Monthly Archives: March 2014

Alberi che Camminano in anteprima su Vimeo

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Finalmente disponibile in anteprima il teaser dell’ultimo capolavoro nato dalla sinergia Erri De Luca – OH!PEN,  dal suggestivo titolo “Alberi che Camminano” girato tra agosto e settembre scorso. Prima di deliziarvi con il video del teaser di Alberi che Camminano vi ricordiamo alcune interessanti curiosità ed informazioni sulla produzione;

Alberi che camminano è un documentario nato da un’idea dello scrittore Erri De Luca per raccontare la vita degli alberi e del loro intreccio con la vita degli uomini che vivono in stretto rapporto con essi. Girato tra le vette alte ed impervie del Trentino e le dolci coste pugliesi, “Alberi che Camminano” il nuovo documentario prodotto da OH!PEN si propone di raccontare storie, storie di alberi e storie di uomini che si uniscono tra loro muovendosi nel profondo rapporto che lega l’essere umano alla natura qui intesa come Albero, albero che diventa strumento musicale per esprimersi, barca navigare e legno per costruire.

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Click the picture to see the video on Vimeo

Finally available in the teaser preview last masterpiece born from the synergy Erri De Luca – OH!PEN, with the suggestive title “Trees That Walk” shooted between August and September. Before showing you the video teaser of Trees Walking we want to remind you some interesting trivia and information on the production;

“Trees That Walk” is a documentary that was created by Erri De Luca recounting the life of the trees and their relationship with the human race.The documentary was filmed between Trentino in the north and Puglia in the south of Italy.

Storia di Irene finalista al Cortinametraggio 2014

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Proprio oggi a Cortina d’Ampezzo si terranno le premiazioni per i migliori cortometraggi. Siamo stati selezionati con il booktrailer Storia di Irene. Finalisti con il libro di Erri De Luca, la regia di Emanuele Sana, la fotografia di Beppe Gallo e le musiche di Stefano Fresi!

Per informazioni e aggiornamenti riguardo il Cortinametraggio 2014, click sulla locandina;

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Erri De Luca, deux voix pour un même crime.

LE FIGARO

“Se peut-il que l’adolescent italien de Tu, mio (1998), transformé par sa rencontre avec la mystérieuse Caia, un été des années 1950, sur une île de pêcheurs, soit devenu le narrateur du Tort du ­soldat (2012), le vingt-troisième ­livre traduit d’Erri De Luca?

On ne peut pas écarter l’hypothèse, romanesque à souhait. La colère du gamin qui n’hésitait pas à faire le coup de poing avec des touristes allemands ayant eu la mauvaise idée d’entonner un chant nazi à quelques mètres de Caia, rescapée de la Shoah, trouve ici son prolongement. Présent aux commémorations du cinquantenaire de l’insurrection du ghetto de Varsovie, le narrateur se rend ensuite à Auschwitz et Birkenau. Là, face à l’énormité de «l’irréparable», cet homme qui ne sait pas prier n’a d’autre solution que de s’endormir quelques instants. «La plaine de la Haute-Silésie était immobile, l’air à peine agité de papillons noirs. C’était une terre sourde-muette.»

L’anéantissement d’une communauté le pousse, à son retour, à en apprendre la langue mori­bonde: «Le yiddish a été mon entêtement de colère et de réponse. Une langue n’est pas morte si un seul homme au monde peut encore l’agiter entre son palais et ses dents, la lire, la marmonner, l’accompagner sur un instrument à cordes.» On sait qu’Erri De Luca décida d’apprendre l’hébreu et le yiddish pour mieux s’immerger dans la Bible, qu’il lit chaque jour sans être croyant pour autant. Son personnage, qui lui ressemble bougrement, passe chaque mois de juillet dans les Dolomites à lire, écrire et escalader les montagnes. Et, cette année-là, à traduire en italien une nouvelle yiddish ­d’Israel Joshua Singer, le frère aîné du Nobel Isaac Bashevis.

