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INTERNATIONAL FESTIVALS LICENSING MARKETS STREAMING INTERVIEWS NEWS VENICE INTERNATIONAL FILM FESTIVAL 2022 VENEZIA 79 Adam Driver in WHITE NOISE By Noah Baumbach Opening Film Success for the first edition ALLORA FESTKAY KANT From book to movie OLIVER STONE Streaming Short Films

The Venice Film Festival is ready to let us dream in his 79th edition. The most awaited event by professionals and film lovers will entertain and bring the magic of cinema to life with a large number of movies and stars. In the next pages you will find a quick look at the selected films in Competition and an overview of the upcoming unmissable festivals and markets. We will also talk about the most recent events as the Figari Film Fest with Ema Stokholma, the Allora Fest with the co-founder Giovanni De Blasio and the Not Film Fest not forgetting the events taking place in Venice these days. Last but not least , we will deepen the projects of the Film Commission Vallée d’Aoste thanks to the director Alessandra Miletto and we will know better the streaming platform WeShort through the words of the founder Alessandro Loprieno. Enjoy the reading ! Stefania Veneri Editor in Chief WELCOME TO JUST CINEMA INTERNATIONAL ©Lorenzo Mattotti per La Biennale di Venezia - Foto ASAC Just Cinema ©AVeniceinfo@justcinematabloid.comwww.justcinematabloid.comInternationalIFF2022projectby:PlumeMedia&CommunicationAllrightsreserved Cover- The White Noise ©Netflix Editor in Chief: Stefania Veneri Executive Editor: Roberto Pinotti Editorial contributors: Lucy Preston, Robert McKeen, Giulia Neri, NGM. © Plume Media & Communication All rights reserved /Tutti i diritti PlumeEditore:JustriservatiCinemaMedia & Communication Via del Convento - 05100 Terni Iscrizione ROC N° 37294 Direttore Editoriale: Stefania Veneri Direttore Responsabile: Roberto Reg.PeriodicoPinottiTrimestraleTribunalediTerni 1855/2021 ISSN- 2785-7174 Stampa: Graffietti Stampati S.S. 71 km 4,5, 01027 Montefiascone –VT www.justcinematabloid.com SCAN NOW to start your 30-day free trial

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The Zurich Film Festival provides a platform for the most promising filmmakers from around the globe. It aims to promote exchange between emerging directors, successful film workers, the film industry and the general public. Every autumn, the ZFF presents the year’s greatest discoveries and most anticipated films.

The Asian Contents & Film Market (ACFM) is a market place where diverse media content from films to audio visuals, publications, web toons, and web novels are Astraded.anetworking and busi ness platform for industry professionals worldwide, ACFM provides various programs, including investment and co-production markets, industry conferences and events, and film production funding programs. Over 2,000 industry professionals from more than 50 countries participate in ACFM every October dur ing the Busan International Film Festival. ACFM 2022 will host a physical market to provide in-person net working and business opportunities to worldwide participants with online components supplemented.

San Sebastian’s film programme consists of some 200 films selected for six competitive sections (Official Selec tion, New Directors, Horizontes Latinos, Zabaltegi-Tab akalera, Perlak and Nest) and seven non-competitive sections (Culinary Zinema, Made in Spain, Zinemira, Vel odrome, Movies for Kids, Retrospective and Klasikoak).

11-15 MIA is the first Italian market converging all the segments of the audiovisual industry (Film | Drama | Doc). With over 2000 profession als from 58 countries participating to each edition, MIA is a valuable platform for the top players of the national and international film industry such as producers and distributors of high-end content: a hub where theatrical deals and transnational TV series start, and a place where to establish and reinforce business rela tionships between global market leaders. 6-16 Ô

The 38th International Co-Production & Entertainment Content Market – is the world’s greatest gathering of tel evision and media professionals and the most anticipated week in the industry’s global calendar. Every October, decision makers from over 100 countries converge on Cannes, France, the world capital of the red-carpet, to compete for new series, to source interna tional production partnerships and to set the development agenda for 2022 and beyond.

SEPTEMBER

13-17

EVENTSOCTOBER www.justcinematabloid.com

EVENTS 8-18 16-24

The Toronto International Film Festival returns in Sep tember 2022 for its 47th edition — 11 days of interna tional and Canadian cinema, special events featuring some of the biggest names in film, and TIFF’s Industry offering diverse and innovative perspec tives on the art and business of film.

22-02

Doclisboa seeks to imagine reality through new cinematic forms of perception, reflection and action, placing filmmaking into dialogue with its history to question the present of cinema. Doclis boa is interested in films that are rigorous about their conceptual and formal implications; films that experiment with cinema’s artistic and po litical possibilities and refuse to be categorized; films that engage with and mirror the complexity of the world. Doclisboa offers a ground where cinema and the contemporary are investigated as acts of being together in, and with, time.

Conference,

EIN SOF by Orly Anan

As part of ITSLIQUID Group’s Venice Art Fair, taking place for September 8/9 – 30, 2022 at Palazzo Albrizzi-Capello and Palazzo Bembo, there will be a special focus on short art films. This year, the popular event, already in its 15th year, will feature short films by two talented Israeli female visual artists – Eva Lanska and Orly Anan Multifaceted, London-based, Israeli film director and video artist Eva Lanska will present her short, The Existential Choice, part of her choreographic photograph, 3D video and NFT installation that first debuted to rave reviews in April at Palazzo Bragadin at the opening of Biennale Arte 2022. In the multimedia installation in which several works will also be presented during the fair, Lanska employs gesture

and symbolism to explore the intense proximity between collaboration and competition. For a hypnotic minute she offers a sensitive portrayal of the tenderness and tension that can often be held woman to woman. Lanska captures movement to convey symbolic meaning. By dramatizing the relationship between two ballerinas, she highlights the socio-ethical sacrifices that dancers continually face. As the epitome of femininity, the ballerinas represent womankind more broadly, with the video acting as a parable for the pressures on women to betray one another in their rise to the top. “The betrayal one makes for your career will live in the heart forever”, says Lanska. Here Lanska emphasizes one particular aspect of society that she finds problematic and offers a critical insight into the way many culturally long-standing customs actually run contrary to core humanitarian values. The musicality between gesture and dialogue is what drew Lanska to filmmaking. She trained at London Film Academy and London Institute of Photography, and draws on her experiences living in Paris, Abu Dhabi and Tel Aviv, as well as her upbringing in Moscow. Influenced by classic Italian filmmakers such as Fellini and Antonioni, plus the expressive virtuosity of prima ballerinas she saw at the Bolshoi Theatre as a child, she works either in black and white or elegant muted colors, using stylized camerawork to refer to tradition and continuity. Mexico City-based, Colombian/Israeli visual artist Orly Anan will have the European debut of EIN SOF, the artist’s first short art film described as “a talent show from a parallel galaxy.” EIN SOF holds the meaning of being ‘infinite’, or literally ‘without end’, and in Kabbalah is understood as God prior to any self-manifestation in the production of any spiritual realm.

The Existential Choice by Eva Lanska

Eva Lanska Orly Anan

Starting from the Cabalistic concept, the film project is a vision of the infinite and unlimited possibilities that exist within our being to imagine altered universes and infinite characters loaded with cosmic messages.

“My investigation attempts to open up our understanding of an altered reality by mixing ancient cultures with imaginary ones”, comments Anan. Anan’s dual upbringing in Colombia and Israel instilled a deep curiosity for the inherent mysticism of everyday Asian and Latin American traditions. Now a visual artist and creative director with a studio in the heart of Mexico City, the maker of parallel universes plumbs the intersection of ritual and popular culture to dream up lush scenographies that buzz with romance, the spirituality of objects, and an interwoven consciousness. The film’s soundtrack is by Colombian/Canadian music artist Lido Pimienta. Dreambear’s Evan Brown is executive producer and Dreambear is the production company.

FEMALE VISUAL ARTISTS SPOTLIGHTED AT ITSLIQUID GROUP’S VENICE ART FAIR by Nicole Goesseringer Muj

Banijay CEO Marco Bassetti to give a keynote address at MIPCOM

September 22-24

In the wonderful San Sebastiano al Vesuvio (Naples), a brand new event is coming: under Alex Marano’s art direction and Mayor Giuseppe Panico’s supervision, Aria Film Fest is now a reality. The first edition will take place on Septem ber 22-24, on the slopes of Mount Vesuvius, welcoming authours and guests from all over the world. Aria Film Fest mission is to bring attention to the theme of sustainability in cinema industry. Is a green approach possible in movie production? Yes, and it’s also necessary. That’s what Aria Film Fest wants to encourage, along with partners, such as WeShort and Legambiente, and managing directors Gelsomina Prositto and Vincenzo Lamagna, founders of the green production company NaNo Film. Submissions on FilmFreeway are free and open until September 2.

MIPCOM CANNES is back and supersized this year. Hearing from the man at the helm of what is now one of the world’s largest independent production groups couldn’t be more appropriate. We look forward to warmly welcoming Marco back to Cannes and back to the Grand Auditorium stage” added Lucy Smith, Director of MIPCOM CANNES and MIPJUNIOR.

ARIA FILM

FEST

WHAT’S NEW

8 As CEO of the world’s largest independent content producer and distribu tor, Bassetti oversees a burgeoning operation spanning 22 territories, over 120 production entities and a catalogue that includes Survivor, Peaky Blin ders, Big Brother and MasterChef, as well as upcoming break-through tit les Rogue Heroes, Blow Up, Starstruck and Marie Antoinette. Taking to the stage on the market’s second day, it will form part of the conference pro gramme’s agenda-setting Media Mastermind keynote series that features leading global executives and creatives from the TV industry speaking from the world-famous Palais des Festivals stage. The session will cover insights from Bassetti on both the global producer/distributor’s strategy and wider industry Exhibitorstrends. fromover 45 countries have now confirmed for the 38th Interna tional Co-production and Entertainment Content Market, including the global TV industry’s major studios and platforms. In total, over 10 000 delegates are expected to attend the highly anticipated market. Also new for 2022 at MIPCOM CANNES is ‘The Seaview Producers Hub’, an inaugural 1 000 SQM networking lounge and event space set against the backdrop of Cannes’ ico nic sea view and introduced to reflect the increased focus at the market for exploring early-stage development, co-production, financing and funding partnerships.

The week-long MIPCOM CANNES conference programme helps define the TV industry year, with screenings of highly anticipated series and exclusive trend insight presentations also featuring alongside the keynotes. Diverse, inclusive storytelling and mentoring remain at the heart of the MIP mission and will be elevated throughout the programme and the market.

A brand new event is coming So much has changed for us since we were last here, so it will be great to fully reconnect with the market and introduce our scaled-up group officially.

Marco Bassetti said: “After three years away, we are proud to be back in Cannes with over 200 of our global talent in tow. MIPCOM always stands as a momentous occasion for our business, and I look forward to taking the time to share more on our current strategy and the trends we are recognising across the globe. So much has changed for us since we were last here, so it will be great to fully reconnect with the market and introduce our scaled-up group officially.”

“As we plan the book fair, we are taking into account that the COVID situation might change this autumn. We are in contact with the relevant authorities and will meet all hygiene and safety requirements that apply in October,” adds Boos.

