Un nuovo weekend di Nomadica, al Menomale di Bologna, dedicato alla ricerca cinematografica.
Un omaggio ad Amos Vogel, un approfondimento su Gianfranco Brebbia.
E poi film e materiali preziosi e più o meno segreti, programmi/monologhi che creeranno un coro diafonico e disturbante.
Venerdì 29 e sabato 30, dalle 17.00 alla notte; domenica al mattino (come a messa).
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Dopo anni e anni e anni, stiamo precipitando su una terra. Forse è un’isola? In quale strano territorio stiamo atterrando? Non abbiamo assolutamente idea di come siamo finiti qui. Un giorno – chissà quando è accaduto – salimmo su questa sorta di veicolo aereo in cui ci troviamo, senza valigie e vestiti. Totalmente nudi. Andando indietro col pensiero nessuno di noi riesce a ricordare cosa c’era prima. La sensazione più precisa e più acuta, per chi vive in questo momento, è di non sapere dove ogni giorno sta mettendo i piedi. Il terreno è friabile, le linee si sdoppiano, i tessuti si sfilacciano, le prospettive oscillano. Forse ci siamo estinti e ora stiamo ritornando?
Aspetta!! Cominciamo a distinguere delle forme. Possiamo vedere… in lontananza… qualcosa di simile a uno spazio rosso… ci sono strani oggetti, facce, corpi, liquidi che scorrono, immagini in movimento, che brillano!
Un nuovo weekend di Nomadica, al Menomale di Bologna, in via de’ Pepoli 1/A.
Un omaggio ad Amos Vogel, un approfondimento su Gianfranco Brebbia.
E poi film e materiali più o meno segreti, programmi/monologhi che creeranno un coro diafonico e disturbante.
Venerdì 29 e sabato 30, dalle 17.00 alla notte; domenica al mattino. Saranno presenti filmmakers e curatori.
Ingresso gratuito fino a esaurimento posti, con offerta libera e Green Pass.
In collaborazione con Ass. Menomale APS e Comune di Bologna
h17.00 –
Sabbia negli ingranaggi (I). Dedicato ad Amos Vogel.
Film as a Subversive Art: Amos Vogel and Cinema 16 (Paul Cronin, 2003, 55′)
h18.00
L’arte di cadere (su una terra sconosciuta)
a cura di Giuseppe Spina e Giulia Mazzone
Mille Cipressi (Luca Ferri 2021, 13′)
L’Estasi di Oleg (Francesco Selvi 2019, 20′)
Pistacchi (Luca Sorgato 2019, 14′)
The Garden (Pietro Librizzi 2020, 10′)
(questo programma sarà presentato all’Istanbul Experimental Film Festival – 12/21.11.21).
h19.30
Aperitivo e amenità
h21.00
Le parole della notte
a cura di Stefano Miraglia
The road is dark and it’s a thin thin line (Carlo Galbiati 2021, 15’)
O arrais do mar (Elisa Celda 2020, 18’)
Vers le soleil (Nour Ouayda 2019, 18’)
Je me souviens de Sunderland (Félix Fattal 2017, 12’)
69 (Ignazio Fabio Mazzola 2021, 1’)
h23.00
La Machine infernale MMXXI
live di Alessio Galbiati (ilcanediPavlov).
Montaggio dal vivo per suoni e immagini di materiali ritrovati.
•••
h17.00
Sabbia negli ingranaggi (II). Dedicato ad Amos Vogel.
a cura di Tommaso Isabella
h18.00
A volte vorrei essere un sasso
a cura del collettivo ৺ ෴ ර ∇ ❃ ﹌﹌
Le Sibille (Lina Mangiacapre – le nemesiache, 1981, 25’)
Agatha (Beatrice Gibson, 2012, 30’)
Ida Western Exile (Courtney Stephens, 2020, 8’)
h19.30
Aperitivo e amenità
h 21.00
Idea assurda per un programma. Gianfranco Brebbia.
a cura di Rinaldo Censi
Ho fatto un film 1° (1970, 15′)
Idea assurda per un filmaker. Ester. (1969, 12′)
Extremity 2 (1968, 19′)
Bet (1973, 5′)
Bazar (1973, 4′)
(In collaborazione con l’Archivio Gianfranco Brebbia)
h 22.30
Midnight Movie
a cura di Riccardo Re
•••
h 10.30
Incontro e proiezioni ad libitum.
