PARAJANOV 1954-1966: A UKRAINIAN RHAPSODY

For a filmmaker associated primarily with the South Caucasus, Sergei Parajanov made most of his films in Ukraine. After graduating from VGIK in Moscow, he became an employee of Dovzhenko Film Studio in Kyiv. While in later life, he was prone to rubbishing his filmography up until Shadows of Forgotten Ancestors, the four features and three documentaries that preceded it present a very different but no less fascinating director. Bringing together a new restoration of Shadows of Forgotten Ancestors, scans from the Dovchenko Centre’s original camera negatives and rare 35mm archival prints, this program traces Parajanov’s creative evolution as a filmmaker and celebrates the filmmaker’s centennial.
Curated by Olena Honcharuk and Daniel Bird, in collaboration with Cecilia Cenciarelli

Andriješ / Andrieš (Andriesh, 1954) • Peršyj chlopec’ / Pervyi paren’ (The Top Guy, 1958) • Dumka (1957) •  Zoloti ruky / Zolotye ruki (Golden Hands, 1957) • Kvitka na kameni / Cvetok na kamne (Il fiore sulla pietra / The Flowers on the Stone, 1960-62) • Ukrajins’ka rapsodija / Ukrainskaja rapsodija (Rapsodia ucraina / Ukrainian Rhapsody, 1961) • Kyjivs’ki freski / Kievskie freski (The Kiev Frescoes, 1966) • Tini zabutych predkiv / Teni zabytych predkov (Le ombre degli avi dimenticati / Shadows of Forgotten Ancestors, 1966)

PARAJANOV 1954-1966: A UKRAINIAN RHAPSODY

KOZABURO YOSHIMURA, UNDERCURRENTS OF MODERNITY

Kozaburo Yoshimura (1911-2000) is one of the neglected masters of classical Japanese film. He was responsible for some of the postwar Japanese cinema’s most compelling dramas, which bear eloquent witness to social change in a rapidly modernising and Westernising country. He began his directorial career at Shochiku in the 1930s and worked until the 1970s, but this programme will concentrate on his career in the 1950s, when his art was at its height. Working mostly at Daiei in fruitful collaboration with screenwriter Kaneto Shindo (himself also a distinguished director), he realised a sequence of gems such as Clothes of Deception (1951) and Undercurrent (1956) (the latter scripted by Japan’s leading woman screenwriter, Sumie Tanaka). These films earned him comparison with Mizoguchi for his sensitive exploration of female experience. Facilitated by the support of Kadokawa, Shochiku, The Japan Foundation and the National Film Archive of Japan, and featuring a new 4K digital restoration as well as vintage 35mm prints, this retrospective will highlight the beauty, power and relevance of Yoshimura’s cinema.
Curated by Alexander Jacoby and Johan Nordström

Itsuwareru Seisou (Clothes of Deception, 1951) • Nishijin no Shimai (Sisters of Nishijin, 1952) • Yoru no kawa (Undercurrent, 1956) • Osaka Monogatari (An Osaka Story, 1957) • Chijo (On This Earth, 1957) • Yoru no Sugao (The Naked Face of Night, 1958) • Onna no saka (A Woman’s Uphill Slope, 1960)

Photo from Chijo © Kadokawa

KOZABURO YOSHIMURA, UNDERCURRENTS OF MODERNITY

DARK HEIMAT

The late 1940s and very early 1950s saw a scattered production of films in which the worries of today and the pain and shameful memories of the recent past got discussed in stories set at the edges of Germany and Austria – in the rural far-away of the Alpine regions. In terms of genre, they’re rooted in what soon would be called Heimatfilm: movies set in specific landscapes whose people are seen as paragons of traditions needed to face the challenges of modern (city) life. But in contrast to the official Heimatfilm classics, these gems had more to do with film noir (Die Alm an der Grenze, 1951) or horror (Die seltsame Geschichte des Brandner Kaspar, 1949, by Josef von Báky); experimented with expressionism (Die Sonnhofbäuerin, 1948) and neorealism (Bergkristall, 1949) alike, and offered political opinions not at all in line with the official narratives of the day. Little known and shown even in their countries of origin, these films offer unexpected insights into a transitional period of Germany and Austria, their cinemas alike.
Curated by Olaf Möller

