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Meeting with the authors
Like everyday at 11am in the Conference hall of the Urban Hotel, the daily meetings take place among the heroes of the Trieste Film Festival, the press and those passionate about cinema.
The first to take the stand was Penny Panaiotopoulou, director of Hard Goodbyes: My Father. The writer of Greek origins has given life to a particularly touching story of a family that confronts the mourning for their father. The story does not approach however the surroundings overly dramatically, as the story is presented through the eyes of the child protagonist, who to confront the difficult situation creates an alternative world of pure fantasy. A universe at the boundaries between the real and unreal, expressed creatively through the use of lights and an artificial set design.
This "fable of modern times" was set in 1969, the year of the Moon launch, a moment chosen by the director as a metaphor to represent a moment of passage into the unknown full of expectations, but in which the protagonist accepts finally the death of his father , becoming for this reason topical from the point of view of the narration.
Subsequently intervened Marina Pierro an actress that had her debut in 1976 with a small part in L’innocente by the great Luchino Visconti, a role that opened many doors and set the path for her career. Shortly after, the actress recounts, Walerian Borowczyk remained extremely impressed by one of her photographs so much so that he looked for her insistently to propose that the work together, a unique opportunity that signalled the start of a profitable association. The special harmony between the original director and his muse was born from a comunal sensitivity towards the arts and, as Pierro underlines, "you must establish a relationship of reciprocal exchange and understanding to give life something magical".
It was then the turn for the writers of the short film Caffe Trieste, produced by the Underground Chapel that falls within the section "Cinema Zones". The scriptwriters Lorenzo Acquaviva and Chiara Barbo recounted how the project was born three years ago, after the fortiutous meeting with a well known street poet who brought them the knowledge of Caffè Trieste, one of the symbolic places of the Italian quarter in San Francisco. The film tells simultaneously the history of the proprietor and founder, Gianni Giotta, and the many stories of the habitual customers of this place, from artists to common people.
Chiara Barbo, scriptwriter and producer spoke of the difficulty of selecting out of the enormous documentations told the witnesses to use, in this way it was treated as a constant work in progress continually evolving. Barbo then added: "We would like to screen it there in the Caffè where it originated, or even outside on the corner of the street, inviting the entire quarter to see it".
Still for the section "Cinema Zones" there was then a kind discussion with Gloria De Antoni and Oreste De Fornari the writers and directors of Il perdente gentiluomo: life and works of Antonio Centa. The work that wanted to revalue the cinema of the 1930s praising one of the lesser known stars of the Italian star system. De Fornari affermed that Antonio Centa was a "reserved man, with many areas in shaded in mystery, difficult to uncover due to the reticence of the varying witnesses". The two writers have at the moment on the stocks a project about Senilità by Svevo, that they hope to have completed in time for the next edition of the Trieste Film Festival, a perfect occasion to premiere it.
It conluded with the meeting with Daniele Gaglianone, writer and director of the documentary Rata nece Biti! (The Revolution that wasn't): a series of meetings and travels in Bosnia-Herzogovina. The motivations that drove Gaglianone had been the need to let the witnesses and places breathe according to the rhythm that he perceived first hand, and to let the emotions he had transpire as he tried "to take a step back" and allow the story to unfold for itself. The director penetrated himself through various aspects of the project, about certain episodes that had profoundly struck and touched him, like for example the meeting with the pathologist in charge of studying remains of found bodies to reconstruct the identity: a moment that had been difficult to recreate on screen and that then resolved in using the sound in a manner that conveyed the emotivity of the moment. |
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