All of the major publishing groups have registered to attend Frankfurter Buchmesse: the major multinational publishing groups based in the US and

The 2022 Frankfurter Buchmesse will be held on 19-23 October, a worldwide marketplace for the most important international trade fair for publishing and content of all kinds - from novels and children’s books to scientific databases. This year’s Guest of Honour is Spain – the country presents its literary and cultural life under the motto “Creatividad Desbordante”. With exhibitors from over 80 countries and acclaimed authors from around the world, the 74th Frankfurter Buchmesse (19–23 October 2022) will once again serve as the international book and publishing industry’s benchmark event. “As its leading trade fair, Frankfurter Buchmesse has a monopoly position within the book industry. Yet it is much more than just a place for doing business: the fair stands for diversity, for plurality and against any kind of discrimination. These basic values are visible in this year’s programme of events: many of our guests are writers whose books seek answers to current political and social issues,” says Juergen Boos, Director of Frankfurter Buchmesse. Numerous authors will present their new books at the Frankfurt Pavilion, the fair’s stage for cultural and political content curated by the book fair, including Nobel laureate Abdulrazak Gurnah, climate activist Luisa Neubauer, Spanish essayist Irene Vallejo, and Ukrainian writer Serhij Zhadan, this year’s winner of the Peace Prize of the German Book Trade. The full programme of the Frankfurt Pavilion will be announced shortly.

Materials Courtesy of Frankfurter Buchmesse UK, including Penguin Random House, Simon & Schuster, Hachette, Scholastic, HarperCollins, Macmillan, Ingram, Taylor & Francis and Springer Nature. Moreover, the streaming service Spotify and the video platform TikTok will also be represented at the book fair. Around 70 country stands will welcome visitors in Frankfurt. Asian book markets are back in Frankfurt again, including China, Japan, Korea, Malaysia, the Philippines, Taiwan and Thailand.

Spain will be this year’s Guest of Honour at Frankfurter Buchmesse under the motto “Creatividad Desbordante –Spilling Creativity.” Exactly 31 years after the country’s first appearance as Guest of Honour in 1991, its presence in Frankfurt will focus on topics such as multilingualism and the importance of the Spanish language as a bridge to Latin America. Over the five days of the fair, the interactive Guest of Honour Pavilion with its two stages will shed light on Spain’s rich and vibrant literary and cultural landscape, providing space for exciting encounters with 200 Spanish organisations and individuals.

www.justcinematabloid.com Frankfurt Book Fair

vals in the world, we are continu ing to work with large cross-indus try companies to reach different and targeted clusters of users, working in a focused way on clien tele who often have short breaks for work or lifestyle reasons. A few weeks ago, we began de velopment of a three-year plan to produce WeShort Originals, in ternational short films and short series. How can short films be submitted to WeShort? Those who produce and distrib ute short films from all corners of the world can send screeners to us at forward@weshort.com. Our film selection committee, formed by persons with multi-dis ciplinary experience in the field and young enthusiasts, watches and evaluates hundreds of short films and short series every week, in order to send to the selected ones a contract proposal in the form of a remunerative licensing agreement. by Stefania

STREAMING SHORT FILMS ANYTIME ANYWHERE who choose to support the project, did you expect this? Chili Cinema, TCL, Best Western, Aeroporti di Roma, CNA Cinema and Audiovisual, Giffoni Innova tion Hub, are among the busi nesses I have partnered with, and I am proud of it. The true answer is no, I didn’t expect it, but that doesn’t make it any eas ier; on the contrary, when you start measuring yourself with big companies and big investors, the difficulties increase because the stakes increase, but it’s the only way to reach the public. That’s the way I am, I like big challeng es, I like to find new ways to solve problems, big ambitions are the basis, I want to bring a positive impact in the world, believe in people, in dreams. WeShort was born from a boundless and pure love for cinema, it was born from a childhood dream, the desire to achieve success together, We. I feel - and must thank those who are believing in it. Those who have invested money, work, and trust. Those who believe together with us, that this a new frontier for

So, no matter how much money you start with, you can always fail, this is also true in reverse, even if you start with $1500 in your account when you start your journey as a start-up, you can be unthinkably successful. With this postulate, WeShort was born, with a mission to make short films an everyday choice for the public and a vision, that of becoming the short film major in the world. A young reality, with little more than a year under its belt, which immediate ly sparked a lot of interest, both from the public and from the many partners

The idea was born to fulfil a need that I strongly felt I had at a certain point in my life as a cinephile, which was to have a spe cific, reliable, and curated reference point for watching short films. I realized that I had never watched short films with any real interest, giving them a chance to enter my daily choice of entertainment. I thought that this problem could be felt by many more people besides me. From that mo ment I began to study and figure out how to give a paying audience access to what I now call “Great Short Cinema”. There are films, which although short, are great films. I be gan to see with much interest the sizing of this market, its growth in the last ten years and the go to market criteria to reach not only a cinephile or insider audience, but a larger, younger audience, enthusiastic and interested in discovering a way, indeed dare I say a universe, unexplored: short cinema. Thus, WeShort was born in late 2020, from an idea conceived in the spring of 2019, just as I was sitting alone in a cinema waiting to watch a film, and incubated for a year or so, in the search for personal convictions and in receiving the first authoritative feedback on my idea. What gave you the impetus to set out on such a great adventure? I must say that I was initially a little afraid of what I was about to start, but then there was a trigger event that gave me an injec tion of courage that will forever remain in the history of great failures: Quibi. I picked up signals from the future. The pseudo-ma jor disguised as a start-up, founded by Jef frey Katzenberg, after an initial $1.7 billion investment round, failed thunderously after launch amid a pandemic. It had not been the best, from my perspective, to launch an “on the go” movie app focused on short content, during the lockdown. Why did the failure of Quibi give me courage to found WeShort? Well let’s think about it for a mo ment, Quibi started with almost two billion dollars and failed after not even a year, the summary I internalized about what hap pened is that the intuition was right, the mo dalities were not, for a thousand reasons.

Interview with Alessandro Loprieno Founder & CEO

tomorrow’s cinema, let us not forget that history repeats and is cyclical, cinema is born as a short.

Veneri Born in Puglia, Made Worldwide

In this data-driven company, we combine passion toward cinema, technology, and know-how, with data-science, put at the service of the user. From my point of view, if you intelligently employ data anal ysis, today you can create such a viral effect around a project that paid marketing activities can be almost zeroed out. There is noth ing more “viral” than people’s en Todaythusiasm.there is a need for the real, authentic things....

How did the WeShort platform start and what are the goals behind the pro ject?

Yours is a constantly evolv ing reality, can you antici pate any new things we will see in the coming months? I can comment by saying that now our gaze is turning toward the United States of America, for more than one reason. We are starting a research project in data-science with San Francisco State University, we have received a partnership proposal from one of the most important film festi

Una realtà giovane, con poco più di un anno alle spalle, che ha suscitato da subito molto interesse, sia da parte del pubblico che dei numerosi partner che scelgono di sostenere il progetto, te lo aspetta vi?

Chi produce e distribuisce cortometraggi da ogni angolo del mondo può semplicemente inviarci gli screener alla mail forward@weshort.com . Il nostro film selection committee, formato da figure con esperienza multi-dis ciplinare nel settore e da giovani appassionati guarda e valuta centinaia di cortometraggi e serie short ogni set timana, al fine di inviare ai selezionati, una proposta con trattuale sotto forma di accordo di licenza remunerativo.

L’idea nasce per soddisfare una necessità che ho forte mente avvertito ad un certo momento della mia vita da cinefilo, ovvero quella di avere un punto di riferimento specifico, affidabile e curato per la visione di cortometrag gi. Mi ero reso conto che non avevo mai visto short films con un certo interesse, dandogli la possibilità di entrare nella mia scelta giornaliera d’intrattenimento. Ho pensato che questo problema potesse essere avvertito da molte più persone oltre a me, da quel momento ho iniziato a studiare e capire come fare per dare accesso ad un pub blico pagante a quello che io oggi chiamo “Grande Cinema Breve”. Ci sono film, che seppur brevi, sono dei grandi film. Ho iniziato a vedere con molto interesse il dimension amento di questo mercato, la sua crescita negli ultimi dieci anni e i criteri di go to market per raggiungere non solo un pubblico cinefilo o di addetti ai lavori, ma un pubblico più grande, giovane, entusiasta ed interessato alla scoperta di un modo, anzi oserei dire un universo, inesplorato: il cinema breve. Così nasce WeShort a fine 2020, da un‘idea concepita nella primavera del 2019, proprio mentre ero da solo seduto in un cinema nell’attesa di guardare un film, ed incubata per un anno circa, nella ricerca delle convin zioni personali e nel ricevere i primi feedback autorevoli sulla mia idea. Cosa ti ha dato la spinta per partire verso un’avven tura così grande? Devo dire che inizialmente mi spaventava un po’ ciò che mi apprestavo ad iniziare poi c’è stato un evento trigger da mi ha dato un’iniezione di coraggio, che rimarrà per sem pre nella storia dei grandi fallimenti: Quibi. Ho captato dei segnali dal futuro. La pseudo-major travestita da startup, fondata da Jeffrey Katzenberg, dopo un round d’investi mento iniziale da 1.7 miliardi di dollari, fallisce fragorosa mente successivamente al lancio in piena pandemia. Non era stato il massimo, dal mio punto di vista, lanciare un app di cinema ”on the go” focalizzata sul short content, durante il lockdown. Perché il fallimento di Quibi mi ha dato coraggio per fondare WeShort? Beh pensiamoci un attimo, Quibi è partita con quasi due miliardi di dollari ed è fallita dopo neanche un anno, la sintesi che ho interioriz zato sull’accaduto è che l’intuizione era giusta, le modalità no, per mille motivi, quindi non importa con quanti soldi parti, puoi sempre fallire, questo vale anche al contrario, anche se parti con 1500 dollari sul conto quando inizi il tuo percorso come startup, puoi avere impensabilmente successo. Con questo postulato nasce WeShort, con la missione di rendere i cortometraggi una scelta quotidiana per il grande pubblico e la visione, quella di diventare la major del cinema breve nel mondo.

Come è nata la piattaforma WeShort e quali sono gli obiettivi alla base del progetto?

tiera per il cinema del domani, non dimentichiamoci che la storia si ripete ed è ciclica, il cinema nasce breve. In questa data-driven company, uniamo la passione verso il cinema, la tecnologia ed il know how, alla data-science, messi a servizio dell’utente. Dal mio punto di vista, se si adopera in modo intelligente l’analisi dei dati, oggi si può creare un tale viral effect attorno ad un progetto che le attività di marketing a pagamento possono essere quasi azzerate. Non c’è nulla di più “virale” dell’entusiasmo delle persone, oggi c’è bisogno delle cose vere, autentiche… La vostra è una realtà in continua evoluzione, ci puoi anticipare qualche novità che vedremo nei prossimi mesi? Posso esprimermi dicendo che al momento il nostro sguardo volge verso gli Stati Uniti D’America, per più di una ragione. Stiamo iniziando un progetto di ricerca in da ta-science con la San Francisco State University, abbiamo ricevuto una proposta di partnership da uno dei festival di cinema più importanti al mondo, stiamo continuando a lavorare con grandi aziende cross-industry per raggiun gere cluster di utenti diversi e in target, lavorando in mani era mirata su clientela che ha spesso pause di tempo brevi per motivi di lavoro o di stile di vita. Da qualche settimana abbiamo iniziato lo sviluppo di un piano triennale che pre vede la produzione di WeShort Originals, cortometraggi e serie brevi internazionali.