Sabbia negli ingranaggi (III). Dedicato ad Amos Vogel.
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15 November 2019
Istanbul International Experimental Film Festival 2019
12:00 P.M. | Salt Beyoğlu | Panorama: ITALY | Nomadica
The more one moves away from Earth, the more one goes backwards, in time and space. Cinema is that movement, which is also a moment outside of memory, that recreates new visions while looking at the past (like a continuous present). Cinema, as if it was always the first time. With a program such as this one, we’d be tempted to cut the opening and closing credits of each film, and transform them into one unified masterpiece, but we’ll leave this possibility to your imagination.
Ab/OVO
by Luca Ferri, Ita, Super8, 25min, 2016 (sub eng)
In a desert and hostile paradise, between mountains of sand and solitary camels in perpetual journey, life is renewed with a promise of love in the shade of a lone tree. Adam and Eve have a chance. The last chance to heal and create a new progeny of more decent human beings. Nine long takes in super 8mm colour in which we took Adam and Eve and had them redo everything over again, from the scratch.
Black Songs
by Tiziano Doria e Samira Guadagnolo, Ita, Super8 -> 16mm, 5min, 2019 (silent / sub eng)
A poetic recollection of a personal and collective memory, the work dissects, decomposes, fragments, distills and then re-creates anew – in a time that beats in repeated rythm, slow and circular – the dream of an ancestral childhood, of nomadic shepherds and tangled bushes of war and raids, and in this magnified gaze, the film wonders about the meaning and the nature of it’s own observations.
Canti Neri (Black Songs) comes from the analysis of a private and family archive, of our property, of which we have selected some frames transposing them from S8mm to 16mm.
The original films have been combined in a new way, focusing on details that had escaped from the eye of the operator, on the periphery of the image, extrapolating details, dissolving the flow of action and reiterating it in a dilated time.
Merci mais non merci
by Alessandra Beltrame, Ita, super8, 13’, 2018 (sub eng)
Nico, reflects on existence, identity and responsibilies
Rodez
by Stefano Miraglia, Fr, HD 4:3, 3min, 2017 (silent)
An exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs. “A stunning piece of ecclesial psychedelia!” (Sarah Bliss)
Vaghe Stelle – MIZAR
by Mauro Santini, Ita, 4K to HD, 11min, 2017
“Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.
Luminous variations in the city skies
by Giuseppe Spina, Ita, HD (from photographic plates), 6min, 2019 (silent)
Between 1932 and 1957, at the Specola Tower in Bologna, a new optical technology was invented, one that would revolutionize outer space observatory methods. Thirty years of research were necessary for the astronomer Guido Horn D’Arturo to invent the specchio a tasselli – also called multimirror or segmented mirror – an archetype of today’s most advanced telescopes. This silent film, made by Giuseppe Spina, is composed of digital scans and blow-ups of Horn D’Arturo’s plates.
THREE WAYS OF TALKING CINEMA #1 (Nov 1 – h10.30/13.00)
Found Footage Magazine, Revista Lumière, and Walden Magazine: three independent and international editorial projects dedicated to the creation and circulation of new ideas, reflections, and studies on cinema. A gathering, a chance to meet them, understand their working methods and their editing processes.
Francisco Algarìn Navarro, Martin Grennberger, Cristina Martínez and César Ustarroz will be with us on the morning of Friday the 1st, and will curate three programs during the days of WOM.
Found Footage Magazine is an independent and printed film journal distributed worldwide. It offers theoretical, analytical and informative content that hinges on the use of archival images in media production practices. FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up
Walden is a film magazine published twice a year. The magazine was founded in 2012, and was an online publication up until 2015. Aside from publishing the magazine, Walden also arranges film screenings.
Revista LUMIÈRE is a film magazine distributed both online and in print. The publication is self-published and self-financed thanks to its own sales and to the yearly contributions from the members of its General Assembly. Its goal is to cover in a rigorous fashion all of the paths of major interest of contemporary cinema along with tracing new ones coming from the past.
