Sunday 11 June from 2.00 to 6.00
things (never) seen outside hours
Ghezzi Baglivi di Pace Esposito Fina France by Luciani Turigliatto
Presents
small screen. Television production of Luigi Di Gianni (1955–1999) (1)
Curated by Stefano Francia Di Celle and Simona Fina
The name of Luigi di Gianni is inextricably linked with the ethnographic documentary, of which he is considered the greatest exponent in Italy. But reducing his work to documentaries would certainly be limiting and would leave out a little-known production made by Di Gianni for television, where he landed in 1955, becoming one of the so-called “forty immortals”, who Won the victory Competition to enter the civil service, in which Umberto Eco, Gianni Vatimo and Furio Colombo also participated. The veteran of Italian cinema chose the production path rather than the managerial path and as a director he shot screenplays, documentaries of various kinds, television direction of important theatrical productions and contributions to programs of a scientific and social nature. Many works have been lost, others will not appear in this tribute because they are bound by copyright, but what survives expresses a desire to create cinema. The “intrusion” into television fiction has the same despair and anguish of his cinema, with elements suited to Di Gianni, such as dream digressions and the spiritual problem of man.
the rooster sings at midnight
(Italy, 1958, b/w, dur., 43′)
Direction: Louis Digianni
Together: Tino Bianchi, Vera Silenti, Diego Michelotti, Franco Pastorino, Ferruccio Amendola, Jolanda Verdirossi, Maria Zanoli, Domenico Crescentini
Three suspicious-looking men arrive at a small mountain inn in an attempt to recover a treasure hidden in the hotel by the old owner and his nephew, who are killed by three rogues. During dinner, the waitress tells the story of the mountain rooster. If a rooster crows at midnight, it warns that the messenger of death is coming for one of the residents of the house. From their room, the three men see the innkeeper burying a corpse and try to hire him to drive away the customers and allow them to recover the stolen goods. In truth, the father of the victim killed by the three thugs is innocent. Thanks to a pit trick, the innkeeper manages to pit them against each other, causing them to eliminate each other. A small film that echoes the atmosphere of American detective stories of the 50s.
the last face of medusa
(Italy, 1958, b/w, dur., 49′)
Direction: Louis Digianni
Together: Ferruccio Amendola, Giulia Lazzarini, Benedetta Vallabrega, Giulio Girola, Tino Bianchi, Riccardo Cucciola
The alien Achtab lands in the garden of the engaged couple in the midst of a party. The extraterrestrial fleeing his planet is greeted with curiosity and fear by his guests, despite the fact that he cannot take off the heavy space suit that hides his presence. Achtab’s arrival especially intrigues Alice, who forms a special and intimate relationship with the alien, fueled by her curiosity about what hides behind the stars. Terrestrials, as Achtab would affirm, are “little more than shapeless animals, not yet ripe for happiness”, and no planet, other than terrestrials, has yet been able to reach an absolute truth. a subject that thrilled audiences at the time. The first science fiction drama produced by Rai.
fracture
(Italy, 1956, b/w, dur., 37′)
Direction: Luigi Di Gianni
by an act by: Paul Levy
Together: Lilla Brignone, Luca Ronconi, Ileana Ghioni, Micaela Giustiniani, Piero Cicoletti
Elena receives anonymous phone calls and fears they concern her son. Young Sandro’s attitude has changed in recent days and she is convinced that he is hiding something from her. Her main fear is that he is having an affair with a girl of lower rank, which may distract her from her studies, which Elena maintains with difficulty after the loss of her husband. Drama piece with a psychological background focusing on the emotional bond between mother and child. The authentic relationship between Elena and Sandro has come to a fracture, essentially one of Sandro’s estrangement from the maternal figure.
Monuments of Italy, Ostia Antica
(Italy, 1955, b/w, dur., 23′)
Direction: Louis Digianni
Built on the left bank of the Tiber, where legend has it the landing of Aeneas, tradition has it that the fourth king of Rome founded the city of Ostia to guard the mouth of the river. The documentary focuses on the main archaeological finds, recalling the importance of the city in the era of the Roman Empire. Through numerous panoramic shots and trolas, completed by unorthodox musical punctuations, Di Gianni explores the interior of a domus, mithraeum and necropolis, exaggerating the complete immobility of the ruins, at times introducing a certain uneasiness Is.