Come si possono inviare i cortometraggi a WeShort?

Intervista ad Alessandro Loprieno - Founder & CEO

Chili Cinema, TCL, Best Western, Aeroporti di Roma, CNA Cinema e Audiovisivo, Giffoni Innovation Hub, sono tra le realtà con cui ho avviato una partnership e ne vado fiero. La verità è no, non me l’aspettavo, ma non per questo è più facile, anzi quando inizi a misurarti con grandi aziende e grandi investitori, le difficoltà aumentano perché au menta la posta in gioco, ma è l’unico modo per arrivare al grande pubblico. Sono fatto così, mi piacciono le grandi sfide, mi piace trovare nuove vie per risolvere problemi, le grandi ambizioni sono la base, voglio portare un impatto positivo nel mondo, credere nelle persone, nei sogni. WeShort nasce da un’amore sconfinato ed incontaminato per il cinema, nasce da un sogno infantile, dalla voglia di ottenere successo insieme, We. Sento e devo ringraziare chi ci sta credendo. Chi ha investito denaro, lavoro e fidu cia. Chi crede insieme a noi, che questa una nuova fron

IL GRANDE CINEMA BREVE QUANDO E DOVE VUOI

Manuela Rima - Rai CInema, Matteo Pianezzi, Alessandro Loprieno - WeShort. Figari Film Fest, Stati Generali del Cortometraggio. SCAN NOW to start your 30-day free trial

The Aosta Valley

The high visibility is certainly due to the type of the film because it is perhaps the first time, after “Tutta colpa del paradiso” (All the Fault of Paradise), that the Aosta Valley is so prominent in the entire narrative. For this, of course, we have to thank the author Paolo Cognetti, because his successful novel had already narrated in the valley in a beautiful, intense, not so “easy” way, and this attracted attention and interest right from the start. Add an Oscar-nominated director and top-notch actors for a European production and the beneficial effect of this film is clear. Cannes was the crowning achievement, and it was a crescendo; knowing that the film had been selected was something very exciting for all of us and for the whole area. Winning the award has gone beyond all expectations and it is a long queue because the film will be released in December and, at this moment, we are still riding the whole wave of attention and anticipation that will culminate with its arrival in theatres (at the same time in almost all of Europe) and that too will be a moment of great visibility.

Asmall territory, high-profile workers and a wide choice of locations and settings make the Aosta Valley a very attractive region for au dio-visual productions, including large-scale ones; besides the visi bility return, what was the experience with “The Eight Mountains” (a film that won the Jury Prize at the 75th Cannes Film Festival)?

An increasingly appealing region for international productions La Thuile – Petosan.

How did the local community respond during the filming phase? This is a film that people talk a lot about. Here in the Valley the anticipation is spasmodic because the involvement was important in so many ways; there is also an economic aspect to consider that is not at all secondary, it is an element that as Film Commission we take into account and that really brought a lot of immediate effects of spending on the territory (about one million euros but we are waiting for the reports). It was also a very complex film to shoot so there was an involvement of the whole local network, from the workers to the services, up to the people who usually don’t collaborate or work on the sets and who, in this case, were personally involved. I’m talking about the suppliers of the all-terrain vehicles or the mountain guides, without whom many scenes could not have been safely shot or realized; in some cases, the guides themselves were present as stand-ins or as on-set characters. Everyone felt that they were an active part of the project, and perhaps that is what I like most and what gives me the most satisfaction.

A lot is credited to the human dimension of the film and the crew who created a network in a small town of a few inhabitants who experienced the whole shoot interacting with the production and the cast. The directors stayed for a very long time, and Luca Marinelli himself stayed for the entire time of the film in order to fully immerse himself in the environment.

the costs that are carried out on the territory - and from a logistical point of view: for we have established a series of protocols with a large part of the municipalities in Valle d’Aosta that place us as an intermediary and guarantor to speed up all the procedures and facilitate the work of the productions. For example, large interna tional productions hardly ask for a financial contribution because they often have significant resources, but they look for logistical support, facilitation of procedures and that is what we do. On “ House of Gucci” we worked together with the Italian lo cation managers for more than a year to look for locations and to facilitate the work on all fronts and we learned only after a long time which was the film. In that case the work was enormous, we went all over the valley looking for an ideal location and when Gressoney was identified we started working with the administration. We had an almost lock down situation and the film was a breath of fresh air, some thing that left its mark on a country that was closed. Ridley Scott was really terrified of the pandemic situation and a set was organized in concentric circles that did not interact with each other to avoid any possible contagions. It has not been easy; it was an extremely complex production with all the stress of the uncertainty towards an unknown virus, but it was also unforgettable in many ways. Even with “Avengers” there was a lot of organizational work in which the Fortress of Bard and the various municipalities made a huge contribution. That, too, was a frighteningly complex production, and I was really impressed by the degree of efficiency especially in re storing the settings. In a square in Aosta, charges were detonated creating rubble and debris and yet, the next morning, the same square hosted the market as usual, at six o’clock in the morning it was as if nothing had happened.

Your locations have hosted successful “made in Italy” products such as the TV series “Rocco Schiavone,” now in its fifth season, but also films such as “House of Gucci” or “Avengers - Age of Ultron” - to go back a few years - how are international productions supported? With national or European productions there is a very strong intervention from us both in economic terms - in the sense that through the fund we bear part of Interview with the director of the Film Commission Vallée d’Aoste Foundation, Alessandra Miletto.

Very interesting is the long-standing connection with Indian cinema, what

Is there any filming going on right now?

In the last week of August, a 10-day shoot will begin for “ Costa, una ques tione di famiglia” (Costa, a matter of family) a French-produced documen tary directed by Carlo Bachschmidt. The project, which we supported with the last call in July, reconstructs the genealogy of the Costa family, Genoese entrepreneurs who were protagonists of the Ligurian and Italian economy. They continue to spend their summers in Cogne, which has always been devoted to hosting great historical families or great personalities where people gather as they used to do in the past. Director Luca Ciriello will also be there at the end of August to shoot the documentary “Api”, the second chapter of the Adolescence Trilogy, which began with “Forty Horses.” He will be shooting “Api” here because the ultimate vehicle used by teen agers is the Piaggio Ape, which they model and decorate. In short, given the cold weather, the Ape is the right combination that protects from the weather and is also an agricultural vehicle. We believed very much and very happily in this project. Next, filming will continue with Leandro Picarella’s documentary, “Segnali di vita” (Signs of Life), at the St. Barthélemy Astro nomical Observatory. A dual life story about the scientists who live and work inside the Observatory and the rural community that surrounds it.

The Film Fund of the Film Commission of The Aosta Valley is counter-based, which means it is open all year round with monthly windows. Every month, from the first to the tenth, you can apply to access the grant. This, on the one hand does not make it easy to have a forecast of what will happen in the months to come, and on the other hand it is a tool that producers really like because there is no time constraint to participate in the two or three annual calls to submit funding applications. It is a very attractive, fast sys tem that requires elasticity and skill in scouting and managing resources.

can you tell us about this synergy? It’s a relationship that started quite early on, from the early years of the Film Commission, but I don’t know exactly what the reason was that brought the first Indian film here. Before, Bollywood productions tended to film in the Swiss mountains because the Alps resemble their Himalayan environments but have a much lower degree of logistical difficulty than the prohibitive altitudes. The appeal to familiar environments, the charm and the exotic character generated a combination that made it possible to bring a good part of Indian films to our areas and to other places in the Alps such as Tren tino - thanks also to the support of an Italian production company that has been working in those territories for years. A custom has been created: we work well together because it is now an open channel, and they know how to move with all their contacts. The last film shot here was in May. It is quite a challenge for you to be able to meet the demands and needs of even different work models... Absolutely. I must say that, in this, the production company helps us a lot. Sometimes there are processes that are difficult to understand or there are sudden changes to the working plans, which we have learned to manage and solve. So, it is a partnership that works and brings a lot of visibility if we consider the numbers and the extent of fruition of Indian cinema, unthink able figures to reach in Italy.

Since 2012, the Film Fund has been active to financially support pro ductions. Is it currently open?

Cervino Cine Mountain also went very well; we reinstated the Film Com mission Valle d’Aosta Award to the best film made by directors from Valle d’Aosta or shot in Valle d’Aosta, which this year went to Francesca Frigo’s “The Seed of the Future.” The film follows the return of scientist Giorgio Vacchiano to the forests of his childhood, the Val d’Ayas that is, the same valley as “The Eight Mountains,” to study the effects of global warming. De lighted that it was awarded. In Aosta, Strada del Cinema went well, a 20-year festival of silent films set to live music, full of screenings and special per formances such as that of “The Lodger “by Hitchcock, played by the Turin By Stefania VeneriAlessandra Miletto

However, not having a huge fund - €500,000 this year - we still prefer to use this model for the time being. Let’s talk about events, in June there was “Panoramiche” and the Aosta Val ley festivals, which are attractive and very well known internationally. How did it go? Very well. On August 7th the Gran Paradiso Film Festival ended and we were very happy because a short film which was supported by the Film Commission won two awards. “Lo Combat,” by local director Gaël Truc, re ceived both the CortoNatura Award, given by the public and the Short Film Award best short film given by the technical jury: a double achievement.

Valle d’Aosta

U14

Una regione sempre più attrattiva per le produzioni internazionali Intervista alla direttrice della Fondazione Film Commission Vallée d’Aoste, Alessandra Miletto.

“Le otto montagne” - Alessandro Borghi e Luca Marinelli

Con le produzioni nazionali o europee c’è un nostro intervento molto forte sia in ter mini economici, nel senso che attraverso il Film Fund sosteniamo parte dei costi che vengono effettuati sul territorio, sia da un punto di vista logistico perchè abbiamo stabilito una serie di protocolli con larga parte dei comuni valdostani che ci pongono come intermediario e garante per velocizzare tutte le procedure e facilitare il lavoro delle produzioni. Per esempio, le grandi produzioni internazionali difficilmente chie dono un contributo economico perché spesso dispongono di importanti risorse, ma cercano il supporto logistico, la facilitazione delle procedure ed è quello che faccia mo. Per “House of Gucci” abbiamo lavorato insieme ai location manager italiani per più di un anno per cercare le location e per facilitare il lavoro su tutti I fronti e abbiamo saputo solo dopo molto tempo di quale film di trattasse. In quel caso il lavoro è stato enorme, abbiamo girato tutta la valle alla ricerca di un posto ideale e quando è stato individuato Gressoney abbiamo cominciato a lavorare con l’amministrazione. Eravamo in una situazione di quasi lock down ed è stata una boccata d’aria nuova, qualcosa che ha lasciato il segno in un paese che era chiuso. Ridley Scott era veramente terrorizzato dalla situazione pandemica ed era stato organizzato un set a cerchi concentrici che non interagivano tra di loro per evitare eventuali contagi, non è stato semplice, è stata una produzione estremamente complessa con tutto lo stress dell’incognita verso un virus scono sciuto ma è stata anche indimenticabile per molti versi. Anche con “Avengers” c’è stato un grosso lavoro di organizzazione in cui il Forte di Bard e le varie municipalità hanno dato un un apporto enorme. Anche quella era una produzione di una complessità spaventosa e sono rimasta veramente colpita dal grado di efficienza soprattutto nel ripristino degli ambienti. In una piazza di Aosta sono state fatte esplodere delle cariche creando macerie e calcinacci eppure, la mattina successive, la stessa piazza ha ospitato come di consueto il mercato, alle sei di mattina era come se non fosse successo nulla. Di grande interesse è il legame che si è creato da molto tempo con il cinema indiano, cosa può dirci di questa sinergia? E’ un rapporto che è nato molto presto, dai primi anni di vita della Film Commission, ma non so esat tamente quale sia la ragione che ha portato qui il primo film indiano. Prima le produzioni di Bollywood tendevano a girare sulle montagne svizzere perché le Alpi ricordano i loro ambienti himalayani ma hanno un grado di difficoltà logistica nettamente inferiore rispetto alle quote proibitive. Il richiamo agli ambienti familiari, il fascino e il carattere esotico hanno generato una combinazione che ha permesso di portare buona parte dei film indiani nelle nostre zone e in altri luoghi dell’arco alpino come il Trentino anche grazie al supporto di una società di produzione italiana che opera da anni in quei territori. Si è creata una consuetudine, lavoriamo bene insieme perché oramai è un canale aperto e loro si sanno muovere con tutti i loro contatti. L’ultimo film girato qui è stato a maggio.

