13 | 8 | 13 Pardo Live

PardoLiveTuesday · Martedì 13 | 8 | 2013

Jean-Stéphane

BronMargaret Ménégoz

Thomas Imbach Kiyoshi Kurosawa

Zhengfan Yang Deroo and Pistone

66° Festival del fi lm Locarno

Pardo Live Partner:

Microcosmos | Winner of the Prix du Public UBS in 1995 | Marie Perennou and Claude Nuridsany, directors

You are the Jury. Award the prize, win a prize in the Piazza Grande.www.pardo.ch/ubs

3 Pardo

“Information is not memory. It is not for memory that it accumulates; it labours only for its own profi t. And this profi t is that everything is immediately forgotten for the affi rmation of the sole abstract truth of the present.” I’m quoting these words of Jacques Rancière as an introduction to one of the most unclassifi able fi lms of this program, El futuro. The future in question is imagined on an evening in 1982, when euphoria swept through Spain following dramatic political change. Now, 30 years on, what remains of that festive evening in an ordinary fl at?

Born in 1938, Artavazd Pelechian has made a body of work that is often cited but rarely seen. Defi ned as documentaries out of convenience, his short fi lms are visual poems that exalt the fi lmed subjects through a unique use of montages. His fi lms have a purity, with no dialogue, no actors, no script, fi lms in which the rhythm constructs the narrative. Whether linked to his native Armenia (Menk) or adventures Menk) or adventures Menkin space (Mer dare), Pelechian’s fi lms transcend and heighten realistic facts.

Concorso internazionale, Mary Queen of ScotsAuditorium fevi, 14 | 8 | 2013 – 14:00

Her gaze lost beyond the horizon, her hair tangled by the wind, the young Queen Mary has withdrawn into an indecipherable expression in the same way that she has wrapped her body in a ruby-red cloak. The surrounding sea, like a prison, enhances the sense of encirclement. The tragic rise and fall of Mary, recounted by an outstanding storyteller like Stef an Zweig and retold with a “modernist” mise-en-scène by Thomas Imbach, is caught in a moment of transition, which is at the same time strongly symbolic.

Fermo immagineFermo immagineCarlo ChatrianCarlo ChatrianArtistic DirectorArtistic Director

El futuro

Piazza Grande, L’Expérience Blocher, 13 | 8 | 2013 – 21:30

Christoph si è fermato a LocarnoSi può fi lmare un uomo dalle idee antitetiche senza ridurlo a macchietta o farne un eroe, seppure a tinte fosche? Si può fi lmare senza catturare un’immagine o farsi catturare da questa? L’Expérience Blocher racconta questa sfi da: è al con-L’Expérience Blocher racconta questa sfi da: è al con-L’Expérience Blochertempo un fi lm che traccia la parabola del controverso leader politico svizzero – noto per le sue posizioni antieuropeiste – e l’indagine su un paese che per questo uomo spesso si è spaccato in due.

Nel 2003 Jean-Stéphane Bron aveva realizzato un altro documentario che, seguendo l’iter costitutivo di una legge, descriveva le regole della democrazia svizzera. Concentrato in poche stanze Mais im Bundeshuus – le génie helvé-tique si apriva a raccontare la pluralità di una democrazia quasi preoccupata di nascondere segreti. L’Expérience Blocher è il frutto di un movimento opposto: L’Expérience Blocher è il frutto di un movimento opposto: L’Expérience Blocherun fi lm a forma di imbuto dove la varietà dei luoghi e delle tipologia di incontri (pubblici, privati, colloquiali, formali) è incanalata in una sola fi gura. Filmato quasi sempre fuori dalle stanze del parlamento, in compagnia della silenziosa e carismatica moglie, più che un politico, Blocher appare un uomo d’affari. E’ lui a dettare le regole, i tempi, i modi e i contenuti del fi lm. Bron segue il suo person-aggio, sembra sottostargli, salvo poi con una soluzione classica (la narrazione in off), riposizionarsi rispetto alle immagini. Non tanto per riequilibrarle ma per consegnarle alla loro naturale ambiguità, dal momento che la voce narrante in-vece di prendere per mano il racconto lo spezza, lo analizza, lo mette in ques-tione. Dieci anni sono trascorsi in Svizzera, in Europa e nel mondo e la simpatica commedia sul parlamento sembra essersi rovesciata in un fi lm noir.

carlo chatrian

Palmarès: Open Doors

I premi del futuro prossimoArmenia, Azerbaigian, Georgia: il Caucaso del Sud, a 20 anni dalla caduta dell’URSS, è stato scelto dal laboratorio di coproduzione Open Doors, centro pulsante e vivaio del cinema del futuro, come luogo da cui scegliere 12 progetti (su 100), i cui autori e produttori, in 4 giorni, potessero essere aiutati dal Festival a trovare le risorse per i loro fi lm. La giuria ha stabilito un dominio georgiano: due premi – per complessivi 26.000 franchi svizzeri – per il fi lm bellico See Yo u In Chechnya (Georgia/Francia/Estonia/Olanda), quello per la produzione e quello di Arte. I riconoscimenti allo sviluppo e alla post produzione, 15.000 franchi cias-cuno, vanno rispettivamente all’armeno Abysm e al georgiano Madona, mentre i 7.000 del premio CNC sono appannaggio del georgiano Sleeping lessons. Tra i sette fi lm cileni in post produzione in corsa per il Premio Carte Blanche 2013, in-vece, il trionfatore è To kill a man di Alejandro Fernandez Almendras che porta a casa un assegno di 10.000 franchi. boris sollazzo

PardoLive 13 | 8 | 2013 4

Spensierati all’evento e prevendita alla stazione FFS.

The arrivals of the day, thanks to SWISS

Abel Ferrara, directorDaniel Schmidt, directorGilles Deroo, directorKiyoshi Kurosawa, directorIsabel Ruth, actressJeremy Saulnier, director

Macon Blair, actorJúlio Bressane, directorMehdi Dehbi, actorMargaret Ménégoz, producerMarianne Pistone, directorWerner Herzog, director

What made you decide to make a docu-mentary on a politician as controversial as Christoph Blocher ?

