Romanian director Cristi Puiu to be Jury President
Italian premiere for all films competing for the First Prize of 3000 Euro
Lucca, 18 March 2017 – Fourteen feature films, all in Italian premiere, have been selected to participate in the 2017 International Feature Film Contest of the Lucca Film Festival e Europa Cinema Festival taking place from the 2nd to the 9th of April in the Tuscan cities of Lucca and Viareggio. The films will compete for the “Best Film” Award (with a value of three thousand euro to the Director), for the “Best European Film” prize awarded by a jury of university students and an “Honorable Mention”, which will be decreed by the jury.
The film selection highlights a vast range of genres and the breadth of content in addition to a heterogeneous geographical and social context. All films come from major international film festivals, from Berlin 2017 and Locarno to San Sebastian to Toronto. Many filmmakers are already well known worldwide like controversial Bruce LaBruce, symbol of the New Queer Cinema, and Romanian Calin Peter Netzer, winner of the Golden Bear at the 2013 Berlin Film Festival who also competed in the last edition.
The films that have been selected to compete in the Lucca Film Festival e Europa Cinema International Feature Film Contest are: Ceux qui font les révolutions à moitié n’ont fait que se creuser un tombeau by Mathieu Denis, Simon Lavoie (Canada, 2016); Tamara Y la Catarina by Lucía Carreras (Spain, France, Uruguay, 2016); El Invierno by Emiliano Torres (Argentina, 2016); Afterlov by Stergios Paschos (Greece, 2016, 94′); Ikari by Sang-il Lee (Japan, 2016, 142); Dao Khanong by Anocha Suwichakornpong (Thailand, Netherlands, France, Qatar, 2017); Rifle by Davi Pretto (Brazil/Spain, 2017, 88’); Rekvijem za gospodju j by Bojan Vuletic (Serbia/Bulgaria/Macedonia, 2017, 93’); The levelling by Hope Dickson Leach (U.K., 2016); Butterfly kisses by Rafael Kapelinski (U.K, 2017); The Misandrists by Bruce LaBruce (Germany/Canada, 2017); Dayveon by Amman Abbasi (USA, 2017); Ein Weg by Chris Miera (Germany, 2017); and Ana, Mon Amour by Cãlin Peter Netzer (Romania, 2017).
The official selection of films in competition was curated by Federico Salvetti, Stefano Giorgi and Nicolas Condemi, members of the Artistic Committee of the Lucca Film Festival, while Romanian director and producer Cristi Puiu, who will be present in Lucca also with his first Italian retrospective, will preside over the Professional Jury. Enrollment is still open to participate in the new University Jury (deadline 20 March) whereas film lovers can apply to be members Popular Jury, possible thanks to the collaboration with the Circolo del Cinema di Lucca and Cineforum Ezechiele 25.17, until March 30, in both cases by sending an email to:
Program and Film Synopses
Ceux qui font les révolutions à moitié n’ont fait que se creuser un tombeau (Those who make revolution halfway only dig their own grave) by Mathieu Denis, Simon Lavoie (Canada, 2016)
Klas Batalo, Giutizia, Tumulto and Ordine Nuovo, four twenty-somethings from Québec, reject the world they live in. Three years after the collapse of the “Maple Spring” protest movement; they resort to a form of vandalism that gradually leads them closer to terrorism. But their revolutionary avant-garde is far from society’s prevailing aspirations and threatens to blow up in their faces. The film was noted at the Toronto Film Festival (Best Canadian Feature Award) and in Berlin in the Generations 14plus sector (special mention).
Tamara Y la Catarina (Tamara and the Ladybug) by Lucía Carreras (Spain, France, Uruguay, 2016)
Forty-year-old Tamara is developmentally disabled and is abandoned by her brother and only companion, Paco. Despite her loneliness and although her life is thrown upside down, she carries on her daily routine. One day, Tamara’s fascination for ladybugs leads her to stray away from her neighborhood and in her wanderings she finds a baby girl at a newspaper stand who has seemingly been abandoned. Without any regard for the consequences, Tamara decides to take her in and protect her. Mrs. Meche, a seventy-year-old woman who lives alone in the same neighborhood discovers the baby girl in Tamara’s house and is left with no other choice but to become involved. The film narrates the story of these two women who are fading away in their loneliness and invisibility and illustrates how they manage to find a space in one another where, rather than being outcasts, they feel finally needed.
El Invierno (The Winter) by Emiliano Torres (Argentina, 2016, 93′)
Evans, an aged and long-time foreman at a sheep-rearing estate in Patagonia, welcomes a new group of workers who are going to take part in the shearing season. Jara, a young man from the northeastern part of Argentina, stands out among the laborers. The owners of the estate see him as a possible new foreman. When the season’s work comes to an end, Evans’ worst fears come true. After having dedicated a lifetime to that work and estate, he is fired and Jara takes his place. The change is not easy for either of them and each must find his own way to survive the coming winter.
Afterlov by Stergios Paschos (Greece, 2016, 94′)
It is summertime in Athens and Nikos, a 30-year-old broke musician, is taking care of a luxurious villa in the suburbs that belongs to a friend of his. Between poolside cocktails and playing around with the dog he is meant to take care of, Nikos has a plan. Still unable to get over his recent break-up with Sofia, he thinks this is a unique opportunity to get some much-needed answers and invites her over for the weekend.
Sofia gladly accepts, not knowing, of course, that Nikos’ plans are not as innocent as they seem. Nikos locks himself and Sofia up in the house and refuses to let her leave until she explains rationally the reasons for the break-up. The alleged carefree holiday turns into a cluster of fights, laughter, games and introspection. Is Nikos ever going to get the answers he is looking for? Is Sofia ever going to be able to explain why they broke up? Afterlov is a funny, poignant and scathing post-love story between two people who refuse to grow up.