In questo momento sono in corso delle riprese ? L’ultima settimana di agosto inizieranno per 10 giorni le riprese di “Costa, una questione di famiglia”, un documentario diretto da Carlo Bachschmidt di produzione francese. Il progetto, che abbiamo sostenuto con l’ultima call di luglio, ricostruisce la genealogia della famiglia Costa, imprenditori genovesi protagonisti dell’ economia ligure e italiana che ancora oggi sono soliti trascorrere l’estate a Cogne, da sempre vocata all’ospitalità di grandi famiglie storiche o grandi personaggi dove ci si ritrova come si faceva una volta. A fine agosto ci sarà anche il regista Luca Ciriello a girare il documentario “Api” , secondo capitolo della Trilogia dell’Adolescenza, iniziata con “Quaranta cavalli”. Da noi girerà “Api” perché qui i il mezzo di locomozione per eccellenza degli adolescenti è l’Ape Piaggio che i ragazzini modellano e decorano. Insomma, dato il freddo l’Ape è la giusta combinazione che protegge dalle intemperie ed è anche un mezzo agricolo. Abbiamo creduto molto e molto volentieri in questo progetto. Continueranno poi le riprese del documentario di Leandro Picarella, “Segnali di vita”, all’Osservatorio astronomico di San Barthélemy. Un duplice racconto di vita sugli scienziati che vivono e lavorano all’interno dell’Osservatorio e la comunità rurale che lo circonda.

Dal 2012 è attivo il Film Fund a sostegno economico alle produzioni, è attualmente aperto? Il Film Fund della Film Commission della Valle d’Aosta è a sportello e quindi è aperto tutto l’anno con finestre mensili. Ogni mese, dal primo al dieci, si può fare richiesta di accedere al contributo. Questo, da una parte rende meno semplice avere una previsione di quello che succederà nei mesi a venire, dall’altra è uno strumento che piace molto ai produttori perchè non c’è un vincolo delle due o tre call annuali per presentare le richieste di contributo. E’ un sistema molto attrattivo, veloce, che richiede elasticità e abilità nel fare scouting e gestire le risorse però non avendo un enorme fondo - quest’anno è di 500.000€ - per il momento preferiamo utilizzare ancora questa modalità.

E’ un bella sfida per voi riuscire a soddisfare le richieste e le esigenze anche di modelli di lavoro diversi… Assolutamente sì. In questo devo dire che la società di produzione ci aiuta molto, a volte ci sono dei processi di difficile comprensione o modifiche repentine ai piani di lavorazione, che abbiamo imparato a gestire e risolvere, quindi è un sodalizio che funziona e porta anche molta visibilità se consideriamo i numeri e la vastità di fruizione del cinema indiano, sono cifre che in Italia è impensabile raggiungere.

Parliamo di eventi, a giugno si sono svolti “Panoramiche” e i festival valdostani, di richiamo e molto conosciuti anche a livello internazionale. Com’è andata? Molto bene, il 7 agosto si è concluso il Gran Paradiso Film Festival e siamo stati molto contenti perché un corto che è stato sostenuto dalla Film Commission ha vinto ben due premi. “Lo Combat”, del regista locale Gaël Truc, ha ricevuto sia il Premio CortoNatura, conferito dal pubblico sia lo Short Film Award miglior cortometraggio assegnato dalla giuria tecnica, una doppia soddisfazione. Anche il Cervino Cine Mountain è andato benissimo, abbiamo ripristinato il Premio Film Commission Valle d’Aosta alla mi gliore pellicola realizzata da registi valdostani o girati in Valle d’Aosta che quest’anno è andato a “Il seme del futuro” di Francesca Frigo. Il film segue il ritorno dello scienziato Giorgio Vacchiano nei boschi della sua infanzia, la Val d’Ayas ov vero la stessa valle de “Le Otto Montagne”, per studiare gli effetti del global warming, un vero piacere che sia stato premiato. Ad Aosta molto bene Strade del Cinema, ventennale festival del cinema muto musicato dal vivo, ricco di proiezioni ed esibizioni particolari come quella di “The Lodger”di Hitchcock, musicato dal Quartetto di Torino e Giorgio Li Calzi, quartetto che ha collaborato tantissimo con Ezio Bosso tanto che le musiche erano state scritte proprio da lui e sono state riproposte in una giornata in suo ricordo. E poi A macchia d’olio, la rassegna di Aiace Valle d’Aosta che per 2 mesi ha organizzato 19 proiezioni itineranti in 5 comuni della Valle d’Aosta, ha avuto un enorme successo perché ha riportato la gente a gustare l’esperienza del cinema insieme come esperienza collettiva e a riviverne l’importanza, che sia nella sala o sdraiati su un prato con aperitivo e popcorn.

n territorio poco esteso, maestranze di alto profilo e un’ampia scelta di luoghi ed ambientazioni fanno della Valle d’Aosta una regione molto attrattiva per le produzioni audiovisive, anche di grandi di mensioni; oltre al ritorno di visibilità, quale è stata l’esperienza con le Le otto montagne (film vincitore del Premio della Giuria alla 75° edizione del Festival di Cannes)? La grande visibilità è dovuta sicuramente alla tipologia del film perché è forse la prima volta, dopo “Tutta colpa del paradiso”, che la Valle d’Aosta è così protagonista dell’intera narrazione. Di questo, ovviamente, dobbiamo ringraziare l’autore Paolo Cognetti, perché già il suo romanzo di successo aveva raccontato La Valle in un modo bello, intenso, non “facile”, e questo ha destato l’attenzione e l’interesse sin da subito. Aggiungiamo un regista candidato all’Oscar e degli attori di primissimo piano per una produzione europea e risulta chiaro l’effetto benefico di questo film. Cannes è stato il coronamento ed è stato un crescendo; sapere che il film era stato selezionato è stato qualcosa di molto emozionante sia per tutti noi che per tutto il territorio. Con l’assegnazione del premio si è andati oltre ogni aspettativa ed è una coda lunga perché il film uscirà a dicembre e, in questo momento, stiamo ancora cavalcando tutta l’ onda di attenzione e attesa che avrà il suo apice con l’arrivo in sala (in contemporanea in quasi tutta Europa) e anche quello sarà un momento di grande visibilità. Come ha risposto il tessuto locale durante la fase delle riprese? È un film di cui si parla molto, qui in Valle l’attesa è spasmodica perché il coinvolgi mento è stato importante sotto tanti punti di vista, c’è anche un aspetto economico da considerare che non è affatto secondario, è un elemento di cui come Film Com mission teniamo conto e che ha portato davvero tante ricadute immediate di spesa sul territorio (circa un milione di Euro ma aspettiamo le rendicontazioni). E’ stato un film anche molto complesso da girare quindi c’è stato un coinvolgimento di tutto il tessuto locale, dalle maestranze ai servizi, fino ai soggetti che solitamente non collaborano o lavorano sui set e che, in questo caso, sono stati coinvolti in prima persona. Parlo dei fornitori dei mezzi fuoristrada o le guide alpine, senza le quali non si sarebbero potute girare o realizzare in sicurezza molte scene, in alcuni casi le guide stesse erano presenti come controfigure o come come soggetti in scena. Tutti si sono sentiti parte attiva del progetto e forse è la cosa che mi che mi piace di più e che mi dà più soddisfazione. Molto è dovuto alla dimensione umana del film e della troupe che ha creato una rete in un paese piccolo, di pochi abitanti che hanno vissuto le riprese interagendo con la produzione e il cast, c’è stata una permanenza lunghissima dei registi e Luca Marinelli stesso è rimasto per tutto il tempo del film proprio per calarsi appieno nell’ambiente.

Le vostre location hanno ospitato prodotti “made in Italy” di successo come la serie TV “Rocco Schiavone”, giunta alla quinta stagione, ma anche film quali “House of Gucci” o “Avengers – Age of Ultron” - per tornare indietro di qualche anno – come vengono supportate le produzioni internazionali?

The idea was born in Los Angeles in 2017 by 3 Italian friends who share a great passion for independent cinema and a greater his tory of rejection from the magical industry of moving images. Hav ing spent several years in the US, and having visited indie fest like Slamdance, Mammoth Lakes, Dances with Films and many more, we were firm in our belief that independent cinema has always pushed the boundaries of film language and storytelling. With the feeling that in Italy something like that was missing and that those indie films who changed Hollywood for good and con tinue to do so struggle to find room in both festivals and distribu tion we knew we had a unique opportunity in our hands: to create a platform for independent filmmakers powered by a community based movement that aim to give a voice to the most unique and innovative. NÓT in the local Romagnolo dialect means “Night”, but is the English word “Not” and the power of reclaiming the word of rejection that defines our way of celebrating films. Could you give us an overview of this year’s highlights?

23 – 28.08.2022 | Santarcangelo di Romagna www.justcinematabloid.com

How did the idea of making an indie film festival come about?

What makes Santarcangelo the perfect location for this event? Santarcangelo is a dreamy city nested in the most romantic Italian countryside. It is the epitome of the Italian dream in a very cultur ally “woke” environment. The city counts about 20.000 inhabitants and an endless artistic effervescence that lives beyond Nòt Film Fest and for this particular reason the event found a perfect home. It has a small town pace and a big city mind. When we approached the administration with the idea of a destination festival that would promote independent cinema, we were welcomed with jubilation and support. We know that our community loves to come back to the festival each year, not only for the program and films but also because of Santarcangelo di Romagna. What opportunities does the festival offer to young talents? One of the main goals of Nòt Film Fest has been to create real op portunities for our filmmakers which means different things accord ing to where they are in their career. When it comes to young talents the festival can launch their career also thanks to the partnerships, the special awards, free education, distribution opportunities as well as daily networking events to connect in a friendly and informal en vironment. This year we introduced a new opportunity for filmmakers younger than 35: Nòt a Chance. This competition in the competition will see 3 young filmmakers compete with a short film that they will have to write, cast, shoot and edit during the 6 days of the festival. The 5 minutes long shorts will be showcased during the award ceremo ny and the winner will receive the first Nòt a Chance Moonwalker statuette.