After Cleveland contre Wall Street, which was about a trial, and went to the heart of the sub-prime crisis, I wanted to make a fi lm about the consequences of that crisis. A fi lm which would be a kind of follow-up to Mais im Bundeshuus – le génie helvétique, revisiting the arena of politics and democracy, some years later. What had changed? It was also the time the federal election campaign was just starting, with the polls predicting massive victory for the UDC in the coming elections. I thought it was time that fi lm, with all the means it has at its disposal, took on Christoph Blocher, the historical and hitherto unchallenged leader of that party.

What was your image of Christoph Blocher, then, and afterwards, and did it change?

Apart from a political judgment, the image I had of him was that which anyone might have got from reading the papers, listening to the

Piazza Grande, L’Experience Blocher, 13 | 8 | 2013 – 21:30

Jean-Stéphane BronDirector of L’Expérience Blocher

radio, or watching TV. But for me, all that mat-ters is the image produced by the fi lm. And that image is built up, constructed over the course of 100 minutes, in what is visible in the fi lm, but also in what lies beneath, the more obscure aspects. But I think your real question is: is this really a construction? Or is it a deconstruction?

On the one hand, the danger of lapsing into caricature. On the other, the danger of tur-ning Blocher into a hero. What point of view did you adopt to avoid these pitfalls?

Making this fi lm was a matter of trying to work out a challenge that was both human and poli-tical. What kind of distance was needed to fi lm a man whose ideas I did not share? And what perspective to take on someone who I wanted, despite that ideological gap, to probe in depth. For the fi lm’s subject, in the end, is a man’s unconscious, what drives him, shapes him. His passions, convictions, contradictions. In drawing on tropes from fi ction, and at times from genre fi lms, I wanted to give a fable-like dimension to this story. But I also sought to contextualize

Christoph Blocher within a larger story. In his own way, he is part of the major changes of the era, of capitalism and its violence, of democracy.

It seems that several auteur fi lmmakers of your generation want to deal with political issues, but with a less dogmatic approach than that of previous generations. What’s your position on this?

Perhaps that’s so. What is incontrovertible is that a rupture occurred in the 1980s and 90s that saw the advent of a focus on the more personal, investigating the private realm, the family unit, the body, illness, thanks to the re-volution of small digital cameras which allowed exploration of new territories, new processes, and over long periods of time. It was defi nitely a desire to break with a more directly militant kind of cinema, but it also refl ected a real tendency in society: the end of collective utopias, the triumph of the individual. Nowadays, there is clearly a new aspect to politics, a reconfi gura-tion in new forms, quite simply

5 PardoLive 13 | 8 | 2013

because it is a new era and there are new is-sues at stake. That gives rise to fi lms which are rediscovering the political gesture, but which are also fed by this more individually oriented approach to cinema. L’Expérience Blocher is part of this tendency.

With Mais im Bundeshuus, you made a fable-like thriller about the back corridors of power, examining an episode in Swiss par-liamentary politics. Now, with L’Expérience Blocher, might the Swiss case once again become universal, and resonate beyond national borders?

Maybe the answer lies in the fi lm itself. But what can be said with certainty is that it leaves viewers free to make up their own minds. And that it can be read on different levels. There is certainly a mirror effect for the Swiss. So yes, the story of Christoph Blocher tells us so-mething about our era. lorenzo buccella

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Vogliamo tutto il meglio del cinema.

Tom, Anna, Roger: appassionati di cinema

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7 PardoLive 13 | 8 | 2013

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How did you get into fi lm production?

I started as an editor, in Germany. Then I met at the Berlinale a French documentary fi lmma-ker and married him, also becoming his work partner. After our children were born, we moved to Paris and I applied for a job with Barbet Schroeder, who had founded Les Films du Losan-ge with Éric Rohmer. Both were preparing a fi lm at the time, Die Marquise von O for Eric and Maîtresse for Barbet, and they needed a produc-Maîtresse for Barbet, and they needed a produc-Maîtressetion assistant, or rather a bonne à tout faire(a handywoman) who would hold the structure together! I was later promoted to manager, then partner, and so on.

In the years that followed, would you say that you developed a certain “trademark” as a producer?

I would rather say that I have principles. Essen-tially: view each collaboration as unique and never drag a baggage from previous projects when approaching an auteur. You should be at the service of his or her own objectives and not try to impose practices on the grounds that they worked with others.

Is this one of the secrets behind your com-pany’s longevity?

Certainly. Besides, I’ve always considered underperforming fi lms as a form of property you would be wise to preserve, as their value could appreciate over time. We didn’t really know then that fi lms would end up enjoying such long lives. But indeed, with the booming of distribu-tion channels, our catalogue has proved strong enough to keep us afl oat with no need to rush into unconvincing projects.

What successes are you most proud of?

I know for a fact that you can never predict if a fi lm will succeed or fail. But experience taught me that originality tends to be rewarded. A good example of this was our collaboration with Jean-Claude Brisseau. Rohmer had discovered his short fi lms totally by chance, by entering the wrong theater. And after a couple of fi lms made together during his time off from work, I convinced Jean-Claude to quit his job as a school teacher in order to dedicate himself to directing Noce Blanche. The fi lm was a box offi ce hit and changed his life.

Five questions to …

Margaret MénégozPremio Raimondo Rezzonico

© D

enis M

anin

Conte d’étéLa Sala, 16 | 8 | 2013 – 14:00

Noce Blancheby Jean-Claude Brisseau

“ È impossibile prevedere se un film si rivelerà un successo o meno, ma l’esperienza mi ha insegnato che l’originalità paga quasi sempre ”

How strong is auteur cinema today?

