2 items from 2011
The retrospective at this year's Venice film festival is dedicated to Italian experimental cinema of the 1960s and 70s.
Designed by Enrico Magrelli and his team (Domenico Monetti, Luca Pallanch) from a commission and idea of Mostra director Marco Muller, it has been conceived in full consistency with the Mostra's Orizzonti section, which is dedicated every year to showing short medium and feature length films showcasing new trends of world cinema. Research, experimentation, new languages, "non mainstream" and cross-discipline works are therefore represented both in the premieres of Orizzonti and in the Retrospective section. No doubt many will also make a connection with this year's presentation of an impressive restoration of Nick Ray's We Can’t Go Home Again.
The retrospective includes many films that were never (or seldom) shown outside of Italy, among which a great number of absolute discoveries, as well as the long-awaited true restoration of »
Things didn’t bode well from the beginning. The crowd in the theater was restive. People shifted uncomfortably in their seats even before the movie began. I was alone, and sat in the back, the projector whirring somewhere above and behind me. But that was only the beginning. As it turns out, I had been editing Alla Gadassik’s remarkable video-essay for the Requiem // 102 project, and had learned of an obscure Italian Jennifer Connelly film from 1988, Etoile (directed by Peter Del Monte), which also happens to be a nightmarish film about Swan Lake that also features a monstrous black swan. Daronofsky + Connelly + Requiem + Black Swan. All these things swirling in my head, in the same way that each of us enters the dark of a movie theater with fragmented narratives in our heads, in hopes that the movie we are about to see will transport us outside of ourselves, into some other world. »
- Nicholas Rombes
2 items from 2011
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