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Ten minutes older: time and cinema
Fifteen directors, fifteen short films in a film project that show fifteen different looks on the concept of ‘time’, trying to explain, through different cinema languages, the several phases of a gradual (but never complete) revealing of the ultimate sense of the ‘perpetual flow’ of time: with The Trumpet and The Cello (respectively 7 and 8 short films), the TMO project was born in 2002 and was presented in the major international film festivals. The Trumped was indeed first screened in the section “Un certain regard” at Cannes Festival in 2002, while The Cello was presented at the 59th edition of the Venice Cinema Festival (not in the official competition). A very good presentation, also considering the great directors involved: Victor Erice, Werner Herzog, Jim Jarmusch, Wim Wenders, Spike Lee, Chen Kaige, Bernardo Bertolucci, Mike Figgis, Jirí Menzel, István Szabó, Claire Denis, Volker Schlöndorff, Michael Radford e Jean-luc Godard.
Dogs have no hell , Aki Kaurismäki, 2002, 10'
Lifeline , Victor Erice, 2002, 10'
10.000 years older , Werner Herzog, 2002, 10'
Int. Trailer night , Jim Jarmusch, 2002, 10'
Twelve miles to Trona , Wim Wenders, 2002, 10'
We wuz robbed , Spike Lee, 2002, 10'
100 flowers hidden deep , Chen Kaige, 2002, 10'
Histoire deàux , Bernardo Bertolucci, 2002, 10'
About Time 2 , Mike Figgis, 2002, 10'
One moment , Jirí Menzel, 2002, 10'
Ten minutes after , István Szabó, 2002, 10'
Vers Nancy , Claire Denis, 2002, 10'
Enlightenment , Volker Schlöndorff, 2002, 10'
Addicted to the stars , Michael Radford, 2002, 10'
Dans le noir du temps , Jean-luc Godard, 2002, 10'
Myth, history and reality in Pier Paolo Pasolini’s cinema
Among his variegated production, Pier Paolo Pasolini shot, in the 60s, a series of short films and features that still today manage to astonish for their ‘strength’ and ‘depth’. Cortopotere has decided to dedicate a brief retrospective to this great director (next year will be the 30th anniversary of his death), whose poetics can be found in the three works we selected: unforgettable films that show us the author’s perspective on three dimensions: the fairy tale-representative one (Cosa sono le nuvole?), the politic-existential one (La sequenza del fiore di carta) and the one of social diseases, hidden by that archaic-religious feeling (La ricotta) belonging to a great man of culture.
La ricotta , 1963, 30'
Cosa sono le nuvole? , 1967, 30'
La sequenza del fiore di carta , 1968, 10'
Italian anthropological cinema (2): Luigi Di Gianni
In 1958 a British newspaper coined the expression “economic miracle”, to indicate the big step forward Italian industrialization was taking, to try and enter the ‘big leagues’ of industrialized countries. But 1958 was also the year of Magia Lucana, the very fist documentary of Luigi Di Gianni, that represents a clarification and a testimony of a ‘survivor’ path opposed to the industrial one, in that Southern Italy at which the director has dedicated a big part of (or pretty much all of) his cinema career.
The contrast becomes stronger and stronger when we’re brought into the ‘magical world’ of farmers, far away from civilization, almost disappeared. Di Gianni’s cinema is based on a self-evident constructive ambivalence: his cinema is always placed on the borderline between interpretation and testimony (emblems of his works, made up of reconstructions - trademarks of his love for fiction - and filming of real events, especially after Il male di San Donato, 1965, marking the beginning of a new poetic phase), for an overview investigating <<life's abysses
Il male di San Donato , 1965, 10'
La potenza degli spiriti , 1968, 18'
Nascita di un culto , 1968, 15'
Il culto delle pietre , 1967, 18'
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