“Fassbinder – To Love Without Demands” is a documentary on the German film director with the help of close collaborators and unreleased footage.)
Secção: Director's Cut
As in Visconti’s “The Earth Trembles” (1948), where cinema came to life through reality, Joaquim Pinto and Nuno Leonel saw, in Rabo de Peixe’s fishermen, their reason to keep making films.)
Taipei once was the world capital of cinema. Authors such as Hou Hsiao-Hsien (“A City of Sadness”, 1989; “Millennium Mambo”, 2002) and Edward Yang (“A Bright Summer Day”, 1991; “Yi Yi”, 2000) opened new ways for the portrait of time and how their country’s political history determined their feelings. Growing between China and an attraction for the Western world, Taiwan’s cinema changed the life of Asian film directors (Apichatpong Weerasethakul, Tsai Ming-Liang) and European ones (Olivier Assayas).)
Rüdiger Suchsland sets a parallel between the freedom of the Weimar Republic’s film industry and the imminent threats of its democratic society (the economic recession and the rise of extremist movements) through the films of Fritz Lang, F.W. Murnau, G.W. Pabst, Joseph von Sternberg, and the beginnings of Billy Wilder and Ernst Lubitsch.)
A couple (filmmaker Vincent Dieutre and Simon Versnel) tries to find itself between their lives and their memories of “Journey to Italy” (1954) in a transformed Italian landscape.)
Four by uses a six seconds long part of a Super 8mm found footage home movie from the late 70s, in loops. The footage shows a boy with a bow and an arrow in his hands. It shows formats of the different genres in film, the film combines these three ratios (4:3, 1:1,85 and 2:2,35). The format gets more attention and shows unknown parts of the image.
A man of many facets, this eternal outsider cultivates an impression of authenticity and ambiguity. He likes to play with his image and only creates a mythology to undermine it. He illustrates the America of Charlie Parker and that of Dirty Harry. He remains the most enigmatic of the greatest directors. Clint Eastwood has agreed to tell us what stands behind the human and creative adventure of a complete athlete: actor, director, producer, composer.
An adaptation by Fassbinder of his own play, “The Bitter Tears of Petra von Kant” is one of the major films of his career, starring Hanna Schygulla and Irm Hermman.)
Together with his teenaged sister and a horde of orphans, young Guy Maddin lazes away his under-stimulated youth on the mysterious island he will someday inherit. When new adoptive parents discover mysterious head wounds on their children, teen detectives visit the island to launch an investigation. As the investigation progresses, the kids are led into the darkest regions of revelation and repression as the terrible secrets of Guy’s family are revealed.
The digital era spared the use of gloves in editing — but not a more delicate look when looking at the hours of images until finding the body of a film and, later, its spirit. Even more in the case of Manoel de Oliveira and editor Valérie Loiseleux (“Abraham’s Valley”, 1993; “The Convent”, 1995; “I’m Going Home”, 2001; “Magic Mirror”, 2005; “The Strange Case of Angélica”, 2010; “Gebo and the Shadow”, 2012).)
A photographer is asked by hotel owners to take portraits of their recently deceased daughter.)
An inventory of the genesis, eruption and resonance of The Age of the Earth (1980), by Glauber Rocha. With unedited scenes extracted from the sixty hours found of the gross material, it is more than a tribute or a historical report. Narrated in the first person by Glauber’s voices: he exposes himself entirely, light-years ahead of the times, he invents a keen cinematic narrative which 30 years after is finally assimilated by the new generations.
“Ulrich Seidl – A Director at Work” is a look into the curiosity of a filmmaker and the universe he shares with people who open the doors of their intimate world and show their games of pain, pleasure, and manipulation. Words that also apply to Seidl’s methods in filmmaking and theatre direction.)
Horror classic in which an obsessed scientist assembles a living being from parts of exhumed corpses.
The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but bourgeois Clelia, and stung by the drowning of his mercurial friend Agostino, a possible suicide. Gina is herself a bundle of nervous energy, alternately sweet, seductive, poetic, distracted, and unhinged. They begin a love affair.
A few years after the successful revolution in Portugal, Alberto Seixas Santos sets out on a search for its protagonists. Seixas Santos follows three different, only partly interwoven paths to ask: how do you live with a history you helped shape yourself? At which point does collective memory turn into personal psychosis?
When ‘Vogler’s Magnetic Health Theater’ comes to town, there’s bound to be a spectacle. Reading reports of a variety of supernatural disturbances at Vogler’s prior performances abroad, the leading townspeople (including the police chief and medical examiner) request that their troupe provide them a sample of their act, before allowing them public audiences.
Rosso Cenere explores poetical, mystical and visionary aspects of the island of Stromboli and the film made in 1950 by Roberto Rossellini, Stromboli, Terra Di Dio. It uses archive footage from the restored print of Rossellini’s film, together with sequences from documentaries shot by Vittorio De Seta in the Aeolian Islands, and home movies by Ingrid Bergman not previously screened in public. The protagonists of the film are four islanders ‚ two of whom were directly involved on set in 1950 ‚ and the film critic Adriano Aprà, a leading authority on the work of the neorealist director.