The world was more or less split between “com-mercial cinema” and the barely tolerated ghetto of “auteur cinema”. But multiplexes themselves understood that it was in their best interest to offer a real diversity in their programs, and we now hear about the recently baptized “high potential auteur fi lms”. Indeed, there is no reason to think that a fi lm of artistic value couldn’t also be a box offi ce success. aurélie godet

Yesterday’s prize draw winner is: Bertholds Melissa, CH – 6653 Verscio

Pick up your prize at the UBS branch, Largo Zorzi, Locarno.

9 PardoLive 13 | 8 | 2013

Fondazione Bally per la Cultura ricerca ogni anno un artista ticinese attivo nel campo delle arti figurative (pittura, scultura, fotografia e grafica) che avrà l’opportunità di essere sostenuto e supportato a livello internazionale da uno dei Brand più famosi nel settore del lusso. Inviate la vostra candidatura a:

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Concorso internazionale, Mary Queen of ScotsAuditorium fevi, 14 | 8 | 2013 – 14:00

Una regina sotto scaccoMary Stuart, la regina che perse tre regni, la moglie che perse tre mariti, la donna che perse la testa. Ma soprattutto il profi lo di fi gura femminile (Camille Rutherford), strattonata dalla storia e scavata nelle ombre intime di un’infelicità che ha combattuto con fi erezza contro gli urti del destino. Sceglie la strada di un ritratto, raffreddato e chiuso in una messinscena in costume ai bordi dell’oscurità, da cui fi ltrano solo i rifl essi di luce degli eventi, il nuovo fi lm Mary Queen of Scots con cui il regista lucernese Thomas Imbach riapproda a Locarno. D’altra parte, la sua è una fi lmografi a che ha fatto spes-so sponda al Festival visto che qui, dopo il lungometraggio d’esor-dio Well Done (1994), è tornato a più riprese: con Ghetto nel 1997, Happiness Is a Warm Gun (2001), Happy Too (2002) fi no a Lenz nel 2006, un’opera di fi nzione ispirata a un racconto di Georg Büchner che narrava un episodio della vita di un poeta tedesco del XVIII seco-lo. Affaccio e affresco storici che avvengono anche in Mary Queen of Scots, sulla scia della biografi a della regina scritta da Stefan Zweig, col tuffo visivo che stavolta sprofonda nei tormenti del XVI secolo. Là dove una bambina di appena 6 giorni può diventare regina di Scozia, a 17 anni regina di Francia per poi ingaggiare un rapporto contro-verso con la cugina e rivale Elisabetta che siede sul trono a Londra.

Concorso internazionale, RealAuditorium fevi, 14 | 8 | 2013 – 16:30

The Labyrinth of ConsciousnessOriginally it was to be called A Perfect Day for Plesiosaur, but ultimately Kiyoshi Kuro-sawa’s new work is simply entitled Real. For a fi lm about a coma, repressed experience and the unconscious, it’s not such an obvi-ous choice. Though the rejection of the pre-historic monster (which still appears in the second part of the fi lm) will be the subject of much discussion, Real does not disappoint expectations. It’s pure Kurosawa. Which could seem a paradox, because the poet-ics of this fi lmmaker, so prolifi c in the past and who now distils his work into different media, is characterized by the contamina-tion between genres and languages. In the movie, science fi ction and ghost stories in-termingle in a tale whose fi rst half has the precise visionariness of David Lynch, and whose second half develops into a specifi -cally Japanese melancholy, as it speaks of

childhood, the sea and the past. Suspended between memory and tradition, Real is also journey to the origins of an art that with just a few strokes can give shape to anxieties and phantasms. If the cinema does not in and of itself have the purity of manga (the drawing style used in the comics), it can still pay trib-

ute to it with its spiralling movements that court the real and which the further they en-ter into the labyrinth of consciousness, the more the more they pretend to be its faithful mirror. carlo chatrian

È alla sovrana nemica, infatti, che la voce sussurrata fuoricampo di Mary Stuart scrive missive confi denziali, oscillando tra francese e in-glese, mentre gli spazi privati e semibui delle sue abitazioni sovrane vengono sconquassati dagli intrighi provocati dalle faide religiose e politiche che marcano i grandi contrasti del tempo. L’epoca moderna alle porte, il mondo medievale che muore, in mezzo il destino senti-mentale di una regina travagliata che con la tragedia nasce e con la tragedia muore. lorenzo buccella

Energia ticinese,per il Festival

[email protected]

11 PardoLive 13 | 8 | 2013

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ShoppingConcorso Cineasti del presente, MoutonLa Sala, 14 | 8 | 2013 – 11:00

Spiaggiati dal destino di una nottePrima scena. Mouton fi rma il suo atto di libertà di fronte agli occhi della madre che non si capacita della scelta. Divisa in due luoghi, attigui ma separati, la sequenza gio-ca sulla distanza tra i personaggi per evidenziarne l’incomunicabilità. I corpi sono ripresi come fossero opachi ai sentimenti. Questa distanza si ritrova anche nei segmenti successivi dove pure il corpo di Mouton è fi lmato in un pedinamento ravvicinato. Film di rottura con un linguaggio abituato a descrivere per scene, Mouton è per buona parte un dialogo serra-to con il suo protagonista e il suo percorso di apprendimento per diventare cuoco . Anche quando lo sguardo si allarga ad abbracciare il gruppo di amici, l’impressione resta quella di una documentazione dall’interno, fi no a quando in quella che potrebbe essere una parabola documentaria la fi nzione irrompe. In maniera drammatica. Ecco allora che il fi lm compie una scelta sorprendente, che permette di leggere la scena d’apertura sotto una luce diversa: perde di vista il suo protagonista e rimane nel piccolo villaggio in riva al mare, focalizzandosi sul gruppo di amici che continuano la loro vita. Nonostante tutto. Mentre la trama della pos-sibile fi ction si dissolve tra le placide onde del nord. Come una lettera scritta tra la nostalgia e la stanchezza. E forse mai inviata. carlo chatrian

