TURIN FILM FESTIVAL 30: THE AWARDS

All the awards of the 30th Turin Film Festival.

COBERTURA TORINO 30: AGE IS… DE STEPHEN DWOSKIN (SPA)

Con los cánones narrativos de la tragedia clásica investigando la vida humana desde su mythos, Dwoskin pinta un óleo sombrío acerca de la existencia complicada del ser humano, su parábola para conquistar la locura y la muerte. En el fresco, el único elemento trágico que permanece fuera de escena es el asesinato y la sangre, para así prevenir el ojo del dolor.

COBERTURA TORINO 30: SHELL, POR SCOTT GRAHAM (SPA)

Graham sigue los pasos de su compatriota Lynne Ramsay. Construye un drama lento con la menor cantidad de actores posible. El diálogo es mínimo, y siempre existe una distancia entre los personajes. Ninguno de ellos se siente cerca al otro, y cuando esto ocurre es siempre en el peor de los casos. En vez de palabras, Graham prefiere un punto de vista más realista, enfocándose en los sonidos de la naturaleza, el de las montañas.

TURIN FILM FESTIVAL 30 COVERAGE: I.D. (KAMAL K.M.) (ENG)

For the majority of the western audience, a film from India is usually related with Bollywood themes, musicals, romantic comedies and silly action films. Fortunately there still exist a different way of filmmaking that will appeal to more eclectic tastes. I.D. is the debut film by the Indian director Kamal K.M. and participated in the official competition of the 30th Torino Film Festival.

CORRISPONDENZA TORINO FILM FESTIVAL 30: MOTHER DI VORAKORN RUETAIVANICHKUL (ITA)

Seppur danneggiato dalla compresenza non propriamente armonica di stili e registri linguistici diversi, Mother è un’opera notevole che parte dal principio coraggioso del rendere universale il particolare, riuscendoci.

TURIN FILM FESTIVAL 30 COVERAGE: SU RE (COLUMBU) (ENG)

From a purely cinematic point of view and without taking into consideration the religious interpretation, Su Re is a film to watch. The innovative and alternative approach of the Gospels is another good reason to note that film. Columbu has remained faithful to the words of the book and this is another expression of his artistic formalism. He doesn’t try to impose his opinion and he is not dogmatic in his beliefs. Everyone is free to receive different messages or to just enjoy a detailed experimental work of art.

PALME D’OR CANNES 2012: AMOUR (MICHAEL HANEKE) (ENG)

Amour could be seen as a return to a more minimal Haneke but with the wealth of experience. In a scene where Anne, now unable to form coherent sentences, tries to sing along with Georges as he sings to her, it is at once heartbreaking and comforting to be witness to such an intimate and personal moment.

CORRISPONDENZA TORINO FILM FESTIVAL 30: ANITA DI LUCA MAGI (ITA)

Per la sua opera prima Luca Magi ha scelto di dare materia al testo che Fellini e Pinelli scrissero nel 1957, ripercorrendo i luoghi italiani cari al regista: Civita di Bagnoregio, Monterchi e Fano. Un’operazione sensibile che riporta la storia agli ambienti da cui proviene e la carica del calore tutto privato di cui pulsa.

TURIN FILM FESTIVAL 30 COVERAGE: AŽ DO MESTA AŠ (IVETA GRÓFOVÁ) (ENG)

All in all Made in Ash is an unconventional film that probably will gain attention only from the most demanding audience. This is an extremely interesting start that creates higher hopes for the future. If the viewer can overcome the initial fear of the raw reality then he can identify Grófová’s talent and her modernized vintage cinema.

CORRISPONDENZA TORINO FILM FESTIVAL 30: KEN JACOBS IN 3D – BLANKET FOR INDIANS & CYCLOPEAN 3D: LIFE WITH A BEAUTIFUL WOMAN (ITA)

Con l’ausilio del Nervous system, lo strumento che permette l’avanzamento graduale con lo scarto di un fotogramma di due pellicole gemelle attraverso obiettivi appena disallineati, Jacobs interviene analiticamente su di esse addivenendo alla terza dimensione.