Coup d’envoi du Festival du film indépendant de Rome en ligne
par Camillo De Marco
- À partir d’aujourd’hui et jusqu’au 4 décembre, la XIXe édition du festival se déroule dans une salle virtuelle ; Havel inaugure le gros plan sur le cinéma tchèque
Cet article est disponible en anglais.
As of today and running until 4 December, the 9th edition of the RIFF - Rome Independent Film Festival is unspooling via MYmovies’ virtual cinema, where the 13 competitive sections are scheduled to screen. It all kicks off with the first of the international documentaries competing in the festival, Opeka by Cam Cowan (US), which will be followed by Women According to Men by Saeed Nouri (Iran). Meanwhile, at 8.20pm, Slávek Horák’s Havel [+lire aussi :
fiche film] will open the focus session dedicated to Czech film and organised in association with the Czech school FAMU, the Embassy of the Czech Republic in Rome and the Czech Film Center, paying tribute to the life of Václav Havel, an eminent playwright, dissident and, eventually, the President of the Czech Republic. This first day will be closed by Norwegian doc Everything That Could Have Been by Trond Kvig Andreassen, exploring the life of musician Magnus Eliassen.
The International Feature Films Competition, which is open to first and second works, comprises 8 titles, including the afore-mentioned Havel, alongside Surge [+lire aussi :
interview : Aneil Karia
fiche film] by Aneil Karia (UK), which was selected for this year’s Berlin and Sundance festivals; Ernesto, the first work by the super young Italian directors Alice De Luca and Giacomo Raffaelli, which is screening in a world premiere; Angie: Lost Girls by Julia Verdin (US); La Fortaleza [+lire aussi :
fiche film] by Jorge Thielen-Armand (Venezuela/France/Colombia/the Netherlands), which has already competed in Rotterdam’s IFF; a European premiere of Fires In The Dark by Dominique Lienhard (France/Belgium) and, finally, Ricky Mastro’s first work 7 Minutes (France/Italy).
There are 18 documentaries gracing the competition. Stealing focus among the international docs in the offing are I Am (Yo Soy) by Jaime Fidalgo (Spain); Mat and her Mates by Pauline Penichout, which is produced by French school La Fémis; The Fog of Peace by Joel Stangle (Colombia), and Darryl Jones: In the Blood by Eric Hamburg (US). Italian documentaries include La mia storia si perde e si confonde by Daniele Gaglianone and Imogen Kusch, which is screening in a world premiere; Makarìa by Giulia Attanasio; Viaggio attraverso la Città Possibile by Eugenio Corsetti and Emiliano Monaco; Under the Skin - In Conversation with Anish Kapoor by Martina Margaux Cozzi; Che fine hanno fatto i sogni? by Patrizia Fregonese de Filippo; Cinematti - Una storia folle by Giacomo R. Bartocci; Il Direttore by Maurizio Orlandi; A riveder le stelle by Emanuele Caruso; Cicliste per Caso - Grizzly Tour by Silvia Gottardi, and La Conversione by Giovanni Meola.
For the third consecutive year, an entire day will be dedicated to LGBTQ+ titles, with the world premiere presentation of Asphalt Goddess by Julián Hernández (Mexico) - who won the Teddy Award twice at the Berlin Film Festival, in 2003 and 2009 - and the European premiere of the afore-mentioned film 7 Minutes. Other works produced in France include Sarah Al Atassi’s Mauvais genre, Elvire Munoz’s Brûle, Manuel Billi and Benjamin Bodi’s Ten times love (France), which is screening in a world premiere, and Naïla Guiguet’s Dustin. Marius Gabriel Stancu’s Italian work È solo nella mia testa will also enjoy its world premiere in this category.
Jostling among the various masterclasses scheduled to unfold online is the session on the subject of “Black Films Matter”, set to be delivered by the film historian and critic Lapo Gresleri, together with press photographer Valerio Bispuri and director of photography Fabrizio Lucci. A Focus on the future of Italian film post-Covid-19 is likewise on the agenda, intitled “Che fine hanno fatto i sogni?” (lit. “What became of our dreams?”) and based upon the doc of the same name currently competing in the festival. The focus intitled “Il Cinema Nel Nuovo Mercato Post-Covid” (lit. “Film in the New Post-Covid Market”), meanwhile, will see the CEO of the Tixter platform Francesco Perciballi discussing digital technology for funding and the distribution of audiovisual and film products, and, last but not least, the virtual pitch day “Sceneggiatori incontrano il futuro” (lit. “Screenwriters up against the future”) will host a selection of 8-10 candidates – finalists from the RIFF screenplay competition – who are set to compare notes with online guests on how to present a project in the post-Covid market.
(Traduit de l'italien)
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