Alizé Latini

Giovanni Labadessa is an award winning writer/producer and co-founder of Independent film festival Nòt Film Fest in Italy and streaming start-up Nòtstream. As a screenwriter, he col lected accolades at prestigious competitions and labs including ScreenCraft Horror Screenplay Competition and Torino Film Lab while as producer he had his feature films “The Lonely Ita lian”; “Calypso” and “That Click” screened in festivals all over the world including Oscar Qualifying Santa Barbara Intl., Doc Edge, AmDocs to be later acquired by streaming giants Hulu and Ama zon Prime and released in theaters across the UK, Italy and USA. He recently produced the shorts “The Fence” and “Vuja Dè” whi ch screened in Sarajevo Film Fest, Krakow FIlm Festival among others and he is currently working with american director Jaclyn Bethany on his latest features “The Invisible Girl” currently in post-production and Tell That To The Winter Sea” set to shoot in UK in September and with Luca Severi on his “Tales from the Sea” set to shoot in Italy in spring 2023. He is currently head of development for Luca Severi Production Group working betwe

15 Nòt Film Fest

Alizé Latini is an Italian actress that lives between Los Angeles and Rome. In 2015 she was appointed Deputy Director of the Ferrara Film Festival, of which she curated the first two editions. In 2018 together with Noemi Bruschi and Giovanni Labadessa she founded Nòt Film Fest, the international independent film festival held yearly in Santarcangelo di Romagna for which she serves as co- artistic director. In 2020, with the same team re sponsible for the success of Nòt Film Fest, she launched the streaming platform dedicated to independent cinema: Nòts tream.

The line up is composed of 100 FILMS divided in 10 competitive cat egories. With 92 premieres there are several films worth highlight ing. At the opening, the short film nominated for an Oscar ON MY MIND by Martin Strange-Hansen, which will accompany the feature film LOS DIAS QUE NO ESTUVE directed by Samuel Rios Y Valles, extraordinary Mexican talent who tragically died and to whom the festival dedicates the evening. Among the feature films, however, the European premieres of IN HER NAME by Sarah Carter, already winner of the Audience Award at the recent Tribeca Film Festival 2022, THE CIVIL DEAD by Clay Tatum, winner of the jury prize at Slamdance 2022 with which the festival renews its 5-year partnership, GIVING BIRTH TO A BUTTER FLY by Theodore Schaefer fresh of the success at the Fantasia Film Festival and the return of Jaclyn Bethany, winner of the festival 2021 with its latest indie gem THE FALLING WORLD. Joanna Satanowska’s THE GOD OF INTERNET films will be Italian previews, which arrives in Italy thanks to the collaboration with the Polish Film Institute and that of RECONSTRUCTION by Pia Andell, presented in collaboration with the Finnish Film Institute. Finally, among the shorts, the international premieres of Viktor Ivanov VUJA DE starring Filippo Scotti and the directorial debut of Sandra Lipski MI ISLA presented in collaboration with the Evolution Mallorca Inter national Film Festival.

Interview to Artistic Directors Alizé Latini e Giovanni Labadessa Giovanni Labadessa

Honestly, I am pleased, given the problems that emerged on the event’s eve, which were not relat ed to festival’s issues but to a per son, who by the way came back free, and who collaborated in its realization. About that, of course, now no one is talking anymore because the news is no longer in teresting, but I can say that it was an edition characterized by many twists and turns and not an easy one, as every first time. However, the outcome of it is absolutely positive because all the most im portant personalities, whom we had proposed to bring to Puglia, came and many have guaran teed that they will come back. My fondest memory, personally, are the moments we had with Oliver Stone discussing the future and how we can, in our own small way, each one of us, have an impact in the world and try to improve it, posing it as an inescapable, social, ethical responsibility that we all have. How can we try to improve this world?

Giovanni De Blasio

Jeremy Irons, Roma Film Academy Marisa Tomei, Giovanni De Blasio, Paweł Pawlikowski

Giovanni De Blasio

Success for the first edition

June saw the highly successful first edition of Allora Fest, an event that aims to become an International Film, Art, and Music Festival with a very in novative vision... What is the philosophy that distinguishes it? Our mission was to create a fes tival that would bring people and values back to the core, as a co-founder I put a lot of effort in this direction, and in fact Allora Fest was born under the banner of “Celebrating the best of us,” just as an event to celebrate the best of each of us. At the heart of the project is the shared val ues such as inclusivity, diversity, sustainability, and respect for the environment; we have made our selves promoters of a concrete, practical concept that also comes to deal with social justice and em ployment. Thanks to the festival, it has been possible to enhance all the very rich heritage of South ern Italy, and Puglia in particular, amplified by the presence of art ists of international calibre. These same artists then return to Puglia to invest, to create employment and wealth, by starting film pro ductions or supporting projects, which we have already outlined, such as that of creating a perma nent film academy led by Oscar winners. Allora Fest is then an un conventional event, compared to everything there has been so far; it is not the promotion of films, it is not a place to do business, but it was born as a megaphone of rela tionships and values that can help change the world, highlighting the best in people. One peculiarity of the kermis is that it is the celebrities who pres ent the Allora Awards rather than receive them, right? Yes, this is one of the innovative aspects of our festival; during the awards night, actors, Oscar win ners and leading figures of the international scene honoured the protagonists of society, the real heroes, the people who save thousands of lives day and night, those who build orphanages, hos pitals, or schools in Africa, those who save the lives of migrants forced to flee from territories at war and oppressed by hunger. Here, they are the real heroes of the society we reward. Environmental sustainability plays an important role for you, so much so that Allora Fest is also a “green” festival, is it difficult to make an event from this perspective? It’s the first green festival, it’s not easy and I won’t hide it; we have managed to fit into the 90% sus tainability perspective, meaning that Italy is a country not fully equipped for the green transi tion yet. Let’s say that a substan tial part of the resources of the NRP should be used precisely in this obligatory direction, I always strongly reiterate. We have no choice, we are already behind schedule, it has to be done, it has to be done for us, it has to be done for our children and for the world we have to live in. In the 2022 edi tion we still had a “plastic free” fes tival, transportation was provided by partners who supplied electric cars and all the meals were vege tarian; there was no use of meats that contribute to the pollution of the globe in a large scale. Also, we do not yet have electric flights to mitigate travel from the U.S., but we are also working on that for future editions, and as a preview, I can say that we are planning to move the Allora Fest dates to the end of May, right after the Cannes Film Festival. We are working on this hypothesis with a team of ex perts and sponsors to identify the least impactful way to get guests to Puglia. It is not easy; however, we would really like to try to pro mote a lifestyle that extends be yond the festival. Hopefully, this drop will generate a change in the culture, lifestyle, and habits of all of us.

On the closing day, the whole local community came out and officially asked me to announce next year’s edition, and even Oliver Stone made a very nice public commen dation during the final speeches, thanking us for the warm welcome received. There was an incredible participation, this is the first time that Puglia has seen the partici pation of Oscar winners at a ker mis in general, so, this is already a historic achievement. The most beautiful thing was the wonder ful integration between the local fabric of Ostuni and the person alities who took part in the event. This was not the classic stiff and detached festival. The communi ty was invited to so many events and had opportunities to contact celebrities, as the spaces were not Interview with co-founder

ALLORA

FEST

An event that has entered the fabric of the local area....

As a first edition, are you hap py with the result? What is your fondest memory?

Intervista a Giovanni De Blasio, co-fondatore.

by Stefania Veneri

Onestamente sono soddisfatto, visti i problemi emer si alla vigilia dell’evento, legati a vicende non relative al festival ma ad una persona, peraltro tornata libera, che ha collaborato alla sua realizzazione. Di questo, ovviamente, adesso non parla più nes suno perché la notizia non è più interessante, però posso dire che è stata un’edizione caratterizzata da tanti colpi di scena e non semplice, come ogni prima volta, ma della quale il bilancio è assolutamente pos itivo perché tutte le personalità più importanti, che ci eravamo proposti di portare in Puglia, sono venute e molte hanno garantito che torneranno. Il mio ricordo più bello, personale, sono i momenti vissuti con Oli ver Stone a discutere del futuro e di come possiamo, nel nostro piccolo, ognuno di noi, avere un impatto nel mondo e cercare di migliorare, ponendola come responsabilità ineludibile, sociale, etica, che tutti ab biamo. Come possiamo cercare di migliorare questo mondo? Un evento che è entrato nel tessuto del territo rio… Nella giornata di chiusura, tutta la comunità locale si è fatta portavoce chiedendomi ufficialmente di an

Successo per la prima edizione

There are different ways of working as a andproduceritisclear that the pandemic has had a different impact on small

Born in Puglia, Made Worldwide

La sostenibilità ambientale riveste un ruolo im portante per voi, tanto che l’Allora Fest è anche un festival “green”, è difficile realizzare un even to in questa ottica? E’ il primo festival ecologico, non è facile e non lo nascondo, siamo riusciti a rientrare nell’ottica della sostenibilità al 90%, nel senso che l’Italia è un Paese non ancora totalmente attrezzato per la transizione green. Diciamo che una parte consistente delle risorse del PNR dovrebbe essere utilizzata proprio in questa direzione obbligata, lo ribadisco sempre con forza. Non abbiamo scelta, siamo già in ritardo, va fatto, va fatto per noi, va fatto per i nostri figli e per il mondo che dobbiamo vivere. Nell’edizione 2022 abbiamo comunque fatto un festival “plastic free”, i trasporti sono stati garantiti da partner che hanno fornito autovetture elettriche e tutti i pasti erano veg etariani, non c’è stato l’uso di carni che contribuis cono all’inquinamento del globo in modo consistente. Poi non disponiamo ancora di voli elettrici per am mortizzare gli spostamenti dagli USA, ma stiamo lavorando anche su questo per le prossime edizioni e, in anteprima, posso dire che avremmo intenzione di spostare le date dell’Allora Fest a fine maggio, sub ito dopo il Festival di Cannes. A questa ipotesi stiamo lavorando con un team di esperti e degli sponsor per individuare il modo meno impattante per fare arriv are gli ospiti in Puglia. Non è semplice, però vorrem mo veramente cercare di promuovere uno stile di vita che vada oltre il festival, speriamo che questa goccia generi un cambiamento nella cultura, nel lifestyle e nelle abitudini di tutti noi. Come prima edizione, è soddisfatto del risulta to? Qual è il suo ricordo più bello?

