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[转帖]勇气与个性：62届威尼斯电影节国际影评人周入围影片综述
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The films of the 20th Critics Week - ENGLISH Altri articoli
20th International Critics Week
September 1 – 9, 2005
Once again, the International Critics Week (SIC) is dedicated to first films. Naturally, this choice is neither random nor forced: the goal was to once more present a thorough, passionate and independent overview of debut feature films from all around the world. Having reached its 20th edition, the SIC indeed affirms the spirit and intentions that gave rise to its birth: the aim was and still is to offer, independently of the Venice Film Festival and its official sections, a critical point of view on film that can be expressed in the discovery of new tendencies, cinematic languages and filmmakers’ perspectives. This year’s selection seems to us to be more than ever in keeping with the uncertainties and fears of our times: the seven films selected reflect tension and existential violence, as well as politics that go beyond the current themes of war or terror. These films are often personal, courageous, and unfold along the confines between cultural territories and worlds, as well as aesthetics and language forms. Thus, even the SIC’s Special Event, a haunting debut documentary on the Shoah, works precisely on the limits of memory, beginning with a cinematic reconstruction of the horror behind the invisible ruins of repressed memories. Ultimately, one’s fantasy and hope are always the same: that cinema can contribute to improving the world, as well as our own lives.
(Francesco Di Pace)
The films of the 20th Critics Week:
ASÍ by Jesús-Mario Lozano, Mexico, 2005
The story of Ivan, a Mexican boy who has shut himself off in his room, observed during recurring moments of his daily life. A film with a surprising narrative structure, seemingly simple in its repetition of 32-second sequences. A successful portrait of a young boy who finds the strength to grow up and face life.
BRICK by Rian Johnson, USA, 2005
In a California high school, a young student plays detective in order to reconstruct the details of his ex-girlfriend’s murder. A teenage film unusually combined with the technique and mechanisms of noir: a hypnotic debut within a “genre” framework, which unmistakably suggests deep generational unease.
KUIHUA DUODUO by Wang Baomin, China, 2005
A Chinese folk singer/guitar player sings the story of Ma Xiaogang, a young man who has just returned from jail, where he served a six-year sentence for having raped a schoolteacher. The boy’s obsession over the woman – which will lead to a new encounter between them in the vast fields of sunflowers surrounding the town – is the essence of a film seeped in striking beauty, aesthetics and language.
MATER NATURA by Massimo Andrei, Italy, 2005
The misadventures of Desiderio, a very pretty Neapolitan transsexual unlucky in love, and of his group of “transvestite” friends who, disappointed by their political experiences, create an organic farm/psychological help center for men in crisis. An anomalous and eccentric film, a highly colorful “typical local product,” with the “transgender” iconography a metaphor for the reaction to prevailing standards of homogeneity.
LE PASSAGER by Eric Caravaca, France, 2005
A journey along the shadowy brink of adolescence, told through Thomas’ return to his hometown after the death of his brother Richard. Actor Eric Caravaca directs himself in this unusually sensitive and delicate drama, which recalls an inner mystery, connected in some way to guilt and innocence, crime and punishment.
PAVEE LACKEEN by Perry Ogden, Ireland, 2005
The story of Winnie, a young “Pavee” girl part of the large Irish community of “Travellers,” those who live in campers at the edges of cities and the social system. Photographer turned filmmaker Perry Ogden has made a kind of docudrama, shadowing the main character and her family and uncovering the truth of their lives in the spontaneous composition of the mise-en-scene.
YADASHT BAR ZAMIN by Ali Mohammad Ghasemi, Iran, 2005
A man deduces that the will of God must be the reason his baby died during childbirth and furthermore convinces himself that he has been entrusted with a mission: to kill all of the children of the village in order to spare them the world’s vanity. Hypnotic and obsessive, with references to a kind of filmmaking that is eccentric in respect to Iranian tradition. A visionary film that surprisingly expresses the mad reality of contemporary religious fanaticism.
Special Event
BELZEC by Guillaume Moscovitz, France, 2005
Approximately 600,000 Jews were killed in the Be³¿ec lager in Poland. The Germans left no trace of the bodies or the camp. Guillaume Moscovitz’s first feature film reconstructs the horror through the memories of the inhabitants of the village, who watched on helplessly, as virtual accomplices, as the massacre was carried out. The imagery emerges slowly from the emptiness in this moving and brutal documentary on the repression of the conscience.