Ikari (Rage) by Sang-il Lee (Japan, 2016, 142)
The word “rage” has been scrawled with the victims’ blood on a wall of the room where two brutally murdered bodies have been found. A year goes by, but the murderer is not found. The case eats away at people’s ability to trust in one another, particularly that of three pairs of people living in a fishing village, in Tokyo, and in Okinawa. All have recently befriended someone with a mysterious past. Rage lies beyond lost trust; an emotion that has a tendency to turn violent and exposes in unforeseen ways the mystery behind the murder.
Dao Khanong (By the time it gets dark) by Anocha Suwichakornpong
(Thailand, Netherlands, France, Qatar, 2017)
A director and his muse, a former militant student of the seventies, a waitress who keeps on changing jobs, an actor and a lead actress. All living their lives connected by almost invisible links. The narrative sheds its skin several times, revealing the complexity that form the lives of the characters layer after layer.
Rifle by Davi Pretto (Brazil/Spain, 2017, 88’)
Dione is a mysterious young man living with a family in a rural and remote place. The quietness of the region is disturbed when a rich landowner tries to buy the small property where Dione and the family live.
Rekvijem za gospodji j (Requiem for Mrs. J) by Bojan Vuletic (Serbia/Bulgaria/Macedonia, 2017, 93’)
Mrs J., a former administrative clerk, decides to complete all her tasks: she washes a sink full of dishes, goes to the store, and digs up an old family pistol. It is her late husband’s pistol. She is determined to kill herself with the gun on her husband’s death anniversary in a week’s time. She is ready to tie up all private and administrative details so that she may commit suicide her own way. In order to begin the process, she needs only one thing: a certificate attesting her employment over the past 20 years. In a country that is going through social transition, this proves to be highly complicated. Because living in transition is complicated. And dying is even more complicated.
The Levelling by Hope Dickson Leach (U.K., 2016, 83’)
Somerset, England. Trainee veterinarian Clover Catto returns to the farm where she grew up after hearing news that her brother Harry has died in what appears to be a suicide. Finding the family home in a state of disrepair following the 2014 floods that devastated the area, Clover is forced to confront her father Aubrey about the farm, the livestock and, crucially, on the details surrounding Harry’s death. As the funeral approaches, her discoveries send Clover on emotional journey of reckoning with her family, her childhood and herself.
Butterfly kisses by Rafael Kapelinski (U.K, 2017, 89’)
We follow Jake and his two best friends through a world distorted by sex and porn. They all have their own demons, but Jake’s secret is one that he can’t tell anyone.
The Misandrists by Bruce La Bruce (Germany/Canada, 2017, 91’)
A secret cell of feminist terrorists is planning to liberate women, overthrow the patriarchy, and usher in a new female world order.
Dayveon by Amman Abbasi (USA, 2017, 75’)
In the wake of the death of his older brother, 13 years old, Dayveon spends sweltering summer days roaming in rural Arkansas. When he falls into the hands of a local gang, he becomes attracted to the camaraderie and the violence of their world.
Ein Weg (Paths) by Chris Miera (Germany, 2017, 107’)
How long is eternity? A few years or the breaking of the waves on the rugged Baltic coast? Andreas and Martin share all the ups and downs of life, while their son is growing up. A cautious approach to the traces of a long relationship.
Ana, Mon Amour by Cãlin Peter Netzer (Romania, 2017, 125’)
Toma meets Ana while they are both studying at university. Ana has a slight neurotic disorder and suffers from panic attacks. Toma follows her in every one of her dark corners, fights his parents when they reject her, accepts becoming a father and marries her, becomes her babysitter, her driver, her world. Toma seems to be in control of their relationship, but in fact revolves around a woman he cannot understand, who pushes him to the limit his resistance as he tries to save her. When Ana overcomes her fears and adapts to the outer world, Toma finds himself alone, trying to put together the pieces of a puzzle, trying to understand the vortex that has gone through.
The Lucca Film Festival and Europa Cinema directed by Nicola Borrelli, is one of the key events organized and sponsored by the Fondazione Cassa di Risparmio di Lucca. The main sponsors of the event are Banca Generali and Banca Pictet, whereas the exhibits are produced with the support of Banca Société Générale. The organization of the Lucca Film Festival e Europa Cinema is also made possible thanks to the funds made available by Funder35 and enjoys the support of Gesam Gas & Luce S.p.A, Istituto Luce Cinecittà S.r.l., Fondazione Banca del Monte di Lucca, Baldini Vernici, Lucar S.p.A, Lions Club Lucca Le Mura, Alleanza Assicurazioni S.p.A, Il Ciocco S.p.A, MiBACT (the Italian Ministry of Cultural Heritage, Activities and Tourism), the Region of Tuscany, the City of Lucca, the City of Viareggio, the Province of Lucca with the collaboration and co-production of the Giglio Theatre in Lucca Consociazione Nazionale donatori di sangue Fratres, Fondazione Giacomo Puccini e Puccini Museum – Casa Natale, Fondazione Carlo Ludovico Ragghianti, Fondazione Mario Tobino, Università degli Studi di Firenze, Martinelli Luce, CG Entertainment, Fondazione Centro Arti Visive e Fondazione UIBI. Thanks also to Lucca Comics & Games, Trenitalia Regional Management, Unicoop Firenze and to the Degree Course in Performing Arts and Civilization Department of Communication and Forms of Knowledge at the University of Pisa, Light It Up Blue – Lucca and App18 for their collaboration.
Lucca Film Festival and Europa Cinema
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English translation and interpreting: Tessa Wiechmann
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