la Biennale di Venezia
Main Visual Sezione Cinema EN (new)

Cinema


Ten possible route maps for "Orizzonti"

For a provisional decalogue:
Ten possible route maps across the territories that lead towards new Orizzonti


ROUTE MAP #1. The written word
The relationship between image and text (narrating voice) represents one of the most fervently expressive means in film.
With no pretense of explicative/illustrative intent, never redundant, and unwilling to transform the film image into a push for “authority”, text and image may be associated in contemporary film so as to create new bonds and new relationships – based on irony, curiosity, amusement, wonder.
 
Recommended destinations: Noël BURCH, Allan SEKULA, The Forgotten Space(Netherlands); Sasha PIRKER, The Future will not be capitalist (Austria); Patrick KEILLER, Robinson in Ruins (UK); John AKOMFRAH, The Nine Muses (UK); Manoel de OLIVEIRA, Painéis de Säo Vicente de Fora, Visäo Poética (The Panels of Säo Vicente de Fora, A Poetic Vision (Portugal), and many others.
 

ROUTE MAP #2.
Life as a screenplay
Lives do not necessarily become screenplays, because the filmmaker has listened to them and understood them well enough to make them his own, to identify orientations and movements. Whether the text precedes the film, or whether it is drawn from it, this is the opposite extreme of managerial storytelling : a range of very different narrative modes opens up.
 
Recommended destinations: Catherine BREILLAT, La Belle Endormie (The Sleeping Beauty) (France); Mauro ANDRIZZI, En el futuro (Argentina); Nicolas PEREDA, El verano de Goliat (Mexico); Pasquale SCIMECA, Malavoglia (Italy); Gianfranco ROSI, El Sicario, Room 164 (France); Vincent Gallo, The Agent (USA); Luiz PRETTI, O mundo é belo(Brazil); Arnaud des PELLIERES, Diane Wellington(France); Guillermo ARRIAGA, El Pozo (Mexico); Jesse McLEAN, Magic for Beginners(USA); Josh SAFDIE, Ben SAFDIE, John’s Gone (USA); Nuntanat DUANGTISARN, Woman I (Thailand), and many others.
 
 
ROUTE MAP #3. The image disturbs reality
Contrary to what one might imagine, contemporary film, in its closest relationships with the plastic and visual arts, never actually separates itself from reality. Rather, it animates reality, transfigures it, eludes it, urges it towards unexplored dimensions. The film image, in its material quality, renews its alliance with painting and sculpture. The traditional contract between image and sound is broken to create critical, fantastic or dream-like visions of the world that surrounds us.
 
Recommended destinations: SJ RAMIR, Cold Clay... Emptiness(New Zealand); Markus LÖFFLER, Andrée KORPYS, Atom (Germany); FLATFORM, Non si può far nulla contro il vento(Italy); Oleg TCHERNY, La linea generale (France); HUANG Wenhai, Qiao (Crust) China); Galina MYZNIKOVA, Sergey PROVOROV, Voodushevlenie (Inspiration)(Russia); Ken JACOBS, A Loft(USA); Ishtiaque ZICO, 720 Degrees (Bangladesh); Emily RICHARDSON, The Futurist, (UK); Martin ARNOLD, Shadow Cuts (Austria), and many others.
 
 
ROUTE MAP #4. The animals are watching us
Whether real or just in drawings, the animal world can be a metaphor for the world of humans, but above all a presence that is disturbing and causes apprehension, with an irony that is sometimes cruel but more often very amusing. Mice whose behaviour is too similar to our own; insects that seem to know that their children will inherit the planet; teddy bears and cartoon rabbits that don’t behave as such. In the hands of the artists, they all become “far too human” figures.
 
Recommended destinations: HUND & HORN, Mouse Palace (Austria); Hannes VARTIAINEN, Pekka VEIKKOLAINEN, Erään Hyönteisen (The Death of an Insect) (Finland); David OREILLY, The External World (Germany); Atsushi WADA, Mechanic of Spring (Japan), and many others.
 
 
ROUTE MAP #5. Did you say documentary?
In recent years, the documentary genre has reclaimed the freedom it once possessed in the early days of film, before industrial genres and directions codified its limits, constraining filmmakers. Far from the rhetoric of television and automatised writing, there are still filmmakers who “document” (in the sense of Dziga Vertov’s “Film-eye”). Filmmakers who know how to freeze a moment because they know how to choose to frame it. Who know how important it is to bring the spoken word to bear because an “interview” never says anything. Who know how to make the people around us invent their own film life. Who know how to speak out because the narrating voice can even be a thought spoken out loud. Who know how to transfigure reality with the result that the past becomes the present.
 
Recommended destinations: Gianfranco ROSI, El Sicario, Room 164 (France); Patrick KEILLER, Robinson in Ruins (UK); Noël BURCH, Allan SEKULA, The Forgotten Space (Netherlands); Nicolas PEREDA, El verano de Goliat (Mexico); HUANG Wenhai, Xifang quci bu yuan (Reconstructing Faith) (China); Marianne KHOURY, Mustapha HASNAOUI, Zelal (Egypt); Laila PAKALNINA, Pa Rubika Celu (On Rubiks’ Road) (Latvia); SEMICONDUCTOR, Indefatigable (Ecuador); Yuri ANCARANI, Il capo(Italy); Doug AITKEN, House (USA), and many others.
 
