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Meeting with the authors
The penultimate appointment with the meetings with the authors in Urban Hotel. Also today at 11am a healthy crowd of journalists and those curious particapated in the daily debate.
In the field of the Joyce Project, Elisabetta D’Erme presented the creator of Paris was a woman. A co-production between the United States and Europe the represents a moment in the the life of Joyce in which the Irish writer leaves Trieste to transfer to Paris. Andrea Weiss, scriptwriter, explained how they wanted years of historical research of the archives to rebring to light the forgotten events of independent women. Paris in the 20s was a unique city of its kind, the birthplace of modernism and the international artistic fulcrum, a suitable environment to encourage a great raising of consciousness on the part of the women, pushing them to try and conquer new freedom.
The director Greta Schiller established the intentions behind this piece of work was to find images that tell a story, and that do not exclusively illustrate the epoque. The emblematic episode tells of the retrieval of a large box with material that had been locked for 30-40 years in the Yale archives forgotten by all, that the two authors could examine and utilize with great satisfaction.
Then it was Petr Zelenka's turn with his long feature film in competition Karamazovi. The Czech director decisively claimed that, in his opinion, the cinema is the less important means of communication and more limited whereas literature is a true and proper form of art that allows an enormous expressive and creative freedom. In addition he explained that he had wanted to create this project because it was striking the theatre transposition of the novel "I fratelli Karamazoff" and was then interested in putting it on film.
The choice to set the story in a factory originated from an episode that really happened to Zelenka during the shooting of Year of the Devil in 2000: the director tells how the workers continued undeterred to go to work in spite of the presence of a film set and how this made and inspired the creation of his project "I fratelli Karamazoff". The factory used in the shoot in reality is found in Poland, however for economic and safety reasons, the director was obliged to find one not fully in operation.
At the request to explain why in the credits it is signed "Zelenka & Friends", the Czech author responded that he made it to underline how the direction is a collective work, meriting all those that had collaborated in the production and not just only one person.
Straight after the words were passed to the producer of Prognoza, Mila Kirova who presented the film as a work against all the clichès about the Balcans, that were diffused since he gave life to an image of the country, not faithful to the reality, but that had particular success abroad.
Kirova explained how the Balcanic languages are alike, allowing therefore the various populations to understand, whereas English, considered to be a universal idiom, came to be deemed as a "language of war" that hindered real communication.
There was then a critic on journalism, that had a cinical approach towards the life reported as it is conscious to have great power and finish for ever magnifying in an exaggerated manner each little new item that happened in the Balcans.
Stll for the Long Feature film section, intervened Ihor Podolcak, director of Las Meninas in national premiere. The Ukraine author created a work very similar to a moving picture, in complete harmony with the other artistic genres, like photography, painting, and music.
The same Podolcak claimed to be particularly passionate about the use of the soundtrack, for him its an absolute novelty.
Dragan Nikolic with his documentary Kavijar Koneksn presented a small community dedicated to fishing from Sturgeon to Caviar. His initial intentions were to talk about fishing through the stories of the fishermen, then unexpectedly this particular type of fishing was forbidden with heavy consequences on the whole community. A story that brings to the surface the environmental probles and the hazardous effects of economic globalisation.
The journey of the producer was long and tormented in order to collect funding: thanks to a trailer created by the director to present the project, it succeeded in finding many in agreement that gave life to a large international co-production (from the United States to Sweden and Finland), that with their surprise pleasure did not entail particular impositions, making it possible for a great creative freedom.
Continuing with the documentary section, Marko Doringer responded to the questions on his Mein Halbes Leben, a film that follows the tendency of the last few years to create autobiographical works.
The original filmmaker affermed: "My autobiography, for me, is full of tragic moments: I crossed the midlife crisis at 30, I found myself stretched out on the sofa depressed and desperate for the impossibility of finding a satisfying job and succeeding in realizing my dreams. Then I realized that this could be a common point for other thirty year olds, and I decided to utilize it as a starting point for my film".
The public appreciated this documentary, and as claimed by Doringer: "In Austria (my country) it was even easier as the Austrians generally are quite depressed and therefore immediately identify with the character".
It was then the moment for the two Short films in competion: Cronaca di un rapimento by Guido Tortorella and Sardunya by Mustafa Emin Buyukcoskun.
The work by Tortorella was inspired by in fact a real news report set in Novara, in the film was transformed into something more: not only a kidnapping but also a rebellion on the part of the Roman xenophobic atmosphere against the integration of an immigrant family already well integrated within society.
Sardunya took the starting point of the phenomenon of the piracy of film works and musicals that had invaded Turkey from the start of 2000. The Turkish director set his story in the the old degraded zone of the Ottoman Istanbul, a quarter where the majority of the population were immigrants.
Buyukcoskun explained about not deeming the film of Ozu as a central element to the event, but had the need for a film that clearly distinguishes between the surreptitious commercialization and the protagonist. The Turkish author helo Ozu as one of the great masters of cinema and felt in harmony with the Japonese society where the process of modernization of the country results very similarly in action to that of the land of the filmmaker.
The long morning filled with guests concluded with the Sloven documentarist Filip Robar Dorin who spoke about his Veter se pozvizga, a work that analyses the relationships between Italy and Slovenia starting from the collapse of the Austro-Hungarian Empire until the war crimes committed during the Second World War.
Dorin claimed that it has almost always been the fault of the politics, that with its irresponsible intervention took care of ruining the civil cohabition relationships established among neighbouring populations. He then observed: "It's about a film resulting in trouble for someone, but that here at the Trieste Film Festival it is received with warmth, enough to move many of the spectators in the auditorium, this is what struck me a lot".
Annamaria Percavassi, director of Alpe Adria Cinema added: "I have been happy to have placed together a Slovene film and an Italian film (Storia di un confine e di tante identità by Giampaolo Penco) on the same argument" and she also reported the opinion of Boris Pahor on Dorin's documentary: "We need to show this film in Piazza Unità!"
The Slovene director underlined that, in his opinion, the most serious crimes had been those of ignorance, that began in the family where no one spoke of what had happened, hindering in this way the comprehension and the mutual love.
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