The coastal city of Zhenhai, once a small fi shing village 1500 kilometers away from the capital of Beijing, began its process of industrialization in the 1980s, and now ex-ists as a special economic area in a now-burgeoning Chinese economy. Zhengfan Yang’s debut feature is set in Zhenhai, his hometown, whose process of historical change the director has elected to depict by way of 13 long, “distant” takes, the cam-era situated far away from his “characters,” with little discernible connections between each scene: Yang focuses on subtle mo-ments wherein the city’s residents suddenly are forced to confront modernity, fi nding themselves lost in transition. Yang’s highly esoteric and beautifully photographed work

evokes both Chinese landscape painting, as well as fi lmmakers as diverse as James Ben-ning and Roy Andersson – each long take – a building block, if you will – contains confi -dently choreographed action, in turns tragic and farcial, all in the name of exploring the psychological and political distance felt by its alienated characters, who persist with their lonely lives in a rapidly industrializing geography, with no control over their desti-nies or their culture. mark peranson

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Concorso Cineasti del presente, Yuan Fang, La Sala, 14 | 8 | 2013 – 18:30

Exploring Loneliness

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11.00 La Sala

Concorso Cineasti del presente

& 15, 16 | 8 | 2013 Mouton Dir.: Gilles Deroo, Marianne Pistone France · 2012 · DCP · Color · 100’ · o.v. French · Subt. English, Italian

11.00 11.00 L’altra Sala L’altra Sala

Pardi di domani

& 13, 15 | 8 | 2013 & 13, 15 | 8 | 2013 Concorso internazionale 4

Versailles Dir.: Carlos Conceição Portugal · 2013 · DCP · Color · 20’ · o.v. Portuguese · Subt. English, French

Quelqu’un d’extraordinaire Dir.: Monia Chokri Canada · 2013 · DCP · Color · 29’ · o.v. French · Subt. English, Italian

Tremor Dir.: Ricardo Alves jr. Brazil · 2013 · 35 mm · Color · 14’ · o.v. Portuguese · Subt. English, French

Dead End Dir.: Tonia Mishiali Cyprus · 2013 · DCP · Color · 15’ · o.v. Greek · Subt. English, French

Nasza klątwa (Our Curse) Dir.: Tomasz Śliwiński Poland · 2013 · DCP · Color · 27’ · o.v. Polish · Subt. English, French

11.00 Cinema Ex*Rex

Retrospettiva George Cukor

Two-Faced Woman Dir.: George Cukor USA · 1941 · 35 mm · Black and White · 90’ · o.v. English · Subt. French, Dutch Introduced by Enrico Ghezzi

11.00 Teatro Kursaal

Semaine de la critique

& 15 | 8 | 2013 Big Men Dir.: Rachel Boynton USA/United Kingdom/Denmark · 2013 · DCP · Color · 99’ · o.v. English/various African dialects · Subt. English

11.30 Auditorium FEVI

Appellations Suisse

& 15 | 8 | 2013 Frühzug Dir.: Delia Hess Switzerland · 2012 · DCP · Color · 5’ · no dialogue

Tutto parla di te Dir.: Alina Marazzi Switzerland/Italy · 2012 · DCP · Color and Black and White · 84’ · o.v. Italian · Subt. French, German


Concorso internazionale

& 15, 16 | 8 | 2013 Mary Queen of Scots Dir.: Thomas Imbach Switzerland/France · 2013 · DCP · Color · 120’ · o.v. English/French · Subt. English, French

14.00 PalaVideo PalaVideo PalaVideo

Schools Without Borders – Young Filmmakers Training in Switzerland and Italy, Program 1 Short fi lms of the CISA, SUPSI, SSS _ AA and the Centro Sperimentale di Cinematografi a studentsFree admission

An Hour with

10.30 10.30 Spazio Cinema Spazio Cinema

Forum: Premio Raimondo Rezzonico L’altra Sala

Forum: Premio Raimondo Rezzonico L’altra Sala

Conversation with Margaret Ménégoz Hosted by Anthony Bobeau

Films Films



& 13, 15 | 8 | 2013 Historia de la meva mort Dir.: Albert Serra Spain/France · 2013 · DCP · Color · 148’ · o.v. Catalan · Subt. English, French

09.00 La Sala


& 13, 15 | 8 | 2013 The Ugly One Dir.: Eric Baudelaire France · 2013 · DCP · Color · 101’ · o.v. Japanese/Lebanese/English/ o.v. Japanese/Lebanese/English/ French · Subt. English, French

09.00 PalaVideo

Fuori concorso: Shorts

& 13 | 8 | 2013 O Corpo de Afonso Dir.: João Pedro Rodrigues Portugal · 2013 · DCP · Color · 32’ · o.v. Galician · Subt. English

Mahjong Dir.: João Pedro Rodrigues, João Rui Guerra da Mata Portugal · 2013 · DCP · Color · 36’ · o.v. Portuguese · Subt. English

09.00 L’altra Sala

Fuori concorso: Focus Syria

& 12 | 8 | 2013 Light Horizon Dir.: Randa Maddah Syria · 2012 · DVD · Color · 7’ · no dialogue

Untold Stories Dir.: Hisham Al-Zouki Syria/Norway · 2013 · Beta digital · Color and Black and White · 46’ · o.v. Arabic, English · Subt. English

Zabad (Ecume) Dir.: Reem Ali Syria · 2008 · DVD · Color · 41’ · o.v. Arabic · Subt. English

09.00 Cinema Ex*Rex


Edward, My Son Dir.: George Cukor USA · 1949 · 35 mm · Black and White · 112’ · o.v. English · Subt. Spanish.