 
ROUTE MAP #6. Documented horror
Documentary material, and indeed the very experience of the documentary, may be confused with fictional images. This happens in so-called genre films. In these cases, film incorporates invisible forces: terror, the sacred, the premonition of catastrophes and the memory of those that have already taken place. Without ever betraying reality, the film stages what a screenplay cannot represent. Therefore the documentary becomes a film “genre” of the everyday.
 
Recommended destinations: Olivier ZABAT, Fading (France); Nicolas PROVOST, Stardust(Belgium); Giuseppe GAUDINO, Isabella SANDRI, Per questi stretti morire - Cartografia di una passione  (Italy), and many others.
 
 
ROUTE MAP #7. So many stories from History
Elegantly led by Maestro De Oliveira, Orizzonti 2010 brings together films that have found their starting point in the past, be it recent or distant. How can we tell the story of what no longer exists? How can we say that what exists always has a history? Contemporary narrators, like archaeologists, work on what has come before. That is why there is a need for Form, so that History need never be a museum or a mere instrument of commemoration, but living material that animates the present.
 
Recommended destinations: Manoel de OLIVEIRA, Painéis de Säo Vicente de Fora, Visäo Poética (The Panels of Säo Vicente de Fora, A Poetic Vision (Portugal);Lluís GALTER, Caracremada (Spain); Arnaud des PALLIERES, Diane Wellington(France); Giuseppe GAUDINO, Isabella SANDRI, Per questi stretti morire - Cartografia di una passione (Italy); Maher ABI SAMRA, We Were Communists (Lebanon); John AKOMFRAH, The Nine Muses (UK); Laura Amelia GUZMAN, Israel CARDENAS, Jean Gentil (Dominican Republic); Marianne KHOURY, Mustapha HASNAOUI, Zelal (Egypt); Pasquale SCIMECA, Malavoglia (Italy); Douglas GORDON, K.364 A Journey by Train(UK); Guillermo ARRIAGA, El Pozo (Mexico); Jean-Gabriel PERIOT, Les Barbares (The Barbarians) (France); Georgios ZOIS, Casus Belli(Greece), and many others.
 
 
ROUTE MAP #8. The geography of dreams
Measuring the world, measuring time: film, the contemporary art of the fairytale and the story, the geographical art, ignores chronology or uses it to the benefit of the story. As in the Charles Perrault adaptation by Catherine Breillat, film re-designs the world to the measure of our dreams. Dreams that are sometimes painful, nightmares we wake up from shivering. “The better to understand the world with, my dear”, as the Big Bad Wolf would say to Little Red Riding Hood.
 
Recommended destinations: João NICOLAU, A Espada e a Rosa (The Sword and the Rose) (Portugal); F. J. OSSANG, Dharma Guns (France); Catherine BREILLAT, La Belle Endormie (The Sleeping Beauty) (France); Oleg TCHERNY, La linea generale (France);Galina MYZNIKOV, Sergey PROVOROV, Voodushevlenie (Inspiration)(Russia); Manoel de OLIVEIRA, Painéis de Säo Vicente de Fora, Visäo Poética (The Panels of Säo Vicente de Fora, A Poetic Vision (Portugal);Rafael PALACIO ILLINGWORTH, Man in a Room(USA);Luiz PRETTI, O mundo é belo (Brazil); SUN Xun, 21g (China); Peter TSCHERKASSKY, Coming Attractions (Austria); Chaisiri JIWARANGSAN, Nok Ka Mhin (Four Seasons) (Thailand); Victor ALIMPIEV, Slabyj Rot Front (Weak Rot Front) (Russia), and many others.
 
 
ROUTE MAP #9. Crisis (in the Images, too)
There is a crisis, there has been and there will be. All the crises in the history of film have provoked a crisis in old and new images. A global event, an upheaval of systems, cannot help unhinging film representations. Or better: inducing artists to conceive for us (us spectators) new ways of understanding, new systems for reacting, new approaches to what might seem illegible to us. Film as a sensitive alphabet, as “gai savoir”.
 
Recommended destinations: Patrick KEILLER, Robinson in Ruins (UK); Noël BURCH, Allan SEKULA, The Forgotten Space (Netherlands); Elina TALVENSAARI, How to Pick Berries (Finland); José Luis GUERIN, Guest (Spain); Laura Amelia GUZMAN, Israel CARDENAS, Jean Gentil (Dominican Republic); Jean-Gabriel PERIOT, Les Barbares (The Barbarians) (France); Armin LINKE, Francesco MATTUZZI, Future Archeology (Italy); Roee ROSEN, Tse (Out) (Israel), and many others.
 
 
ROUTE MAP #10. Animation
Now more than ever, animation film has broken out of its status as a separate category to become a sweeping genre that percolates the widest variety of approaches: the film d’essai, the experimental film, the documentary, computer graphics, the video-clip.
The increasingly young animation directors experiment on a wide variety of techniques, from the most sophisticated technologies to the “Do it Yourself” approach, which rediscovers basic techniques such as drawing by hand on paper, in pencil or charcoal.
It is common practice to extend the definition and concept of animation to include a large segment of experimental films and videos, whose strategies are frequently based on the creation and manipulation of analogical or digital images, towards a even more radical reinvention of reality by means of film.
 
Recommended destinations: Martin ARNOLD, Shadow Cuts (Austria); FLATFORM, Non si può far nulla contro il vento (Italy); Atsushi WADA, Mechanic of Spring(Japan); SUN Xun, 21g (China); Hannes VARTIAINEN, Pekka VEIKKOLAINEN, Erään Hyönteisen (The Death of an Insect) (Finland), and many others.