Homage to Alberto Lattuada
GIACOMO L’IDEALISTA, Italy, 1943
The vicissitudes of Giacomo, a philosophy professor who returns to his hometown after the Garibaldi campaigns, his head bursting with projects. However, he will have to give up his dreams and a marriage to Celestina in order to begin working for an elderly count. Inspired by the eponymous novel by Emilio De Marchi, this film is still very much a part of the stylized Italian tradition and marked Alberto Lattuada’s 1943 directorial debut.
The seven films presented in the section will compete for two awards:
1. Gan Assicurazioni Audience Award
The seven films will be judged by audience members who will be able to cast their vote upon exiting the screenings. The award is intended to give Venice’s copious public the chance to express its immediate, and therefore all the more precious, opinions. The final results will be announced at the closing Awards Ceremony. The Gan Assicurazioni award consists of 3,000 euros.
2. All of the first films, together with all the other debut films presented throughout the festival, moreover compete for the Lion of the Future – “Luigi De Laurentiis” Venice Award for a First Film, which consists of 100,000 euros, offered by Filmauro. Kodak will also present the director with 20,000 meters of film stock.
20th International Critics Week
September 1 – 9, 2005
Once again, the International Critics Week (SIC) is dedicated to first films. Naturally, this choice is neither random nor forced: the goal was to once more present a thorough, passionate and independent overview of debut feature films from all around the world. Having reached its 20th edition, the SIC indeed affirms the spirit and intentions that gave rise to its birth: the aim was and still is to offer, independently of the Venice Film Festival and its official sections, a critical point of view on film that can be expressed in the discovery of new tendencies, cinematic languages and filmmakers’ perspectives. This year’s selection seems to us to be more than ever in keeping with the uncertainties and fears of our times: the seven films selected reflect tension and existential violence, as well as politics that go beyond the current themes of war or terror. These films are often personal, courageous, and unfold along the confines between cultural territories and worlds, as well as aesthetics and language forms. Thus, even the SIC’s Special Event, a haunting debut documentary on the Shoah, works precisely on the limits of memory, beginning with a cinematic reconstruction of the horror behind the invisible ruins of repressed memories. Ultimately, one’s fantasy and hope are always the same: that cinema can contribute to improving the world, as well as our own lives.
(Francesco Di Pace)
The films of the 20th Critics Week:
ASÍ by Jesús-Mario Lozano, Mexico, 2005
The story of Ivan, a Mexican boy who has shut himself off in his room, observed during recurring moments of his daily life. A film with a surprising narrative structure, seemingly simple in its repetition of 32-second sequences. A successful portrait of a young boy who finds the strength to grow up and face life.
BRICK by Rian Johnson, USA, 2005
In a California high school, a young student plays detective in order to reconstruct the details of his ex-girlfriend’s murder. A teenage film unusually combined with the technique and mechanisms of noir: a hypnotic debut within a “genre” framework, which unmistakably suggests deep generational unease.
KUIHUA DUODUO by Wang Baomin, China, 2005
A Chinese folk singer/guitar player sings the story of Ma Xiaogang, a young man who has just returned from jail, where he served a six-year sentence for having raped a schoolteacher. The boy’s obsession over the woman – which will lead to a new encounter between them in the vast fields of sunflowers surrounding the town – is the essence of a film seeped in striking beauty, aesthetics and language.
MATER NATURA by Massimo Andrei, Italy, 2005
The misadventures of Desiderio, a very pretty Neapolitan transsexual unlucky in love, and of his group of “transvestite” friends who, disappointed by their political experiences, create an organic farm/psychological help center for men in crisis. An anomalous and eccentric film, a highly colorful “typical local product,” with the “transgender” iconography a metaphor for the reaction to prevailing standards of homogeneity.
LE PASSAGER by Eric Caravaca, France, 2005
A journey along the shadowy brink of adolescence, told through Thomas’ return to his hometown after the death of his brother Richard. Actor Eric Caravaca directs himself in this unusually sensitive and delicate drama, which recalls an inner mystery, connected in some way to guilt and innocence, crime and punishment.
PAVEE LACKEEN by Perry Ogden, Ireland, 2005
The story of Winnie, a young “Pavee” girl part of the large Irish community of “Travellers,” those who live in campers at the edges of cities and the social system. Photographer turned filmmaker Perry Ogden has made a kind of docudrama, shadowing the main character and her family and uncovering the truth of their lives in the spontaneous composition of the mise-en-scene.