11.00 PalaVideo


& 12, 13 | 8 | 2013 Tableau noir Dir.: Yves Yersin Switzerland · 2013 · DCP · Color · 117’ · o.v. French · Subt. English

14.00 La Sala

Pardi di domani

& 15, 16 | 8 | 2013 Dir.: Gilles Deroo, Marianne Pistone

& 15, 16 | 8 | 2013 Dir.: Gilles Deroo, Marianne Pistone

Concorso internazionale 5

La strada di Raffael Dir.: Alessandro Falco Italy/Spain · 2013 · DCP · Color · 24’ · o.v. Italian · Subt. English, French

Tadpoles Dir.: Ivan Tan Singapore · 2013 · DCP · Color · 12’ · o.v. English · Subt. English, French

6 stora fiskar (6 Big Fish) Dir.: Stefan Constantinescu Sweden · 2013 · DCP · Color · 14’ · o.v. Swedish · Subt. English, French

Z1 Dir.: Gabriel Gauchet United Kingdom · 2013 · DCP · Color · 33’ · o.v. English · Subt. French, Italian

14.00 Cinema Rialto 1

Histoire(s) du cinéma

& 13 | 8 | 2013 Cyprus · 2013 · DCP · Color · 15’ ·

& 13 | 8 | 2013 Cyprus · 2013 · DCP · Color · 15’ ·

Otar Iosseliani, le merle siffl eur Dir.: Julie Bertuccelli France · 2006 · Beta digital · Color · 92’ · o.v. French · Subt. English

14.00 Cinema Ex*Rex o.v. Polish · Subt. English, French Cinema Ex*Rex o.v. Polish · Subt. English, French


The Actress Dir.: George Cukor USA · 1953 · Beta digital · Black and White · 90’ · o.v. English

14.00 L’altra Sala 90’ · o.v. English · Subt. French, Dutch L’altra Sala 90’ · o.v. English · Subt. French, Dutch

Open Doors Screenings

Gaigimet (Keep Smiling) Dir.: Rusudan Chkonia Georgia/France/Luxembourg · 2012 · DCP · Color · 91’ · o.v. Georgian · Subt. English

16.15 L’altra Sala various African dialects · Subt. English L’altra Sala various African dialects · Subt. English


& 13, 15 | 8 | 2013 The Stone Dir.: Se-rae Cho South Korea · 2013 · DCP · Color · 113’ · o.v. Korean · Subt. English, French

16.15 La Sala

Fuori concorso

& 15 | 8 | 2013 Se Eu Fosse Ladrão... Roubava Dir.: Paulo Rocha Portugal · 2012 · DCP · Color · 87’ · o.v. Portuguese · Subt. English


Histoire(s) du cinéma: Pardo alla carriera Otar Iosseliani

Iko shashvi mgalobeli (Once Upon a Time There Was a Singing Blackbird) Dir.: Otar Iosseliani ex USSR · 1970 · 35 mm · Black and White · 78’ · o.v. Russian · Subt. French



& 15, 16 | 8 | 2013 Training in Switzerland

& 15, 16 | 8 | 2013 Training in Switzerland

Real Dir.: Kiyoshi Kurosawa Japan · 2013 · DCP · Color · 127’ · o.v. Japanese · Subt. English, French

Programme 14 | 8 | 2013

Entertainment, refreshment and plenty of delightful spots

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16.30 Cinema Ex*Rex

Premi speciali: Werner Herzog

The Wild Blue Yonder Dir.: Werner Herzog USA/United Kingdom/Germany · 2005 · 35 mm · Color · 81’ · o.v. English



Cinéastes de notre temps: Conversation avec George Cukor Dir.: André S. Labarthe, Hubert Knapp France · 1969 · Beta digital · Black and White · 42’ · o.v. English/French · Subt. French


Open Doors Screenings

Saroyanland Dir.: Lusin Dink Turkey/Armenia/France · 2012 · DCP · Color · 75’ · o.v. English/Armenian/Turkish · Subt. English

18.30 PalaVideo


& 12, 13 | 8 | 2013 Tonnerre Dir.: Guillaume Brac France · 2013 · DCP · Color · 106’ · o.v. French · Subt. English

18.30 La Sala


& 15, 16 | 8 | 2013 Yuan Fang (Distant) Dir.: Zhengfan Yang China · 2013 · DCP · Color · 88’ · no dialogue


Premi speciali: Douglas Trumbull

& 16 | 8 | 2013 Silent Running Dir.: Douglas Trumbull USA · 1972 · DCP · Color · 89’ · o.v. English

18.30 L’altra Sala

Semaine de la critique

& 13 | 8 | 2013 Earth’s Golden Playground Dir.: Andreas Horvath Austria/Canada · 2013 · DCP · Color · 106’ · o.v. English · Subt. French

19.00 Cinema Ex*Rex


& 17 | 8 | 2013 It Should Happen to You Dir.: George Cukor USA · 1954 · 35 mm · Black and White · 87’ · o.v. English


Open Doors Screenings: Artavazd Pelechian

Nacalo ou skisb (Au début ) Dir.: Artavazd Pelechian ex USSR · 1967 · Blue Ray · Black and White · 10’ · no dialogue

Menk (Nous) Dir.: Artavazd Pelechian ex USSR · 1969 · Blue Ray · Black and White · 30’ · no dialogue

Nach vek (Notre siècle) Dir.: Artavazd Pelechian ex USSR · 1982 · Blue Ray · Black and White · 50’ · no dialogue

Premi speciali: Werner Herzog Premi speciali: Werner Herzog Konec ou vertch

(Fin) Dir.: Artavazd Pelechian Armenia · 1992 · Blue Ray · Color · 8’ · no dialogue

Kiank ou zizn’ (Vie) Dir.: Artavazd Pelechian Armenia · 1993 · Blue Ray · Color · 6’ · no dialogue

21.00 L’altra Sala Dir.: André S. Labarthe, Hubert Knapp L’altra Sala Dir.: André S. Labarthe, Hubert Knapp

Pardi di domani

& 12, 13 | 8 | 2013 Concorso nazionale 2

Lui, Hitler et moi Dir.: Nathan Hofstetter Switzerland · 2013 · DCP · Color · 30’ · o.v. French · Subt. English, Italian

Bonne Espérance Dir.: Kaspar Schiltknecht Switzerland · 2013 · DCP · Color · 19’ · o.v. French · Subt. English, Italian

Hasta Santiago Dir.: Mauro Carraro Switzerland/France · 2013 · DCP · Color · 13’ · o.v. French · Subt. English, Italian

