina e Frederic Bonnaud (Cinémathèque française)

Robert Byrne e Céline Ruivo

Dave Kehr

Tom Vincent (Aardman Animation)

James Mockoski (American Zoetrope)

Tony Rayns

Jérôme Prieur 

Béatrice de Pastre (CNC)

Ahmet Gürata e Farit Yucel

Introduce John Bailey (direttore della fotografia e Presidente dell’Academy of Motion Pictures)

Cecilia Cenciarelli e Tim Lanza (Cohen)

Emiliano Morreale

Emi De Sica

Andrea Meneghelli (Cineteca di Bologna), Claudia Gianetto (Museo Nazionale del Cinema di Torino), Daniela Currò (Conservatore Cineteca Nazionale) and Elif Rongen– Kaynakçi (EYE Filmmuseum)

Ehsan Khoshbakht

Anna Maria Tatò

Henry Hopper, director’s son

the artist and screenwriter Francesco Tullio-Altan and the director Gérard Zingg

Caroline Fournier, Jan Ledecký and Jeanne Pommeau

Grover Crisp (Sony Columbia)

Bernard Eisenschitz and Jackie Raynal

The three titles in this programme complete the variegated genres of the series ‘Serie d’Oro’ launched in 1909 with Spergiura! and Nerone. Arturo Ambrosio viewed Frusta as a kind of living encyclopedia, capable of writing or rewriting any story locked up in his Screenplay Office. For the adaptation of Schiller’s ballad Der Handschuh (Il guanto), Frusta recreated a romantic court atmosphere with a big finale, unfortunately lost, in which real lions keep viewers on the edge of their seats. In 1911 D’Annunzio – under an advantageous contract and without writing a line, save exequatur and a fleeting signature at the bottom of Frusta’s screenplays – let one of his works be filmed for the first time: Sogno di un tramonto d’autunno features Mary Cléo Tarlarini, Ambrosio’s first star, perfectly playing the part of a restrained and haughty Gradeniga trembling with jealousy. Frusta did not look down upon any project and, with directors like Maggi, Rodolfi and Caserini, he not only made the first foray into comedy, which would become a successful genre in Italian cinema, but also dedicated unusual care in writing slapstick. The manuscript of the screenplay for Gigetta è gelosa (a lost film made in 1914) contains a surprising monologue to be performed (!? …) in front of a mirror, written by Frusta for Gigetta Morano. The screenwriter had a certain care in writing female roles (and weakness for actresses), and it was the leading actress of Santarellina who would remember that Frusta was the Turin production company’s true genius.
Claudia Gianetto

Mario Martone

Kjetil Sørensen (National Library of Norway), Cecilia Cenciarelli and Tim Lanza (Cohen)

Stefano Consiglio

Roy Menarini

Giuseppe Tornatore and Zeudi Araya

the movie choreographer Patricia Birch