West and Soda (Italia/1965) R.: Bruno Bozzetto. D.: 90’

Introduced by

Nicolas Seydoux (Presidente Gaumont)

(In case of rain, the screening will be moved to the Cinema Arlecchino)

Projection with carbon lamp and musical accompaniment. STELLA DALLAS

Introduced by

Steve Massa and Dave Kehr

Introduced by

the curators Johan Nordström and Alexander Jacoby

Krtek(Cecoslovacchia/1968) R.: Zdeněk Miler. D.: 10’
Le avventure di un uovo (Italia/1970) R.: Giuseppe Borghini. D.: 11’
Papageno (Germania/1935) R.: Lotte Reiniger. D.: 10’
Il flauto magico (Italia/1978) R.: Giulio Gianini, Emanuele Luzzati. D.: 15’ (estratto)

At the same time, a workshop Painting with music in the Spazio Cinnoteca
Held by Associazione Paper Moon

Introduced by

Serge Bromberg (Lobster Films)

Presentation of Il Mediterraneo era il mio regno. Le memorie dell’ultimo grande aristocratico siciliano, by Francesco Alliata (Neri Pozza, 2015)
Contributions by Vittoria Alliata and Tatti Sanguineti

Introduced by

Piano accompaniment by

Donald Sosin

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “I think I was able to establish a close relation with my audience. They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Introduced by

Cecilia Cenciarelli and Pierre Rissient

Introduced by

Peter Bagrov and Olaf Möller

Introduced by

the curators Hiroshi Komatsu and Mariann Lewinsky

Introduced by

Ernst Szebedits (Murnau Stiftung)

Piano accompaniment by

Antonio Coppola

Introduced by

Suzanne Lloyd

Introduced by

Anna von Bagh and Olaf Möller

Introduced by

Jon Wengström (Svenska Filminstitutet)

Introduced by

Akira Tochigi, Johan Nordström and Alexander Jacoby

Introduced by

the curators Aboubakar Sanogo, Cecilia Cenciarelli, Mariann Lewinsky and Ouissal Mejri

What can happen when we close our eyes and fall asleep? Three films suspended between dreams and reality, including the first of many cinematic interpretations of Alice’s Adventures in Wonderland, made in 1903.

Lalla, piccola Lalla (Italia/1947) R.: Nino e Toni Pagot. D.: 22’
Alice in Wonderland (Gb/1903) R.: Cecil M. Hepwort, Percy Stow. D.: 8’
Le Ballon rouge (Francia/1956) R.: Albert Lamorisse. D.: 35’

Petite Escapade (Francia/2001) R.: Pierre-Luc Granjon. D.: 6′
Pimpa in viaggio (Italia/1990) R.: Osvaldo Cavandoli, Enzo D’Alò. D.: 25’

At the same time, a workshop in the company of Pimpa in the Spazio Cinnoteca, to discover Bologna together with her

To celebrate 20 years of the radio transmission of the same name, the editors and authors of Hollywood Party present I 100 colpi di Hollywood Party (Rai Eri, 2015)

Introduced by

the curators Peter Bagrov and Olaf Möller

Presentation of L’Otello senza acca. Orson Welles nel fondo Oberdan Troiani (Cineteca Nazionale-Rubbettino, 2015), I mille volti di Orson Welles (Cineteca Nazionale-Edizione Sabinae, 2015) e Racconti di cinema (Einaudi, 2014).
Contributions by Paolo Mereghetti, Emiliano Morreale and Mariapaola Pierini

Introduced by

Angela Allen (script supervisor) and Sophie Kopeczymski (Studio Canal)

(In case of rain, the screening will be moved to the Cinema Arlecchino)

Introduced by

Angela Allen (script supervisor) and Sophie Kopeczymski (Studio Canal)

Schawn Belston, Grover Crisp, Simon Lund present digital and film print extracts of some of their restorations
Moderated by Davide Pozzi (L’Immagine Ritrovata)

Introduced by

Aboubakar Sanogo

Accompanied by John Sweeney (piano) e Frank Bockius (drum)

Introduced by

the producers Izza Genini and Ahmed El Maanouni

Project by Camille Blot-Wellens

Introduced by

by the curators Jonathan Rosenbaum and Ehsan Khoshbakht

Introduced by

Thierry Fremaux, Cecilia Cenciarelli, Mariann Lewinsky and Ouissal Mejri

Piano accompaniment by

Donald Sosin

Introduced by

Antti Alanen (Finnish National Audiovisual Archive)

Conversation with Angela Allen (script supervisor)