THREE WAYS OF TALKING CINEMA #2 (Nov 2 – h10.30/13.00)
Luca Ferri, Nomadica – Capo d’Orlando 2015, photo by Epifanio/Morello
Luca Ferri is the Italian filmmaker that, in recent years – more than any other in Italy – has been able to rigorously experiment with different means of expression, formats, aesthetics, and themes. Together with composer Dario Agazzi, he contributed to the establishment of a personal reshaping of the relation between music and film. Despite living in an isolated village of the northern province, with his films, Luca Ferri intertwines and connects environments and people that are very different from each other. He approached us in the summer of 2012 and, from his film Magog/Ecce Ubu until today, his journey has been carried out with the self-production of three feature films and a series of superb short films.
A long rendez vous with Luca Ferri on the morning of Saturday, November 2nd, preceded by the screening of his last work Pierino (2018, 70min, shot in S-VHS) on Friday, November 1st.
THREE WAYS OF TALKING CINEMA #3 (Nov 3 – h10.30/13.00)
Marco Melani, photo by Chema Prado
Marco Melani. The man with the golden eye
A meeting with Chiara Seghetto
The golden eye of an obsessed cinéphile, a fine talker, an omnivore and unconventional critic, an insatiable film-eater. The man with the golden eye is a glimpse on Marco Melani, composed of meetings, unreleased testimonies, a blob of revenant substances, unexpected edits, found footage, fragments, readings, synaesthesias. All of it gathered over ten years and straining forward to a (non)ending. Marco Melani lived and crossed path with cinema between the late 1960s and the early 1990s. His collaboration with the festivals of Salsomaggiore, Taormina, and Turin originated from his networks of wisely intertwined authors and actors, pursuing newness with no fear of unhinging the art of film programming. To him, cinema is the incarnation of those who make it. Melani befriended many filmmakers with whom he collaborated: Bargellini, Iosseliani, Jarmusch, the Bertolucci brothers, Bressane, Amico, Gitai (the list is infinite). In the mid-80s, he entered the group of Fuori Orario and Blob (two avantgarde RAI programs): here, his video edits are dictated by an anarchist vision of cinema and by the uncommon interlocking that is ignited between them.
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Pierino Aceti is a man of fixed habits, a film lover, and is currently retired after a white-collar life.
For one year, for exactly fifty two Thursdays, the director went to visit Mr Aceti at his house from 10.30 to 11.30 am. Every meeting revolved around one question: “what did you do this week?”.
The rigorous organisational schedule of Pierino’s days, his relentless ability to classify and remember things and details about films and life, to fragment time in meticulous and measurable events emerge during the formal agreement.
Trailer: https://vimeo.com/293094442
DIRECTOR’S NOTE
For a whole year, every Thursday morning, I went to visit Mr Aceti at his house. As in all my previous works, strongly characterised by a stylistic and structural rigour, in Pierino I used a narrative storytelling device where the limit is a fundamental part of the film itself. Only this time private life and filming have undergone a substantial fusion: the film follows the protagonist’s life’s rhythm and the slow passing of time during the agreement made with Mr Aceti, in a timeframe that is as important as the main character.
This film, entirely shot in VHS with an old camera that doesn’t have a battery and thus needs to remain plugged into the socket outlet in order to function, is part of my project of a “domestic trilogy”. The three works are to be completely shot in small domestic environments in three different formats. Dulcinea in 16mm, Pierino in VHS, and The House of Love in the digital format.
The choice of the analogue shooting format for Pierino is an homage to Mr Aceti’s cinephile nature, that led him to gather a wide collection of arthouse VHS films. The film couldn’t have been shot in any other format in order to achieve a coherent fusion between shape and content.
luca ferri (Bergamo, Italy, 1976) (bergamo, italy, 1976), self-taught, since 2011 he has been dedicating to the writing, photography and direction of films presented to italian and international festivals, such as pesaro film fest, filmmaker, indielisboa, documenta madrid, atlanta film festival, punto de vista, curta cinema, fidocs, ghent flanders, poff, vilnius short film festival and videoex and in museums and art galleries, such as spazio forma meravigli (milan), mambo (bologna), macro (rome) and schusev state museum of architecture (moscow).
in 2013 the national film library of rome organizes a restrospetictive of his works.
his first feature film abacuc, released in 2015, was presented at torino film festival and mar del plata festival de cine.
the film colombi was presented at 73rd venice festival in the orizzonti section.
in 2018 his work dulcinea is selected at 71st locarno film festival in competition in the section signs of life and his last work pierino is presented at 61st dok leipzig.
http://www.ferriferri.com/
© 2010 NOMADICA | per il cinema autonomo