France · 2013 · DCP · Color · 106’ · France · 2013 · DCP · Color · 106’ · Skinny Boy Dir.: Lawrence Blankenbyl Switzerland · 2013 · DCP · Color · 11’ · o.v. Swiss German · Subt. English, French

Alfonso Dir.: Jan-Eric Mack Switzerland · 2013 · DCP · Color · 19’ · o.v. Swiss German · Subt. English, French

21.00 La Sala

Fuori concorso: Death Row

& 17 | 8 | 2013 USA · 1972 · DCP · Color · 89’ · & 17 | 8 | 2013 USA · 1972 · DCP · Color · 89’ · Death Row II - Portrait: Darlie Routier Dir.: Werner Herzog USA · 2013 · DCP · Color · 55’ · o.v. English · Subt. French

106’ · o.v. English · Subt. French 106’ · o.v. English · Subt. French

Death Row II - Portrait: Douglas Feldman Dir.: Werner Herzog USA · 2013 · DCP · Color · 56’ · o.v. English · Subt. French

21.00 PalaVideo

Fuori concorso: Shorts

& 15 | 8 | 2013 Open Doors Screenings: Artavazd & 15 | 8 | 2013 Open Doors Screenings: Artavazd Los Andes Dir.: Cristóbal León, Joaquín Cociña Chile · 2012 · DCP · Color · 4’ · o.v. Spanish · Subt. English

Fuori concorso: Signs of Life

Black and White · 10’ · no dialogue Black and White · 10’ · no dialogueEl futuro Dir.: Luis López Carrasco Spain · 2013 · DCP · Color · 67’ · o.v. Spanish · Subt. English

21.00 Cinema Rialto 1 Black and White · 30’ · no dialogue Cinema Rialto 1 Black and White · 30’ · no dialogue

Premi speciali: Victoria Abril

& 9 | 8 | 2013 Black and White · 30’ · no dialogue

& 9 | 8 | 2013 Black and White · 30’ · no dialogue ¡Átame!

(Tie Me Up! Tie Me Down!) Dir.: Pedro Almodóvar Spain · 1990 · 35 mm · Color · 101’ · o.v. Spanish · Subt. French, German



& 13 | 8 | 2013 Red Hollywood Dir.: Thom Andersen, Noël Burch USA · 1996 · Beta digital · Color and Black and White · 112’ · o.v. English

21.15 Cinema Ex*Rex Armenia · 1993 · Blue Ray · Color · 6’ · Cinema Ex*Rex Armenia · 1993 · Blue Ray · Color · 6’ ·


Wild Is the Wind Dir.: George Cukor USA · 1957 · 35 mm · Black and White · 109’ · o.v. English · Subt. French, German

21.30 Piazza Grande

Premio Cinema Ticino to Amka Films and Ventura FilmVision Award - Electronic Studio to Douglas Trumbull

Gloria Dir.: Sebastián Lelio Chile · 2012 · DCP · Color · 104’ · o.v. Spanish · Subt. English, French

23.00 PalaVideo


& 12, 13 | 8 | 2013 L’Étrange Couleur des larmes de ton corps Dir.: Hélène Cattet, Bruno Forzani Belgium/France/Luxembourg · 2013 · DCP · Color and Black and White · 102’ · o.v. French/Danish/Flemish · Subt. English This fi lm features scenes that could shock the sensitivity of some viewers

23.00 La Sala


& 13, 15 | 8 | 2013 Sangue Dir.: Pippo Delbono Italy/Switzerland · 2013 · DCP · Color · 92’ · o.v. Italian/Genoese dialect · Subt. English, French


Appellations Suisse

& 13 | 8 | 2013 Argerich Dir.: Stéphanie Argerich Switzerland/France · 2012 · DCP · Color and Black and White · 95’ · o.v. French · Subt. German, French



& 12, 13 | 8 | 2013 Manakamana Dir.: Stephanie Spray, Pacho Velez USA/Nepal · 2013 · DCP · Color · 118’ · o.v. Nepali/English · Subt. English

23.30 Cinema Ex*Rex Dir.: Cristóbal León, Joaquín Cociña Cinema Ex*Rex Dir.: Cristóbal León, Joaquín Cociña


& 11 | 8 | 2013 Gaslight Dir.: George Cukor USA · 1944 · 35 mm · Black and White · 113’ · o.v. English · Subt. French, German

PardoLive 13 | 8 | 2013 14

Sarida BossoniAgency for Directors of PhotographyKalchbuehlstrasse 169 CH-8038 Zurich +41 (0) 79 279 11 99 [email protected] www.saridabossoni.com

Images last longer than words.

AU S T R I A N F I LM MUS E UM • V I E NNA L E

RETROSPECTIVE JERRY LEWISOCTOBER 18 – NOVEMBER 17

WWW.VIENNALE.AT

OCTOBER 24 — NOVEMBER 6, 2013

JJERRYLEWIS,«THELADIESMAN»,USA1961

V13_Ins_pardo news_V13 24.07.13 17:38 Seite 2

15 PardoLive 13 | 8 | 2013

Pardo Way is a selection of top bars & nightspots in town. The optimal itinerary to recharge your battery between the screenings. Starting from breakfast, snacks, lunch and aperitif, Pardo Way goes on with thematic tastings, shows, concerts and nightlife that are going to amuse and keep busy our festivalgoers.The program with all the initiatives is published on the Pardo Way Facebook Page, while strategic tips and useful information are available on Foursquare.

