trieste film festival 20th edition

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TFF 20th - FESTIVAL DIARY

TFF 20th - FESTIVAL DIARY

Meeting with the authors

A morning rich with guests this day at the Hotel Urban. Many gathered at the 11am for the daily appointment with the writers.

The first to respond to the questions of the public and press was Massimo Zamboni, an eclectic artist that on Sunday presented the absolute premiere of his play Kreuzberg’s Sonata – Protection, Blast and a Fresh Escape in Berlin, City of Walls. The Emilian musician told how the idea for this piece of work how the original dated as far back as 1981, a year in which, like many young back then it was born in him a great interest for this city with its particular history. It was in Berlin where Zamboni had the fortuitous meeting with the future members of the CCCP (later became CSI) and that would signal a fundamental moment in his life and artistic career.

The project of the Emilian artist re-enters the field of "Tracing the Wall. For a visual memory of the Berlin Wall (1961-1989)", a homage to all those that the wall presented and still presents twenty years after its fall.

Zamboni explains how he took inspiration from all the different artistic forms and from the way in which they interact between themselves, utilizing the words to tell the histories, the music and the images to express the most intimate emotions. In this way he has given life to a prismatic play that hopes to succeed in bringing it on tour soon in the rest of Italy.

After that the director Panos Karkanevatos intervened, one of the group of artists received by the festival this near in the section dedicated to Greek cinema: a way of giving voice to the best Hellenic productions of the past twenty years, crucial years in the change of the country. The films presented tend to represent the Greek society with a realism marked often, far from the desire to satisfy the tastes of the masses or to present a programme that is attractive and unnatural.

Straight after, the long awaited Hungarian director Kornèl Mundruczò explained that with his Delta he did not want to impose an intellectual message, but present a natural and primitive history structured like a tragedy, with non professional actors left free to act automatically. A history with dark shades, where there is often a strong contrast between the big lights and the profound dark, between the fascinating and peaceful nature and the tragedy. The beauty of the nature accompanied by the naivety of the characters that do not know what they are going to meet, to the difference of the public that could guess immediately the pernicious developments.

Mundruczò relates how the prize won at the Cannes Film Festival made him a celebrity in his country, even if it brought him a great rigourousness on the part of the local film critics and (albeit reluctantly) an implicit obbligation to involve the national political environment.

Elma Tataragić, co-scriptwriter and producer of Snijeg, explains the choice of the setting of the film: "The small community represents the Bosnian population, where as the village is a metaphor for the entire country". Snijeg is a expression on the choice of freedom, to be able to live one’s dreams, even if at times they can finish by transforming into nightmares, and like the Director of Alpe Adria Cinema, Annamaria Percavassi claims: ‘its about a film few have told about the strength of women, who maintain their roots and want to keep them.’

It was then the moment for Helke Sander and his "The generally reduced personality", a film that is also a part of the review dedicated to the twentieth anniversary of the fall of the Berlin Wall. The German director wanted with his work to document the city, the wall, but above all the elements that are free to soar over any man built barrier.

The morning concluded with the heroes of the section "Cinema Zones" dedicated to the developing works from our region: Fredo Valla with his Medusa: Storie di uomini dal fondo, Fabiola Faidica and Ennio Guerrato authors of Il guardiamo della memoria, Eva Ciuk with her film Chi è Cappuccetto Rosso? and finally Nicole Leghissa director of La debole corrente: Pietro Savorgnan di Brazzà, eroe bianco nell’Africa nera.

Masterclass: Dinko Tucaković

The last lesson has been that of Dinko Tucaković, many a time a guest at the festival for his quality as a director. Tucaković is also the Professor of Cinematography in the Faculty of Dramatic Arts at the University of Belgrade, President of the Jugoslovenska Kinoteka and a contributor to the international magazine, Postife and Sight and Sound.

The masterclass began with the aid of images and a brief introduction on the history of cinema, it then developed centering on the beginning attempts of great directors, for example those of Martin Scorsese and Wim Wenders. "Tipical of Film students is the want to put everything into it, too many things together at the same time" was the observation of the Bosnian professor. Tucaković continuing to talk about graduate films, responds on the subject of B-movies, blurting out impressions and advice on the cinematographic atmosphere: "This is not a healthy profession, giving interviews, being in fashion, drinking with the right people... but all of this does not belong in my way of being".

The last event of the Masterclasses, for this year, which are part of the Eastweek Project. A project that has provided throughout the masterclasses other chances to compare with the students and that will continue with further collaborations and establishing placements with thanks to the support of CEI � Central European Initiative.

Photogallery: 19.01.2009