Film Literacy and Film Archives
In cooperation with the ABCinema Project

Conversation with Nicola Mazzanti

Followed by a conversation with Maurizio Ponzi, Karl-Heinz Dellwo, Gabriella Angheleddu, Goffredo Fofi and Roberto Chiesi, organized by Centro Studi – Archivio Pier Paolo Pasolini di Bologna and Laika Verlag (Hamburg)

The protagonists of the shorts in this section are unpredictable, mischievous and very lovable. Well before Pippi Longstocking, who turns 70 this year, Tilly, Lea and others were depicting irreverent and anti-conformist behaviour. I fratelli Dinamite, the first animated Italian feature, along with La Rosa di Bagdad, instead tells the story of the childhood of three brothers who have grown up alone on an uncontaminated island and their chaotic and uncontrollable return to civilisation.

Tilly and the Fire Engines (Gb/1911) R.: Lewin Fitzhamon. D.: 2’
Rosalie et Léontine vont au théâtre (Francia/1911) R.: Roméo Bosetti. D.: 5’
Lea e il gomitolo (Italia/1913) R.: Lea Giunchi. D.: 5’
A Lady and Her Maid (USA/1913) R.: Bert Angeles. D.: 13’
Pippi Calzelunghe (Svezia/1969) R.: Olle Hellbom. D.: 30’ (one episode)

Conversation with Thierry Fremaux
Moderated by Gian Luca Farinelli

A selection of some of the first animated films in cinema history, precursors of a genre in which fantasy and technology merge together to create stories where anything is possible. Starting with Reynaud’s Théâtre Optique, a device invented for the projection of his Pantomime lumineuse.

Pauvre Pierrot (Francia/1892) R.: Emile Reynaud. D.: 5′
Fantasmagorie (Francia/1908) R.: Emile Cohl. D.: 1’
Le Cauchemar de Fantoche (Francia/1908) R.: Emile Cohl. D.: 2’
Rêves enfantins (Francia/1909) R.: Emile Cohl. D.: 5’
Fétiche prestidigitateur (Francia/1934) R.: Władysław Starewitch. D.: 12’
Youghal Clock Tower (Irlanda/1909) R.: James Horgan. D.: 1’

Introduced by

Mariann Lewinsky

Visual Magic and Tricks – Camera obscura, magic lantern, thaumatrope, phenakistoscope, zoetrope… A laboratory to experiment, construct and play with various devices from the pre-cinema era.

Presentation of L’isola che non c’è. Viaggi nel cinema italiano che non vedremo mai by Gian Piero Brunetta (Cineteca di Bologna, 2015)
Contributions by Jean Gili and Paola Cristalli

Accompaniment composed and directed by Maud Nelissen and performed by The Sprockets: Daphne Balvers (Sopranosaxophone), Frido ter Beek (Alto & Baritonsaxophone), Jasper Somsen (Double Bass), Marco Ludemann (Banjo, Guitar and Mandoline), Rombout Stoffers (Percussion and Effects) and Maud Nelissen (Piano)

Evening promoted by Mare Termale Bolognese
(In case of rain, the screening will be moved to the Cinema Arlecchino)

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “I think I was able to establish a close relation with my audience. They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Followed by UNSEEN LOLLO

Introduced by

Alain Sembène and Cecilia Cenciarelli

Conversation with Akira Tochigi, Masaki Daibo, Johan Nordström and Alexander Jacoby

Conversation with Jérôme Seydoux, Sophie Seydoux and Nikolaus Wostry

Piano accompaniment by

Accompanied by John Sweeney (piano) and Frank Bockius (drums)

Introduced by

the curators Jonathan Rosenbaum and Ehsan Khoshbakht

Conversation with Michael Pogorzelski

PIPPI CALZELUNGHE (Svezia/1969) R.: Olle Hellbom. D.: 60’ (two episods)
Tilly in a Boarding House (Gb/1911) R.: Lewin Fitzhamon. D.: 7’
Boy Wanted (Irlanda/1940) R.: Nicholas Staunton. D.: 3’

Introduced by

Akira Tochigi, Johan Nordström and Alexander Jacoby

We dedicate some programmes to the first directors in the history of cinema, in particular the Lumière Brothers and George Méliès, creator of the best well-known trick films during the early years of cinema, inventing special effects remarkable for the period.