Kabbalistes de tous bords

Ce solitaire qui voit dans la nature des lettres d’alphabets, des mots, des signes, croise dans une auberge une grande femme qui lui offre un sourire comme «un courant d’air qui ouvre une fenêtre». Elle est bientôt rejointe par un homme de haute stature qui se révèle être son père. Pris par son travail sur les mots, le narrateur ne s’aperçoit pas qu’il en prononce certains à haute voix et que cela perturbe le vieil homme. Le premier récit s’arrête peu après et le second commence.

C’est la femme au sourire qui raconte sa drôle d’histoire à côté de celui qu’elle a longtemps cru être son grand-père et un facteur sans histoire, et qui se révèle être son père et un criminel de guerre en cavale. Le vieux nazi n’a qu’un regret: avoir perdu la guerre. Il s’est, lui aussi, mis à étudier la kabbale hébraïque et à voir dans les lettres et les chiffres des preuves de l’échec du nazisme.

Le récit de sa fille est celui d’un être à qui on a longtemps menti et qui ne ressent pas de colère. Elle «s’occupe» de son père, observe sa paranoïa mais ne juge pas. Son histoire ne prend de la couleur que lorsqu’elle évoque les vacances d’été de son enfance et sa rencontre avec un fils de pêcheur sourd-muet qui lui a appris à nager et à manger des oursins crus. Dans ces pages lumineuses, on retrouve la magie de Tu, mio. Coïncidence?”

«Le Tort du soldat», d’Erri De Luca,traduit de l’italien par Danièle Valin, Gallimard, 89 p., 11 €.

“12 Years a Slave”. Steve McQueen

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Brad Pitt described Steve McQueen  ‘Indomitable’, during the Oscars Ceremony. The 12 Years a Slave—the excruciating story of a man sold into slavery, co-produced by Pitt and directed by McQueen—won Best Picture award. McQueen is no doubt a film force to be reckoned with, embraced and feted by Hollywood. And it’s within Hollywood that the artist has found the platform he was looking for.

McQueen’s career is a success story. Enrolling at Goldsmiths College in 1991, was the first step in a trajectory that soon made him one of Britain’s most celebrated artists. The early short film “Bear” (1993), about two men (one of them McQueen) circling each other as if readying themselves for a fight, was the first success followed by other successful and often intrinsic, unsettling art films that quickly gained critical acclaim. Not yet 30, McQueen had a solo show at MOMA in 1997. Two years later he won the Turner Prize, Britain’s most prestigious art accolade.

But contemporary art was always a too small world for McQueen, and he went from experimental filmmaking to explore other paths.  He began with his first feature film Hunger(2008), a grueling account of IRA Bobby Sands’ hunger strike.

Hunger quickly became one of the key films dealing with The Troubles in Northern Ireland, a subject that remains incredibly raw. It pushed McQueen towards very different spheres. His work started to be discussed in mainstream media in a way that was unthinkable in Britain even for high-profile events such as the Turner Prize. Hunger, and later Shame, about sex addiction, attracted viewers who might have never heard of the artist before, and who had perhaps never set foot in a contemporary art museum. However big his art career, it’s with Hunger that McQueen’s voice truly started to be heard.

It is powerful that while the artist was working on Hunger he went to Iraq and embedded in the British army in Iraq as an Official War Artist. McQueen found himself unable to shoot a film. After much reflection, he decided to produce stamps displaying  the portrait of British soldiers killed during the conflict. The piece is called Queen & Country. The artist hoped Royal Mail would print the stamps and put them in circulation. The project garnered some support and a petition with 20,000 signatures, but Royal Mail didn’t get persuaded, and the campaign had to be abandoned.

By contrast, the amount of discourse 12 Years a Slave has generated is staggering. Besides its own merits as movie—superbly carried by the performances of Chiwetel Ejiofor, Michael Fassbender, and Lupita Nyong’o—the film has raised important questions on the depiction of slavery in Western cinema and the dearth of black filmmakers dealing with the topic at a mainstream level. It has also put a spotlight on the still-prevailing white stronghold on the movie industry—and, crucially, could well play a role in changing it. 

No contemporary artwork could have had comparable impact. McQueen is well aware of this. When, in the early 2000s, his work took on a more overtly political tone, he wasn’t going to let it speak only to the museum’s white walls, and the (relatively) few who visit its rarefied atmosphere. So he has chosen cinema for his enormous subject. And he won.