Pardo Way

Beach LoungeSemplicemente beach

Bar Magnolia @ Spazio RSIMusic bar

La Rotonda del Pardo

Teatro La CambusaCambusindie - Music festival

Al BorgoCafé literaire

Cinebar SwisscomFilm lounge

Oasi CasablancaOriental lounge

Fashion 2ShéAperò & after movie cocktail

Happy Carrot Project

Club Seventy7The place to pleasure your night

Lido Patriziale di Ascona

Max WayThe cosmopolitan place in town

Bistrot Teatro ParaventoMagico giardino con concerti

Un gustoso fotogramma dal sapore etnico, naturale e creativo

Rivellino GardenRelaxing garden

Fuori concorso: Signs of Life, El futuroPalaVideo, 14 | 8 | 2013 – 21:00

Nel futuro degli Anni OttantaUn fi lm come una rudimentale ma effi cientissima macchina del tempo, un titolo apparentemente paradossale per immagini quasi interamente ambientate da qualche parte negli anni ‘80, durante un party casalingo di quelli davvero ben riusciti, che i partecipanti ricor-deranno a lungo. Mentre nell’appartamento suona ad alto volume il meglio della musica new wave iberica, e si chiacchiera, si posa con il taglio di capelli giusto e un drink in mano, si balla e si fl irta, fuori dalla porta un paese da poco uscito dal Franchismo si apprestava a diventare di moda e popolare, migliorare le proprie condizioni, cre-scere, crescere. Ma il destino mal immaginato da quei ragazzi è corso troppo veloce diventando il presente dei loro fi gli, se mai ne hanno avuti: stessa età forse, ma tutt’altra musica, nelle orecchie come per le strade, tra i palazzi del boom brutti oggi come allora, dove la cal-ma apparente sarà presto rotta dagli slogan di una nuova generazio-ne, costretta a immaginare un otro futuro. sergio fant

“I always felt that George Cukor was a very underrated director, much like Minnelli and Mankiewicz,” American fi lmmaker Mark Rappaport tells us from his Paris home, en route to Locarno,”while I think his fi lms defi -nitely belong to the Desert-Island collection.”

“The one that will introduce, and that I have written about in the catalogue, A Life of Her Own (1950), starring Lana Turner and Ray Milland, is probably the most underrat-ed of them all. I don’t know why, but many consider it his worst fi lm, I honestly think it’s one of his best.”

“It was long-forgotten, and pratically unavailable, but I had been able to watch it fi rst on TV, thanks to Turner Classic Mov-ies, one of the best sources for rare fi lms, and then fi nally on the big screen through a

recent Cukor retro-spective at the Ciné-mathèque française. I can’t wait to see it again!”

massimo benvegnù

Ordina ancora oggi il nuovo

catalogo 2013/2014 su fly.ch e sii il

primo a riceverlo!

Edward, My SonCinema Ex*Rex14 | 8 | 2013 – 9:00

Two-Faced WomanCinema Ex*Rex14 | 8 | 2013 – 11:00

The ActressCinema Ex*Rex14 | 8 | 2013 – 14:00


A Piece of Underrated Art

Soyez toujours informé avec les solutions mobiles du TELETEXT!

Le TELETEXT en déplacement, faites plus simplement.

Téléchargez l’application du TELETEXT, disponible pour iPhone et Windows Phone 7, ou consultez le site web mobile (m.txt.ch) et ne ratez aucune news de dernière minute.

17 PardoLive 13 | 8 | 2013

UBS Chair. Join the Festival del film Locarno Community.Share your impressions at www.pardo.ch/ubschair

We will not rest

Negli ultimi anni Paulo Rochaaveva immaginato una sorta di “ultimo fi lm”, che portasse a compimento la sua opera. Ba-sata sulle memorie della vita del padre, ambientato agli inizi del secolo a Porto e nel Furadouro, era anche un modo di tornare sui luoghi della sua infanzia, dove aveva girato Mudar de vida: il mondo contadino an-cestrale, la vibrazione dei corpi nel paesaggio, il passaggio delle generazioni, il ciclo della nascita e della morte, la tensione es-catologica verso un altro mondo. Vi aveva riunito i suoi attori (da Isabel Ruth a Luís Miguel Cintra, e la piu giovane Joana Bárcia), insieme all’équipe degli ultimi fi lm, da O Rio do Ouro a Vani-

Spazio Cinema (Forum)15 | 8 | 2013 – 11:00

Round Table on Paulo RochaConversation with José Manuel Costa, Pedro Costa, Isabel Ruth, Roberto Turigliatto

Hosted by Catherine Bizern

On August 14 in Cinema Rialto, Armenian di-rector Artavazd Pelechian be celebrated by the screening of fi ve documentaries, cover-ing most of his career both before and after the demise of the Soviet Union (1967-1993).

Now living in Moscow, Pelechian – who received a Lifetime Achievement Award at Armenia’s Yerevan Film Festival in 2006 – has described his directorial theories in sev-eral books such as Moyo Kino (My Cinema, 1988). Renowned for developing the style of distance montage, Pelechian made exten-sive use of archive footage, which he mixed with his own shots using music and sound effects, but no words. Besides his own pro-duction of 12 fi lms – mostly in black&white, the longest 60 minutes – he directed archive footage for, ao, Andrey Konchalovskiy (Sibe-riade), and wrote scripts for Mikhail Vatanov.

“One of the most important and infl uential fi lmmakers from Armenia, Pelechian was an obvious choice for this year’s focus on Caucasian movies,” explained head of Open Doors, Martina Malacrida, this year focusing on the cinema in Armenia, Azerbaijan and Georgia. The Pelechian selection includes

Skisb (Beginning, 1967), Menk (Menk (Menk We (We ( , 1969), Mer dare (Our Century, 1982), Vertch (End, 1992) and Kiank (Life, 1993) – all between six-30 minutes and without any dialogue.

jørn rossing jensen

Fuori concorso, Se Eu Fosse Ladrão… RoubavaLa Sala, 14 | 8 | 2013 – 16.15

Il fantasma dell’opera di Rocha

Open Doors Screenings: Artavazd Pelechian, Cinema Rialto 2, 14 | 8 | 2013 – 19:00