From the Roman Forum to the Villa Medici
(Italy, 1958, b/w, dur., 20′)
Direction: Louis Digianni
From the Roman Forum to the Villa Medici, an itinerary that could have provided Stendhal with one of his famous “Roman walks”.
miniature concert
(Italy, 1966, B/, duration, 22′)
Direction: Louis Digianni
From 1954 (the year broadcasting began), RAI began broadcasting through programs of an educational-didactic nature, operas and symphonic-chamber concerts, spreading knowledge of classical music as an artistic and cultural heritage.
concert of soloists from Rome, evening concert
(Italy, 1975, b/w, dur., 16′)
Direction: Louis Digianni
Violinists Coen and Buffa, cellist Lanzilotta and harpsichordist Perrotti Bernardi were filmed during the performance.
Friday 17th June 1.40pm to 6.00pm
Ex Libris – New York Public Library
(USA, 2017, colm., dur., 197′, ov sub.it.)
directing and editing: Frederick Wiseman
A double title for this unsurpassed masterpiece by multi-awarded American filmmaker (among other awards, six honorary titles, a Golden Lion and an Oscar for Lifetime Achievement) Fred Wiseman, from which Fuori Orario featured in nearly all of his films Is. With his infallible method, describing the Public Library of New York, the city that has been filmed more than any other, Wiseman talks to us about books, his greatest passion, about the knowledge preserved in them. , in which each of us can find fragments of one’s world and which represents a fragile but perhaps the only lifeline from human catastrophe
Saturday 17 May D1.30 to 7.00 pm
deep uncertainty of life
Edited by Lorenzo Esposito
high life – beautiful life first sight tv
,high life, France/Germany/UK/Poland/USA, 2018, Col., Durr. 110ì voice sub., it.)
Direction: Claire Denis
Together: Juliette Binoche, Robert Pattinson, Mia Goth, Andre Benjamin, Agata Buzek, Lars Eidinger, Ivan Mitchell, Victor Banerjee
presented at the Toronto International Film Festival
A group of criminals sentenced to death are sent into space on a mission to extract alternative energy from black holes. Each prisoner was given a gift for his experiments by Dr. Treated like a guinea pig by Dibs. The doctor is trying to have a baby in space through artificial insemination, but she hasn’t been successful yet. Dibs finds a way to deliver a baby girl, but by now the crew is out of control and the ship has fallen into a black hole. Only one member remains, Monte, who names the baby Willow. Monte raises the girl until she is a teenager and together they decide to make an extreme effort to get away from the black hole.
“When I did preliminary research I found that the yellow light was invented by Olufer and that the yellow light was the end for me. Like a moment of singularity, but there was no other end for me. Never. This end for me There’s hope. It’s not a sad ending.” We want? Yeah.” The beginning and the end, I mean, if you don’t physically hold onto certain things when you’re writing the screenplay, like certain themes… Like Crapbox, for example, that’s something I knew, And the garden, eating strawberries, things like that. You could make a movie like that, you know? Why is a garden so important when you’re so far away from Earth and can’t go back, you understand? For me, The garden has always been an obligation. I don’t know why. Now I keep saying yes, it’s because of Andrei Tarkovsky. But in a way I also like gardening and I thought if there was a garden it would make a good film. (Claire Denise)
to leave
,offer/sacrificeSweden, United Kingdom, France, 1986, Col, Dur., 142′)
Direction: Andrei Tarkovsky
Together: Erland Josephson, Susan Fleetwood, Gurun Gisladóttir, Alan Edwall, Sven Wolter
Special Jury Grand Prix at the 39th Cannes Film Festival
Alexander, a former actor who specializes in aesthetics and the history of religions, lives with his family on Gotland, an island in the Baltic. While preparations for his birthday dinner are in full swing, a loud roar is heard that makes the whole house shudder: the television announces that a catastrophic nuclear holocaust is underway and that escape is impossible. Alexander then gathers in prayer and makes a sacrifice to the god: he gives up everything he has, on the condition that life can be as peaceful as before.
Lady Tarkovsky’s latest film ends with an image that directly recalls the beginning of her first feature film, Evans’ Childhood (1962): the two have a child on the ground while the camera climbs a tree trunk to the sky points to. It’s a curious symmetry that frames his entire career and makes us understand how much of a testament to sacrifice of all kinds. Suffering from a long illness, Tarkovsky felt this would be his last film and included all the stylistic elements typical of his cinema: the details of the pictorial works (Leonardo’s Adoration of the Magi, Rublev’s 1966 Lady’s Icon, contemplation like ); the classical music of the beloved Johann Sebastian Bach; alternation of color and black and white; Long and existential and philosophical dialogue (Nietzsche is already mentioned in the opening bars). Sacrifice is, at the same time, a spiritual parable and an indictment against a world that has now lost any form of faith.
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N.14 of Wild Path Magazine
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