YADASHT BAR ZAMIN by Ali Mohammad Ghasemi, Iran, 2005
A man deduces that the will of God must be the reason his baby died during childbirth and furthermore convinces himself that he has been entrusted with a mission: to kill all of the children of the village in order to spare them the world’s vanity. Hypnotic and obsessive, with references to a kind of filmmaking that is eccentric in respect to Iranian tradition. A visionary film that surprisingly expresses the mad reality of contemporary religious fanaticism.
Special Event
BELZEC by Guillaume Moscovitz, France, 2005
Approximately 600,000 Jews were killed in the Be³¿ec lager in Poland. The Germans left no trace of the bodies or the camp. Guillaume Moscovitz’s first feature film reconstructs the horror through the memories of the inhabitants of the village, who watched on helplessly, as virtual accomplices, as the massacre was carried out. The imagery emerges slowly from the emptiness in this moving and brutal documentary on the repression of the conscience.
Homage to Alberto Lattuada
GIACOMO L’IDEALISTA, Italy, 1943
The vicissitudes of Giacomo, a philosophy professor who returns to his hometown after the Garibaldi campaigns, his head bursting with projects. However, he will have to give up his dreams and a marriage to Celestina in order to begin working for an elderly count. Inspired by the eponymous novel by Emilio De Marchi, this film is still very much a part of the stylized Italian tradition and marked Alberto Lattuada’s 1943 directorial debut.
The seven films presented in the section will compete for two awards:
1. Gan Assicurazioni Audience Award
The seven films will be judged by audience members who will be able to cast their vote upon exiting the screenings. The award is intended to give Venice’s copious public the chance to express its immediate, and therefore all the more precious, opinions. The final results will be announced at the closing Awards Ceremony. The Gan Assicurazioni award consists of 3,000 euros.
2. All of the first films, together with all the other debut films presented throughout the festival, moreover compete for the Lion of the Future – “Luigi De Laurentiis” Venice Award for a First Film, which consists of 100,000 euros, offered by Filmauro. Kodak will also present the director with 20,000 meters of film stock.
July 21, 2005
Venice 2005 – Critics' Week
First films: courage and personality
First films with powerful ideas, non-improvisational debuts which are the result of intense preparation. Once more this year The International Critics' Week - programmed for the Venice Festival from 1st-9th September - concentrates on the discovery of new trends and languages in cinema.
The Special Event will be the screening of the French documentary Bełżec by Guillaume Moscovitz.
Seven first works have been selected, among them three European: the Irish cameraman Perry Ogden makes his directing debut with the docu-drama Pavee Lackeen (La fille Pavee), the story of Winnie, "Pavee" little daughter, belonging to the Irish "Traveller" community who live on the margins of the towns and the system. The French film by director / actor Eric Caravaca, Le passager, describes the journey through the darker confines and shadows of adolescence, a drama of rare sensibility. The Italian Mater natura by Massimo Andrei follows the misadventures of a very handsome Naples transsexual, Desiderio, an eccentric and atypical film.
Other, non-European, films are the production: As’ by Jesœs-Mario Lozano (Mexique) which offers an astonishing narrative structure , with sequences which last only 32 seconds; Brick by Rian Johnson (USA), a teenage film written using noir techniques; Kuihua duoduo by Wang Baomin (China), in which a Chinese folk singer recounts the story of a young prisoner; Yadasht Bar Zamin by Ali Mohammad Ghasemi (Iran), hypnotic and visionary, expresses the crazy reality of contemporary religious fanaticism.
"This year’s selection seems to be in tune with the fears and concerns that we see around us", explains Francesco Di Pace, delegate from the Selection Commission. "The seven selected films reflect an existential tension and violence, but also political. The subjects deal too with actuality, whether it’s war or terror. It’s an often personal cinema, courageous. In this sense the Special Event at the Critics Week, the very beautiful documentary about the Shoah, Bełżec, positions itself at the limits of our memory, a reconstruction of the invisible debris of blocked-out horror ".
Finally, in collaboration with Author Days and Gan Assicurazioni, the Festival will offer a tribute to Alberto Lattuada, projecting Giacomo l’idealista Italian film from 1943.
Camillo De Marco
from http://www.cineuropa.org/