nunciare l’edizione del prossimo anno e anche Oliver Stone ha fatto un encomio pubblico molto bello du rante gli speech finali, ringraziandoci per la calorosa accoglienza ricevuta.. C’è stata una partecipazione incredibile, è la prima volta che la Puglia ha visto la partecipazione di premi Oscar ad una kermesse in generale, quindi, questo è già un risultato storico. La cosa più bella è stata l’inte grazione meravigliosa tra il tessuto locale di Ostuni e le personalità che hanno preso parte all’evento, non è stato il classico festival rigido e distaccato. La co munità era invitata a tantissimi appuntamenti e aveva possibilità di toccare le celebrities, dato che gli spazi non erano in alcun modo separati. E’ stato veramente un festival di grande contaminazione fra gli attori, produttori e la comunità locale. Mi è rimasta impres sa l’espressione di uno degli sponsor della città di Os tuni che l’ultimo giorno del festival mi ha chiesto : “Ma dopo una settimana così, da domani come potremo tornare alla realtà?” Ostuni ha accolto grandi nomi del cinema inter nazionale come Oliver Stone , Edward Norton, Marisa Tomei, Alfred Woodard, Jon Hamm, Matt Dillon, Jeremy Irons, Joely Richardson, Pawel Pawlikowski, solo per citarne alcuni… Dato il calibro della manifestazione, sarà sicuramente già a lavoro per il 2023, cosa possiamo aspettar ci? Un frontman di primissimo piano, stiamo lavorando su 2 - 3 nomi di spessore internazionale, tra cui an che una persona molto nota, impegnata nel sociale, apprezzata dagli addetti ai lavori e dai fan… e ovvia mente premio Oscar. Sarà anche rinforzato il team dell’Allora Fest, che vedrà nella Puglia il suo zoccolo duro con alcune collaborazioni di professionisti pugli esi piuttosto celebri nel mondo. E poi, il terzo elemen to è che dal prossimo anno esploreremo in modo più compiuto anche l’ Arte e la Musica, visto che questo è un festival di Cinema, Arte e Musica e deve abbrac ciare a 360 ° tutta la cultura. Senza dimenticare le opere che abbiamo in mente di realizzare nell’amb ito green, ponendoci obiettivi ambiziosi, concreti e misurabili. Questo per me è un progetto di vita, nel nostro piccolo, abbiamo l’ambizione di diventare un festival unico in Italia e, soprattutto, di creare una Fondazione, perché questo festival deve avere una vita lunghissima, di centinaia di anni, e adesso stiamo costruendo le fondamenta di un movimento culturale che ci auguriamo possa incidere nella società.

separated in any way. It was truly a festival of great contamination between the actors, pro ducers, and the local community. I was struck by the expression of one of the sponsors from the city of Ostuni who asked me on the last day of the festival: “After such a week, how can we get back to reality from tomorrow?”

A top-notch frontman: we are working on 2 or 3 names of international calibre, including a very well-known person, committed to social work, appreciated by insiders and fans ... and of course Oscar winner. The Allora Fest team will also be reinforced, which will see the Puglia region as its hard core with some collabora tions of Puglia professionals who are quite famous in the world. And then, the third ele ment is that we will also explore Art and Music more fully from next year, since this is a Film, Art and Music festival and must embrace all culture 360°. We won’t forget the projects we have in mind in the green scope, setting am bitious, concrete, and measurable goals. This, for me, is a life project. In our small way, we have the ambition to become a unique festival in Italy and, above all, to create a Foundation, because this festival must have a very long life, of hundreds of years, and now we are building the foundations of a cultural movement that we hope will affect society.

A giugno si è svolta, con grande successo, la pri ma edizione dell’Allora Fest , evento che mira a diventare un Festival Internazionale di Cinema, Arte e Musica con una visione molto innovati va… Qual è la filosofia che lo contraddistingue ? La nostra mission era quella di creare un festival che riportasse al centro le persone e i valori, da co-fonda tore mi sono speso molto in questa direzione, e in fatti l’Allora Fest nasce sotto il segno del “Celebrating the best of us”, proprio come un evento per celebrare il meglio di ognuno di noi. Al centro del progetto c’è la condivisione di valori come quelli dell’inclusività, della diversity, della sos tenibilità e del rispetto ambientale, ci siamo fatti pro motori di un concetto concreto, pratico, che arriva ad occuparsi anche di giustizia sociale e di occupazione. Grazie al festival è stato possibile valorizzare tutto il ricchissimo patrimonio del Sud Italia, e della Puglia in particolare, amplificato dalla presenza di artisti di cali bro internazionale, gli stessi che poi tornano in Puglia per investire, per creare occupazione e benessere, avviando produzioni cinematografiche o sostenendo progetti, che abbiamo già delineato, come quello di creare un Academy permanente del cinema guidata da Premi Oscar. Allora Fest è un evento fuori dagli schemi, rispetto a tutto quello che c’è stato fino ad oggi, non è la promozione di film, non è un luogo per fare business, ma nasce come un megafono di relazioni e di valori che possa contribuire a cambiare il mondo, esaltando il meglio delle persone. Una particolarità della kermesse è che sono le celebrities a consegnare gli Alloro Award e non a riceverli, giusto? Sì, questo è uno degli aspetti assolutamente innovati vi del nostro festival; durante la serata di premiazione, attori, premi Oscar e personaggi di primissimo piano della scena internazionale hanno insignito i protago nisti della società civile, i veri eroi, la gente che salva migliaia di vite dalla mattina alla sera, chi costruisce orfanotrofi, ospedali o scuole in Africa, chi salva la vita ai migranti costretti a fuggire dai territori in guerra e oppressi dalla fame. Ecco, sono loro i veri eroi della società che noi premiamo.

Ostuni has welcomed big names from the international film industry such as Oli ver Stone, Edward Norton, Marisa Tomei, Alfred Woodard, Jon Hamm, Matt Dillon, Jeremy Irons, Joely Richardson, Pawel Pawlikowski, just to name a few... Given the caliber of the event, it will surely al ready be working for 2023, what can we expect?

By Nicole Goesseringer Muj

Tony Potts, Shalini Vadhera Potts, Nicole Muj, Ion Muj. Joe Mantegna, Dee Dee Sorvino, Donelle Dadigan. Dee Dee Sorvino

PAUL SORVINO A TRUE RENAISSANCE MAN CELEBRATED

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©Warren Saire

©Nunzio©Nunzio©Nunzio

Legendary actor, artist and author, loving husband and father, loyal friend, military veteran, mentor to many with a larger than life personality, Paul Sorvino (April 13, 1939 – July 25, 2022) was celebrated at a special private event held recently in Hollywood. ‘A true Renaissance Man’ was a sentiment that was repeated over and over again during the Celebration of Life Tribute held at the Hollywood Museum, organized by the late actor’s wife and partner, Emmy Award-winning actress and TV personality Dee Dee Sorvino. Joining Dee Dee in the tribute were Joe Mantegna, Sorvino’s daughter Amanda and granddaughter Claudia, Lainie Kazan, E! founder Larry Namer, Vincent De Paul, representatives from the American Legion Post 43, and many others. Special video messages were sent by Martin Scorsese, Robert De Niro, Chaz Palminteri, Chris Tucker, Chris Noth, Carol Alt, John Voight, Steve Schirripa, Ben Mankiewicz, Piers Morgan, and Renée Taylor. The Honor Guard performed military honors for the Vietnam-era Army veteran. Dee Dee, who vowed to give her dear husband an extra special send-off, commented, “Paul wanted to go out like a star, and that’s what he’s gonna do. He just never wanted anybody to feel bad because of him. He wanted people to celebrate his life.” Brooklyn born Paul Sorvino has appeared in nearly 200 films, a variety of television shows, and Broadway productions. Best known for his portrayal of tough guys, Sorvino portrayed Paul Cicero in Goodfellas, police chief Captain Edelson in Cruising, and Detective Phil Cerrato on Law and Order He also played such memorable characters as Henry Kissinger in Oliver Stone’s Nixon, Fulgencio Capulet in Baz Luhrmann’s Romeo + Juliet and Lips Manlis in Warren Beatty’s Dick Tracy. Most recently, he starred in the critically acclaimed TV series Godfather of Harlem An operatic tenor and a man of many talents, he has performed at Lincoln Center and is an internationally known sculptor. He was the founder of the Paul Sorvino Asthma Foundation. Sorvino received a Lifetime Achievement Award at the 2018 Mr. & Miss India America Pageant & Elite Awards. He was the father of three adult children Mira, Amanda, and Michael, along with five grandchildren.

This year, 260 exhibitors attended FILMART Online, 100% more than 2021, and around 1,800 visitors from Mainland China, with major industry players such as China Interna tional TV Corporation (CITVC), iQiyi, Youku, Tencent and also group pavilions from Bei jing, Changsha, Chongqing, Guangdong, Hangzhou, Jiangsu, Ningbo, Shaanxi, Shanghai, Xiamen, Zhejiang.

LARGEST

joinAsianInternational544,0002,400+titles.+pageviews.560+World//premieres.99%ofparticipantssaidtheywouldFILMART2023.93%agreedthat FILMART is a “Must Attend” event. IncreasinghadFILMARTnewparticipants86%establishedcontactsinOnline.78%businessdealsachievedorindiscussion.trendofnumberofbuyersfromOTTandTVChannels.

HongKong-Asia Film Financing Forum(HAF) Held concurrently with FILMART, HAF is a leading film financing hub in Asia to help com mercially viable and promising film projects in Hong Kong and Asia locate financial and business support through co productions or joint ventures. In 2022, 43selected projects attracted 400+guests, including28 In Development Projects in the early stage of develop ment looking for financing and production partners and 15 WIP projects in the later stage of development seeking post-production funds and sales agents. 950+ private business meetings and individual media interviews were arranged between financiers, industry del egates, media and filmmakers. 21 projects and 14 prizes were presented, successfully attracting over 1,460 industry players online.

FILMART ONLINE

Highlights from the 2022 edition FILMART 2023 | 13-16 March 2023 | Hong Kong Convention and Exhibition Centre Courtesy of HKTDC

ASIA’S ENTERTAINMENT MARKET 78% had business deals achieved or

Organised by the Hong Kong Trade Development Council (HKTDC), the FILMART Online continued to create business opportunities for the global entertainment industry in the face of existing travel restrictions. The four-day virtual content market place brought to gether closeto 8,000 participants from 81 countries andregions and generated close to 2,500 business matching meetings were held, providing a platform for release and promo tion of 2,400+ film and television productions to potential buyers from around the world.

Entertainment Pulse: Asian’s hottest Market Intelligence Entertainment Pulse debut presented a series of seminars that showcased the latest de velopments in the film and TV industry under the new normal. A total of 14 panels and dialogues. The virtual dialogue gathered heavyweight speakers from around the world, including but not limited to TheWaltDisneyCompany, NHK Enterprise Inc, Nippon TV, The TheSandbox.4-day conference organised a series of events covering a wide range of forward-look ing topics and explored the future of the entertainment industry to allow participants to grasp the latest market intelligence. In addition, a total of 13 Content Showcase Sessions were held to render participants extra networking and promotion opportunities. The vir tual showcases were well-received across various platforms.

The springboard to the Lucrative Mainland China Market

joinsaidofdiscussion.in99%participantstheywouldFILMART2023.8,000participantsfrom81countries&regions.749 exhibitors from 41countries & regions. NewCloseSlovakia,SaudiArabia,fromparticipationIsrael,Romania,UAE…to50% of the exhibitors are featuringTV-related,100+TVbroadcasters.

