Last year, the organizers of the 12th Italian Film Festival in Würzburg, the association ?? Teatro in cerca – Circolo culturale italo-tedesco ?? and the team from Central’s art house cinema are very fortunate to be able to bring all of their films to the screen just before the massive lockdown measures. Shortly afterwards the lights in the cinemas went out. The cinema sank into darkness for long months. It wasn’t long ago that the canvases began to glow again.
That the terrible ?? cinematic ?? Times are now hopefully over for a long time, visitors to the Central art house cinema can also read from the fact that the Italian Film Days Würzburg have been announced again from October 21st to 27th. A selection of nine current, multiple award-winning works from Italian auteur cinema ?? including two documentaries – as well as a film-historically significant classic from Italian film history ?? all in the original version with German subtitles – will be shown in Würzburg, according to a press release from the Central-Programmkino.
Social problems in the country are taken up
It is a well-known fact that since the neorealismo of the post-war period, Italian cinema has repeatedly taken up aspects of the country’s current social problems. This leitmotif also runs through the classic? Ladri di biciclette ?? (?? Bicycle thieves ??) by Vittorio De Sica from 1948, which will be shown as a matinee performance on Sunday 24 October at 11 a.m.
If you leaf through the program, which is available in most bookstores and in many Italian restaurants in the city and which you can also consult on the Central website, this realistic basic feature becomes very clear. In a very personal, unsentimental, but empathetic way, debutant Marcello Sannino, who also comes from a suburb of Naples in his drama ?? Rosa pietra stella ?? (?? Rose Stein Stern ??) participate with a lot of empathy and in the style of neorealismo in the struggle for survival of a family consisting only of women in his home town of Portici.
Portraits of overzealous super parents
Pietro Castellitto, on the other hand, begins in his debut film? I predatori ?? (?? The predators ??) the jungle atmosphere of today’s Rome by means of a mixture of realistic and avant-garde representation methods. His film was named Best ‘First Film’ at the 2020 Venice Biennale Film Festival. excellent.
Of course, the friends of the ?? commedia all ?? italiana ?? at their expense: Gabriele Muccino draws in ?? Gli anni più belli ?? (?? On everything that makes us happy ??) traces the life paths of four friends in the great crisis of the 90s. Tragic moments alternate with euphoric moments, as is common in life. The whole thing gets its special charm through that simple joie de vivre, which as a typical Italian heritage in the film flashes again and again in all situations.
Laura Chiossone, on the other hand, is a master of biting comedy and satire: Her portraits of overzealous super parents in ?? Genitori quasi perfetti ?? are sharply drawn. (?? Almost perfect parents ??), Italian variants of a type of person that is becoming more and more common in this country and tending towards clearly neurotic behavior.
Two documentaries will be shown
The two documentaries are also worth seeing, on the one hand? A Black Jesus ?? by Luca Lucchesi, who was produced by Wim Wenders. The author puts ancient, folkloric Christian traditions of a small Sicilian town in a contrastive context with the current hatred of immigrants from the “black continent”.
A completely different Italy is presented to us by Giorgio Verdelli in ?? Paolo Conte ?? via con me ?? before: Paolo Conte (born 1937) comes from Asti (Piedmont), was initially a lawyer and in his free time a jazz pianist, later also a composer and singer, but also a lyricist (would be ?? poet ??) of his ?? canzoni ?? , among which the ?? unofficial national anthem of Italy ??, namely the song ?? Azzurro ?? stands out, but not Paolo Conte, but Adriano Celentano ?? at least in Italy – made immortal. The film is a sensitive biography of an incredibly versatile, ingenious artist.