Die Sonnhof-bäuerin (1948) di Karl Kurzmayer & Wilfried Fraß • Die Frau am Weg (1948) di Eduard von Borsody • Die seltsame Geschichte des Brandner Kaspar (1949) di Josef von Báky • Bergkristall (Caino! / Mountain Crystal, 1949) di Harald Reinl • Geheimnisvolle Tiefe (Profondità misteriose / Mysterious Shadows, 1949) di Georg W. Pabst • Die Martinsklause (The Cloister of Martins, 1951) di Richard Häussler • Die Alm an der Grenze (T. alt.: Der Berg der Liebe, 1951) di W. Janssen & F. Antel

DARK HEIMAT

CINEMALIBERO

Women’s subjugation within patriarchal society, both in a literal sense and as an allegory of a totalitarian regime; a backward journey to process family memories that become a collective political narrative; the condemnation of colonial repression and the celebration of culture and artistic expression an element of resistance and liberation – are among the themes that run through the works presented this year. Eleven brand new restorations, seven world premieres, will take us from the outskirts of Dakar to the womb of Manila, to the rural villages of southern Iran and western Syria, and again to the Indian region of Odisha and the island of Cape Verde.
Curated by Cecilia Cenciarelli

Entezar (Waiting, Iran 1974) di Amir Naderi • The Sealed Soil (Iran 1977) di Marva Nabili • La Nouba des femmes du Mont Chenoua (Algeria 1978) di Assia Djebar • Fogo, l’île de Feu Cap-Vert, un Carnaval dans le Sahel  • (Francia-Capo Verde 1979) di Sarah Maldoror • A Bissau, le Carnaval (Guinea Bissau-Francia 1980) di Sarah Maldoror • Bona (Filippine 1980) di Lino Brocka • Māyā Miriga (India 1984) di Nirad Mohapatra • Camp de Thiaroye (Senegal-Algeria-Tunisia 1988) di Sembène Ousmane e Thierno Faty Sow • Nujum Al-Nahar (Stars in Broad Daylight, Siria 1988) di Ossama Mohamed • Al-leil (Siria 1992) di Mohammad Malas

CINEMALIBERO

GUSTAF MOLANDER, THE ACTRESSES’ DIRECTOR

In a career lasting half a century, director Gustaf Molander made more than 70 films in a variety of genres and styles and left a lasting imprint on Swedish film history. While Ingmarsarvet (The Ingmar Inheritance, 1925) is the epilogue to the Golden Age of Swedish silent cinema and on par with some of the more famous films from the era, the programme also includes examples of his brilliance in drama, film noir and comedy from the sound era in films such as En natt (Solo una notte, 1931), Kvinna utan ansikte (La furia del peccato, 1947) and Fästmö uthyres (Fiancée for Hire, 1950). Not just a versatile director excelling in different genres, Molander also had an extraordinary ability to bring forth the true potential in actors – in particular actresses. His films with the young Ingrid Bergman in the 1930s launched her to international stardom, but the tribute also provides a rare opportunity to see Harriet Andersson, Eva Dahlbeck, Inga Landgré and Gunn Wållgren in the early stages of their respective careers.
Curated by Jon Wengström

Ingmarsarvet (The Ingmar Inheritance, 1925) • Till Österland (Verso Oriente / To the East, 1926) • En natt (Solo una notte / One Night, 1931) • En Kvinnas Ansikte (Senza volto / A Woman’s Face, 1938) • Ordet (Ordet – La parola / The Word, 1943) • Kvinna utan ansikte (La furia del peccato / Woman Without a Face, 1947) • Fästmö uthyres (Fiancée for Hire, 1950) • Trots (Defiance, 1952)

GUSTAF MOLANDER, THE ACTRESSES’ DIRECTOR

IL CINEMA RITROVATO KIDS & YOUNG

For eight days even our budding cinephiles will have the chance to be involved in the festival, attending screenings, shows and workshops. This year Il Cinema Ritrovato Kids will pay tribute to claymation artist Fusako Yusaki and to Portuguese animation, with a programme curated by the Cinemateca Portuguesa; also, among others, a 1980s RSI-produced special on The world’s most beautiful fairy tales and a selection of animated shorts from two important festivals such as Annecy and Clermont-Ferrand. A series of workshops dedicated to animation and pre-cinema will enrich the programme.
Il Cinema Ritrovato Young – a group of young cinephiles aged 16 to 19 who programme a special series at the Cinema Modernissimo throughout the year – will be making their own selection of titles (that they will be also promoting and introducing), in addition to interviews with festival’s guests and audience, and video-reviews of the films.
Curated by Schermi & Lavagne

IL CINEMA RITROVATO KIDS & YOUNG