Philip Osbourne is a worldwide best-selling author. For many years he has been working on movie screenplays and comic books for the American mar ket, among others “Jenna” with Jim Fern and Joe Ru binstein featuring the original score by Iron Maiden’s Paul Di Anno, as well as articles for Cinema magazines (“Empire”) and pitches for movie projects together with film guru Brain Yuzna. Osbourne’s books are published in over 50 countries, including USA, France, Italy,, Greece, Russia, Romania, Brazil, China, Arabic Countries, Albania and is now the author of the of ficial books “Harry & Bunnie” and “ABC Monster”, two cartoons produced by Animasia. His best-selling book series ‘Diary of a Nerd’ will soon be a TV series for the international markets. ‘Jurassik Diaries’ will be a cartoon. The success of Philip Osbourne’s book adaptations strongly continues in TV and Movies.

Philip Osbourne and his art of writing books ready to be adapted for TV or

20 KAY KANT

Simple: it is a novel aided by cards about the Creatures who are the protagonists of the story, with whom you can interact and have fun through a Solo Adventure Game. Anyone can play KAY KANT CROSSNOVEL and, compared to a traditional role-playing game, you can play alone, without necessarily needing players (the real limitation of traditional role-playing games). Playing the game is simple. Experiencing the characters, through a trilogy, built to amplify the emotional perception of the characters, al lows empathy with the protagonists, and allows the narrative to be experienced in a “creative” way. A Crossnovel can be read, can be experienced as a book about fantastic creatures, and can be played. Certainly, one experience does not cancel out the others. It is the most enjoyable way to enter a world and experience it and relive it even after reading.

Who is Kay Kant aimed at? Mainly to a kid’s segment (ages 9 and older). But it is a new ga mebook also suitable for the young adult segment. What genre does it belong to? Kay Kant is an urban fantasy aimed at younger kids and families. Horror leans toward adventure, and fantasy is always contex tualized in modern settings.

Why the alternative edition? Many publishers prefer more adventure covers than the more evocative “official” cover. A publisher needs to be able to select according to its market.

Is Kay Kent inclusive and in what way? Kay is catapulted into a wacky academy, which is closer to an action society than a training institute for “human portals”. He must live with other “Promised” people like himself. He will get to know a reality unlike his own and will grow up respecting di versity. Can Kay Kant be read as just a novel? Kay Kant is a novel that can be simply read, but it becomes a cross-media experience through creatures, play, and user inter pretation. What we call CROSSNOVEL should be distinguished from a traditional role-playing game because it is a solo game, because it requires reading and knowledge of the entire world of Kay Kant.

In recent years, several companies (from Rainbow to Enanimation) have acquired television adaptation rights of Philip Osbourne’s works. Let’s discover the latest news about the author who manages to renew his proposals for publishing and TV every year and Kay Kant is certainly one of the most interesting cross-media initiatives able to connect publishing, film and TV industries.

What is a Crossnovel?

The game and the trilogy

In the first book, the rules and a short adventure with map will be published; in the second, the rules for growing the power character and the procedural adventure (i.e., the dynamic gene rated by dice rolls and the choices to be made so that each time it will be played it will be different); in the third, the procedural adventure and the conclusion of the story will be included.

www.philiposbourne.com maanagment: mary@almondentertainment.com

PHILIP OSBOURNE

STOKHOLMA

Ema Stokholma is a Radio & TV host, DJ, painter and writer.

21 www.justcinematabloid.com

Music plays a very important role in your life; is there a film you would have liked to have curated the soundtrack for?

EMA

In 2019 you starred in a film -- would you like to repeat the expe rience on the set?

You don’t even know how many things I’ve learned… When you write the first book you don’t think about it, you write it, then it comes out and they read it. And I didn’t think about it. It wasn’t until the first people started responding, writing, or texting me that I realized, “Man I really did it. Now everybody knows this thing”. I didn’t write it for me, I just didn’t think they would really read it. That book, I wrote it for people who have lived or are living that situation. I wrote it for the neighbors of these children who live that way. I wrote it for the children who have lived through that, to tell them that they can have a happy life. I am a happy person, I have the life that I wanted, that I dreamed of as a child. So, there is hope. You don’t have to live forever in tragedy. It takes help, more than courage, from he althy friends, people who really love you, and knowing how to recognize them is crucial. And then professional help. In short, help of any kind. I learned that sharing helps. I didn’t feel so loved - then I told my story and I felt understood and accepted as I was. First, I was gritting my teeth and struggling, then people understood my story and I felt there was good... my life changed overnight. Receiving the award was also great thanks to the publisher who believed in me and how they respected my writing and my timing. I wanted a language that didn’t make people feel sorry, I just wanted to tell what can happen without feeling sorry for myself. It is not easy to write something like this, the only person who knew was Andrea Delogu because she was the only person who asked me que stions. She had no problem asking me, “Why did you run away from home? Why don’t you talk to your mother anymore? Why did she beat you and how it happened.” She was not afraid, and I had no problem answering. So, there I realized that I could also talk about myself to a few people. I then read the article about a child who died inside the house in the province of Naples, yet another case because it is certainly not new.

After reading the angry and irrational comments on Facebook I said, “No. I have to explain what happens in some cases, people obviously don’t know and if they don’t know they can’t help. So enough is enough, I have to tell my story to tell Giuseppe’s story.” How did this child come to die at home? And why were the teachers surprised if the child had bruises, if his little sister also had bruises, if the neighbors heard the screams? There are children who live in utter loneliness, but sometimes it is possible to get out of it, even for us children who have experienced this.

You wrote “Per il mio bene” (For My Own Good), a book Winner of the Bancarella Prize 2021, an intimate book that deals with universal issues from which everyone can draw inspiration and strength. What did you learn from this publishing experience?

I don’t feel up to the level of the actors I’ve met. I really respect this pro fession precisely because cinema has helped me so much in life, it has helped me see other lives which are different from mine and lives si milar to mine, it has made me feel less alone. Very often cinema bre aks everything, it breaks taboos, it breaks habits ... cinema is brave. Of course, I would like to do anything and repeat the experience, but I think I would have to study a lot. However, doing it has been good for me.

I am always very careful about the soundtrack; I pay a lot of attention to it. More than the desire to set a movie to music, I make the soundtracks of my life, that is, when I’m on the move, in the car, plane or train, I have a soundtrack, when I’m walking down the street and it’s sunny, I have one, maybe if it’s raining, I have another... I put the soundtrack in the life I have and as a result it becomes a very cool and fun movie. It depends on the mood, and I do it with my life, like it’s an endless movie--the endless story!

You participated in Figari FilmFest, in the Scarpette Rosse jury, how was the experience as a juror? It’s an honor to be considered to serve as a jury in such a festival. Ci nema is a passion of mine; I see a lot of films and I didn’t hesitate for a second when it was proposed to me. I enjoyed it, I would like to do it every weekend! I like the atmosphere, everyone together talking about it, sharing, then the outdoor screenings... everything is just perfect, from the organization to the people who are there to the audience, everything is very nice. How did you choose the winning short film? We met right after the screenings, I wanted to talk about it right away, and I went a little bit to gather everyone’s impressions. In general, we saw some very beautiful, very strong, touching stories. The selection was very high quality, the topics all different, the points of view all different. I loved everything. I always find short films beautiful because you have to tell in a short time and make an incredible effort. Sometimes a 7-minute short film, without dialogue, comes right at you more than a 2-hour film, it’s like a poem and in a few lines, you have to tell me everything, that’s why I love them. by Stefania Veneri I love Cinema because it has helped me so much in life, made me feel less lonely. Cinema is brave.

VENEZIA 79

ON IL SIGNORE DELLE FORMICHE

By Gianni Amelio With Luigi Lo Cascio, Elio Germano, Leonardo Mal tese, Sara Serraiocco

ByL’IMMENSITÀEmanuele Crialese With Penélope Cruz, Luana Giuliani, Vincenzo Amato, Patrizio Francioni, Maria Chiara Goretti

THE BANSHEES OF INISHERIN By Martin McDonagh With Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan ARGENTINA, 1985 By Santiago Mitre With Ricardo Darín, Peter Lanzani, Alejandra Flechner, Santiago Armas, Laura Paredes, Carlos Portaluppi

THE ETERNAL DAUGHTER By Joanna Hogg With Tilda Swinton, Joseph Mydell, Carly-Sophia Davies SHAB, DAKHELI, DIVAR (BEYOND THE WALL) By Vahid Jalilvand With Navid Mohammadzadeh, Diana Habibi, Amir Aghaee, Saeed Dakh, Danial Kheirikhah, Alireza Kamali

SAINT OMER By Alice Diop With Kayije Kagame, Guslagie Malanda, Valérie Dréville, Aurélia Petit ByBLONDEAndrew

ByMONICAAndrea Pallaoro With Trace Lysette, Patricia Clarkson, Adriana Barraza, Emily Browning, Joshua Close KHERS NIST (NO BEARS) By Jafar Panahi With Jafar Panahi, Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjeei, Mina Kavani, Reza Heydari

ByCHIARASusanna Nicchiarelli With Margherita Mazzucco, Andrea Carpenzano, Car lotta Natoli, Paola Tiziana Cruciani, Luigi Lo Cascio

ALL THE BEAUTY AND THE BLOODSHED By Laura Poitras | Documentary UN COUPLE By Frederick Wiseman With Nathalie Boutefeu THE SON By Florian Zeller With Hugh Jackman, Laura Dern, Vanessa Kirby, Zen McGrath, Anthony Hopkins, Hugh Quarshie

FOCUS22

ALL THE BEAUTY AND THE BLOODSHED in COMPETITION

Field With Cate Blanchett, Noémie Merlant, Nina Hoss, So phie Kauer, Julian Glover, Allan Corduner, Mark Strong LOVE LIFE By Kôji Fukada With Fumino Kimura, Kento Nagayama, Tetta Shima da, Atom Sunada, Hirona Yamazaki, Misuzu Kanno, Tomorowo Taguchi BARDO, FALSA CRÓNICA DE UNAS CUANTAS VER ByDADESAlejandro G. Iñárritu With Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid, Iker Sanchez Solano, Andrés Almeida, Fran cisco Rubio ByATHENARomain Gavras With Dali Benssalah, Sami Slimane, Anthony Bajon, Ouassini Embarek, Alexis Manenti BONES AND ALL By Luca Guadagnino With Taylor Russell, Timothée Chalamet, Mark Rylance, André Holland, Chloë Sevigny, Jessica Harper, David Gordon Green, Michael Stuhlbarg, Jake Horowitz

LES MIENS By Roschdy Zem With Sami Bouajila, Roschdy Zem, Meriem Serbah, Maïwenn, Rachid Bouchareb, Abel Jafrei, Nina Zem, Carl Malapa, Anaïde Rozam, Lila Fernandez, Farida Ouchani

Dominik With Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Julianne Nicholson, Lily Fisher ByTÁRTodd

THE WHALE By Darren Aronofsky With Brendan Fraser, Sadie Sink, Ty Simpkins, Hong Chau, Samantha Morton

WHITE NOISE By Noah Baumbach With Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy, Sam Nivola, May Nivola, Jodie Turner-Smith, André L. Benjamin, Lars Eidinger

LES ENFANTS DES AUTRES By Rebecca Zlotowski With Virginie Efira, Roschdy Zem, Chiara Mastroianni, Callie Ferreira-Goncalves, Yamée Couture, Henri-Noël Tabary, Victor Lefebvre, Sébastien Pouderoux, Michel Zlotowski, Mireille Perrier

23 www.justcinematabloid.com

L’IMMENSITÀ

Based on the bestselling novel by Joyce Carol Oates, Blonde bold ly reimagines the life of one of Hollywood’s most enduring icons, Marilyn Monroe. From her volatile childhood as Norma Jeane, through her rise to stardom and romantic entangle ments, Blonde blurs the lines of fact and fiction to explore the widening split between her public and private selves.