Pelechian Without a Word

tas, e la fotografi a di Acacio de Almeida. Terminato poco prima della morte del suo autore il fi lm è un vero miracolo, Se Eu Fosse Ladrão… Roubava, molto più che una ricapitolazione di tutto il suo cinema: piuttosto una nuova metamorfosi cosmi-ca della sua mitologia poetica. Jorge Silva Melo lo defi nisce “un immenso addio”, “un fi lm es-tremamente commovente, do-loroso, realizzato alla frontiera della morte, fi lmato in modo magistrale”. Della sceneggiatu-ra Rocha aveva girato solo una parte (con sequenze stupende, tra cui quelle con Isabel Ruth sulla stessa spiaggia di Mudar de vida che sembrano scaturire da un’esperienza spiritica). Ben

presto nella sua mente si era fatta avanti l’idea di montare insieme al nuovo girato estratti dai suoi fi lm precedenti secondo un’idea di rimontaggio operata sul corpo dei propri stessi fi lm. Quest’opera magnifi ca e unica riunisce due pulsioni fonda-mentali del regista: la poetica visionaria del narratore, con le sue infi nite storie popolate dai fantasmi e dalle memorie del luogo, e il collage modernista, plastico e pitturale dell’ artista fi ammeggiante. Inizia da Lo-carno la riscoperta di uno degli autori maggiori del cinema con-temporaneo.

roberto turigliatto

Mudar de VidaPalaVideo16 | 8 | 2013 – 14.00

Os Verdes AnosCinema Rialto 115 | 8 | 2013 – 21.00

PardoLive 13 | 8 | 2013 18

Offcuts 13 | 8 | 2013

Pardi di domani

Julie Bertuccelli, director of Otar Iosseliani, le merle siffl eur

Pippo Delbono, director of Sangue

Albert Serra, director of Historia de la meva mort

Open Doors and Carte Blanche Awards Ceremony

Vincenç Altaió, actor of Historia de la meva mort

Bobò, actor of Sangue

Pardo alla carriera to Otar IosselianiPardo alla carriera to Otar Iosseliani

19 PardoLive 13 | 8 | 2013

Otar Iosseliani

Eric Baudelaire, director, and Juliette Navis, actress of The Ugly One

Cho Dong-in, actor of The Stone

Abel Ferrara, Pardo d’onore Swisscom 2011

PardoLive 13 | 8 | 2013 20

Enjoy the festival. TV is waiting for you.

Replay from Swisscom TV lets you watch any programme broadcast in the last 30 hours. Further information and a special offer from Swisscom TV to mark the festival are waiting for you at Cinebar Swisscom.

21 PardoLive 13 | 8 | 2013

Enjoy the festival. TV is waiting for you.

Replay from Swisscom TV lets you watch any programme broadcast in the last 30 hours. Further information and a special offer from Swisscom TV to mark the festival are waiting for you at Cinebar Swisscom.

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ShoppingBeyond the Festival

Creativity and Interaction at Their BestLooking beyond the borders: that could be the motto of the two special days organized at the Festival with the participation of the University of Applied Sciences and Arts of Southern Switzerland (SUPSI). The event (called “Scuole senza frontiere: giovani au-tori in formazione tra Svizzera ed Italia”) is dedicated to a number of projects developed in the last semesters by the Visual Commu-nication students; the courses in “Media and Interaction” generated in fact a long series of Apps, documentaries, interviews, infograph-ics, advertisements, short movies and pieces of video art which represents our students’ creativity and multidisciplinar attitude at their best. The works will be presented ad PalaVideo on Wednesday and Thursday (Au-gust 14th and 15th at 14:00), a two-day session in which the Festival expressively focuses on Ticinese territory and its cinema and audio-visual schools. mattia bertoldi

Beyond the Festival

Tutto il resto è CISAIl Conservatorio internazionale di scienze audiovisive (CISA) è già nel proprio nome CISA) è già nel proprio nome CISAsenza confi ni, primus inter pares nelle due giornate delle “Scuole senza frontiere”, al Pa-laVideo. A cavallo della tavola rotonda con il geniale regista Maurizio Nichetti al Teatro Paravento alle 10 del 15 agosto, troveremo opere, tra schermo e realtà, di giovani stu-denti del CISA che apriranno e chiuderanno le 48 ore di cinema con CSC e SUPSI. FTIA – 40 anni per l’integrazione e Ritratti d’au-tore- handicap e arte, il 14, apriranno una fi nestra sul disagio fi sico e mentale, il giorno dopo il rapporto genitori-fi gli sarà al centro di Ritorno a casa e di Di padre in fi glio, come lo è il contrasto tra il Carnevale di Per-dutamente e il futuro post-apocalittico de Il risanamento. In mezzo Antonia, trans che afferma l’identità che tutti le negano. Vita e Settima Arte nella sintesi nobile di giovani cineasti. boris sollazzo

The little things. That’s what we’re perfect in.

Small things can be great. When you y y SWISS Business, you’ll enjoy delicious Swiss cuisine,a modern entertainment system and a fully at at bed. For ights ights to 74 destinations worldwidevisit swiss.com

SWISS is delighted to be a long-term partner to Festival del lm Locarno and to off er its services for the world-famous event in the role as Offi cial Airline

full-frame by XLAlbert Serraand his cast

EditorLorenzo Buccella

Graphic designSimon SmeraldiAlessandra AngelucciJannuzzi Smith

WritersMassimo BenvegnùMattia BertoldiLorenzo EspositoAdriano ErcolaniSergio FantAurélie Godet

Cristian GomezSara GroismanJørn Rossing JensenMark PeransonBoris SollazzoRoberto Turigliatto

Guest photographersAlessio Pizzicannella(Cover)Laura Chiesa (assistant)Xavier Lambours (full-frame by XL)Fabrizio Capeder (assistant)

PhotographersGabriele Putzu (TiPress)Fotofestival (Marco Abram, Massimo Pedrazzini, Carlo Reguzzi, Sailas Vanetti)Ivana De Maria Timbal

AdvertisingRaphaël BrunschwigOriana PivettaLuca Spinosapublicitas

PrintSalvioni Arti Grafi che

15 March – 17 November 2013Bernisches Historisches Museum

The “ 8th Wonder of the World ” – now in BernQin – The eternal emperorand his terracotta warriorswww.qin.ch

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