Rome, 1970s: a world suspended between neighbourhoods under construction, tv shows still in black and white, and social achievements and family models that are now outdated. Clara and Felice have just moved into a new apartment. Their marriage is over: they no longer love each other but can’t break up. Only their children, on whom Clara pours all her desire for freedom, keep them together. Adriana, her eldest, has just turned 12 and is the most attentive witness to Clara’s moods and the growing tensions between her parents. Adriana rejects her name and identity and wants to convince everyone that she is a boy. Her obstinacy brings the already fragile family balance to breaking Whilepoint. the children are waiting for a sign that might guide them–a voice from above or a song on the tv maybe–everything changes both around and inside them.

“L’Immensità is the film that I’ve always been trying to make: it’s always been ‘my next film,’ but every time it made way for another story, as if I never felt ready, mature and confident enough. It’s a film about memory that needed a greater distance, a different consciousness. Like all my works, it is at bottom primarily a film on the family: on the innocence of the children, and on their relation ship with a mother that could come to life only in the artistic and human encounter with Penélope Cruz, with her sensitivity and her extraordinary ability to interact with three very young people who had never acted before. Luana, Patrizio and Maria Chiara have remained children, and as such always intensely and immensely real.” Emanuele Crialese

“Is it possible to see the world outside of our traumas, outside of our fears and desires? And if you’re an object of desire, is the world seeing you, or its own projected needs? Marilyn Monroe once said: “When you’re famous, you’re always running into people’s uncon scious.” How does an unwanted child deal with becoming the most wanted woman in the world? Does it require her to split herself in half? Turn a dazzling image toward the world, as the unwanted self suffocates within. And isn’t cinema itself a desire machine? Did we somehow kill her by watching? She exists now, like the dust of an exploded star, as thousands of images that float in our collective unconscious, in movies, in photo graphs, on walls, in advertisements, on the side of air conditioning vans and—like a star—her light is still traveling towards us, though she herself is long extinguished.”

24 Set in the international world of classical music, TÁR centres on the first-ever female chief conductor of a major German or chestra.

“This script was written for one artist, Cate Blanchett. Had she said no, the film would have never seen the light of day. Filmgoers, am ateur and otherwise, will not be surprised by this. After all, she is a master supreme. Even so, while we were making the picture, the superhuman-skill and verisimilitude of Cate was something truly astounding to be hold. She raised all boats. The privilege of collaborating with an artist of this caliber is something impossible to adequately de scribe. In every possible way this is Cate’s film.”

“There is something about the disenfranchised, about people living on the margins of society that I am drawn towards and touched by. I love these characters. The heart of the movie is tender and affectionate towards them. I am interested in their emotional jour neys. I want to see where the possibilities lie for them, enmeshed within the impossibility they face. The movie is for me a meditation on who I am and how I can overcome what I feel, especially if it is something I cannot control in myself. And lastly, and most impor tantly, when will I be able to find myself in the gaze of the other?” Luca Guadagnino

BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES

A reclusive English teacher suffering from severe obesity attempts to reconnect with his estranged teenage daughter for one last chance at redemption.

Todd Field

BARDO, falsa crónica de unas cuantas verdades is an epic, visually stunning and immersive expe rience set against the intimate and moving journey of Silverio, a renowned Mexican journalist and documentary filmmaker living in Los Angeles, who, after being named the recipient of a prestigious international award, is compelled to return to his native country, unaware that this simple trip will push him to an existential limit. The folly of his memories and fears have decided to pierce through the present, filling his everyday life with a sense of bewilderment and wonder. With both emotion and abundant laughter, Silverio grapples with universal yet intimate questions about identity, suc cess, mortality, the history of Mexico and the deeply emotional familial bonds he shares with his wife and children. Indeed, what it means to be human in these very peculiar times.

“A few years ago, I suddenly realised the road ahead of me was much shorter than the one I had left behind. Inevitably, I started to explore it backwards and inwards. Both paths are elusive and labyrin thine. Time and space enmesh. The narrative that makes up ‘our life’ is no more than a false mirage constructed of events experienced subjectively by our limited nervous system. Memory lacks truth. It only possesses emotional conviction. It is the truth in that emotion that I set out to search for in the enormous drawer of chimeras I have been carrying. I must warn you beforehand: I have found no absolute truths. Only a journey between reality and imagination. A dream. Dreams, as cinema, are real but not truthful. In both, time is liquid.

Darren Aronofsky BONES AND ALL First love finds Maren, a young woman learning how to survive on the margins of society, and Lee, an intense and disenfranchised drifter, as they meet and join together for a thousand-mile odys sey that takes them through the back roads, hidden passages, and trap doors of Ronald Reagan’s America. But despite their best efforts, all roads lead back to their terrifying pasts and a fi nal stand that will determine whether their love can survive their otherness.

BARDO is the chronicle of that journey between those two illusions whose borders are indeciphera Alejandroble.” G. Iñárritu

THETÁRWHALE

Cinema can connect us to another no matter how different they may seem on the surface. People struggling with obesity are often judged, dismissed, and defined by it. When I saw Sam Hunter’s play eight years ago, I marveled at the depth of his characters, especially Charlie, and was inspired to use the silver screen to put audienc es in Charlie’s shoes, to steep in his deepest thoughts, regrets, and hopes. But where would I find my Charlie? I needed a great talent that could glow through the makeup, an actor with a whale-sized heart and a pure soul. As soon as I met Brendan, I knew I had met Charlie. There’s something ineffable in him that brings Sam’s char acter to life and transports us—mind and body—into what might have been unknowable.”

Joanna Hogg

Susanna Nicchiarelli CHIARA

At once hilarious and horrifying, lyrical and absurd, ordinary and apoc alyptic, White Noise dramatises a contemporary American family’s at tempts to deal with the mundane conflicts of everyday life while grap pling with the universal mysteries of love, death, and the possibility of happiness in an uncertain world.

An artist and her elderly mother confront long-buried secrets when they return to a former family home, now a hotel haunted by its mys terious past.

Noah Baumbach

“In 2008 I set out to write a film capturing something of the relationship I have with my elderly mother. She grew up during the Second World War, and comes from a generation of women who kept their feelings to themselves, and who experienced loss but had no understanding how to process the grief and sometimes lived full of regrets and guilt. I discovered my own guilt, which is of course entwined with my mother’s, was stopping me from creating this story. However something opened up two years ago when I set the story inside an eerie hotel; a realisation that the ghostly and the personal and deeply felt could be intertwined.”

THE ETERNAL DAUGHTER WHITE NOISE

25 www.justcinematabloid.com

“I read Don DeLillo’s novel in college in the late 1980s, and it felt like now, or the now of then. It captured perfectly the absurdity, horror and madness of America at that time. I reread it again in the early months of 2020 and it felt like now. But the now of now. A few weeks later, the world shut down. I set to adapting the book be cause I wanted to make a movie that felt as crazy as the world appeared to It’sme.aportrait of a country but it’s also a story of a family, of the chaos they try to hide, of the disasters that befall them, of the way they come together and survive. As DeLillo writes, “Out of some persistent sense of large-scale ruin, we keep inventing hope.”

Assisi, 1211. Chiara is eighteen years old and one night she runs away from home to join her friend Francesco: from that moment on her life changes forever. With charisma and conviction, she breaks free from her family’s constraints and stands up to the Pope himself. She fights for herself, for the women who join her and for her dream of freedom. The story of a Saint. The story of a girl and her revolution. “Francesco’s and Chiara’s stories are really exciting. To rediscover the political, other than spiritual, dimension of their ‘radical’ lives—the choice of poverty, of a life at the margins of an unfair society, the dream and foundation of a community life without any hierarchy or power di vision—makes us realise, while we question the mysteries of faith and religion, the impact that Franciscan beliefs and practices have had on secular thought. The story of Chiara’s life, unknown to many, offers us the energy of a rebirth, the contagious enthusiasm of youth, but also carries the tragic nature of a revolution, of any revolution worthy of the name.”

Olympic Games, football, basketball, rugby, etc. these are just some of the 32 sports disciplines on the screen at “SPORT MOVIES & TV 2022–MILAN INTERNATIONAL FICTS FEST”, Final of 20 Festival (in the 5 Continents) of the “World FICTS Challenge” Championship of Television, Cinema, Culture and Sports Communication, will take place - in person as well as in streaming - in Milan (Italy) from November 9th to 13th, 2022

The submissions will expire on September 10th: Official Rules on http://www.fictsfederation.it/rules_spmtv2022.pdf.

Press Office - Fédération Internationale Cinéma Télévision SportifsTel. +39.02.89.40.90.76; ufficio.stampa@sportmoviestv.com; www.justcinematabloid.comwww.sportmoviestv.com

“SPORT MOVIES & TV 2022”: five days of television, cinema and sport culture, a considerable “world showcase” for worldwide networks (including representatives of the 1,725 sports TV channels of the 5 continents), new media, production companies, producers, directors, Olympic committees and sports federations, sports champions, radio, advertising and communication agencies that will illustrate the universe of television and sports cinema through documentaries, commercials, reports, fiction, cartoons, etc. in one of the 7 competitive Sections.

OLYMPIC GAMES AND 32 SPORTS DISCIPLINES ON SCREEN FROM 130 COUNTRIES IN MILAN

The Festival is organized by FICTS – Federation Internationale Cinema Television Sportifs (recognized by the International Olympic Committee) which promotes the sports values through footages in the 130 joined Countries.

Last call: deadline submissions, September 10th

It’s possible to submit the productions also through the Film Free Way platform in the page dedicate to the Festival at link https://filmfreeway.com/SportMoviesTv A “special showcase” will be dedicated to the Olympic Games with the best images of Beijing 2022 and Tokyo 2020 Olympics (projected to Paris 2024 and to Milano-Cortina 2026) with the exciting performances of 974 Champions where Olympic values, joy, fatigue, friendship, fair play, self-discipline, respect for the opponent and the rules. Legendary players such as Leo Messi, Andres Iniesta, Ronaldinho as well as the famous coach Pep Guardiola, doping investigations in football in Germany are some of the protagonists who will alternate on the screen.

New successful works for PHILIP OSBOURNE IS PUBLISHED IN OVER 50 COUNTRIES HIS WORKS ARE NON-STOP BESTSELLERS IF YOU ARE INTERESTED IN ACQUIRING RIGHTS FOR PHILIP OSBOURNE’S WORKS WRITE US! 3 OF HIS BOOKS ARE BEING ADAPTED NOW FOR FILM AND TV PHILIP OSBOURNE Mac is a 16-year-old-geek who finds out that his girlfriend has been cheating on him and his best friends have been lying to his face. So the teenager gets to work inventing an app that can tell lies from the truth in real time. A fun book that will make you smile and think at the same time. From the author of the bestselling “DIARY OF A NERD”, a young adult novel that will surprise readers with its fresh, intelligent outlook. MA GEEK THE Contact: mary@almondentertainment.comwww.philiposbourne.com