L’Arroseur arrosé (Francia/1895) R.: Auguste e Louis Lumière. D.: 1’
Bataille aux boules de neige (Francia/1896) R.: Auguste e Louis Lumière. D.: 1’
Le Magicien (Francia/1898) R.: Georges Méliès. D.: 1’
L’Homme à la tête en caoutchouc (Francia/1901) R.: Georges Méliès. D.: 2’
Le Livre magique (Francia/1900) R.: Georges Méliès. D.: 3’
L’Auberge du bon repos (Francia/1903) R.: Georges Méliès. D.: 5’
Le Repas fantastique (Francia/1900) R.: Georges Méliès. D.: 2’
Le Maestro do-mi-sol-do (Francia/1906) R.: Georges Méliès. D.: 3’
Jeu de dés (Gioco di dadi, Francia/1912) D.: 4’
Japonaiseries (Francia/1904) R.: Gaston Velle. D.: 3’
Métamorphose du papillon (Francia/1905) R.: Gaston Velle. D.: 2’
Les Roses magiques (Francia/1906) R.: Segundo de Chomón. D.: 4’

Piano acompaniment by Lorenzo Agnifili

Introduced by

Sophie Seydoux (Fondation Jérôme Seydoux-Pathé)

A two-part laboratory to create stories and situations inspired by the films of Méliès

Maud Nelissen (piano), Frido ter Beek (sassofono) and Jasper Somsen (contrabbasso)

Introduced by

Schawn Belston (Fox)

Introduced by

Cecilia Cenciarelli and Pierre Rissient

Projection with carbon lamp: La princesse aux clowns (La principessa e il clown, Francia/1924) R.: André Hugon, La Ruche merveilleuse (Francia/1905) R.: Gaston Velle, Un Drame dans les airs (Francia/1904) R.: Gaston Velle, Petit Jules Verne (Francia/1907) R.: Gaston Velle, El iris fantastico (L’iris fantastique, Spagna/1912) R.: Segundo de Chomón

Introduced by

Sophie Seydoux (Fondation Jérôme Seydoux-Pathé)

Accompanied by Maud Nelissen (piano), Frido ter Beek (saxophone) and Jasper Somsen (double bass)

Les Vampires

Cast & Credits
Scen.: Louis Feuillade, Georges Meiers. F.: Georges Guérin. Int.: Musidora (Irma Vep / Mlle Le Goff / Juliette Berteaux / Mlle de Mortesaigues), Edouard Mathé (Philippe Guérande), Jean Ayme (Le Grand Vampire / conte di Kerlor / dottor Nox / Mr Treps), Marcel Levesque (Oscar Mazamette), Laurent Morlas (l’ufficiale di Napoleone / un apache), Edmond Breon (il segretario di Satana), Frederik Moriss (Venenos), Miss Edith (una complice dei vampiri / la contessa de Kerlor), Faraboni (il vampiro danzatore), Françoise Rosay (un’invitata di Mortesaigues), Suzanne Delve (Fleur de Lys), Germaine Rouer (Augustine), Fernand Hermann (Juan-José Moréno), Theles (il giudice), Louis Leubas (Père Silence, Satana), Emile Keppens (Géo Baldwin), Stacia Napierkowska (Marfa Koutiloff). Prod.: Société des Etablissements L. Gaumont – DCP. Bn.

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Introduced by

Brenda Watkinson and Frank Scheide

Piano accompaniment by

Antonio Coppola

Followed by a presentation of the reconstruction of L’emigrante, curated by Claudia Gianetto (Museo Nazionale del Cinema)

Introduced by Sergio Bruno, who will present the alternative ending to the film

Conversation with Frank Scheide and Cecilia Cenciarelli

Piano accompaniment by

Neil Brand

Introduced by

Fiorella Giovannelli Amico and Olmo Amico, Gianni’s wife and son

Introduced by

Paolo Benvenuti and Andrea Meneghelli

Round table on the future of film and the importance of the role that it plays. From preservation of cultural heritage to the new generations of filmmakers.
With Gabe Kilinger, Pietro Marcello, Jonathan Nossiter, Alexander Payne, Renato Berta, Andrew Evenski, Christophe Tardieu, Grover Crisp, Josè Manuel Costa, Michael Porgorzelski, Nicola Mazzanti, Gian Luca Farinelli and Rachael Stoltje

Introduced by

Johan Nordström and Alexander Jacoby

Las patatas fritas (Spagna/1916) R.: Domingo Ceret. D.: 5’
L’enfant terrible (Italia/1917) R.: Ferdinand Guillaume. D.: 12′
Come fu che l’ingordigia rovinò il Natale a Cretinetti (Italia/1910) R.: André Deed. D.: 11′
His New Job (USA/1915) R.: Charlie Chaplin. D.: 30′

Piano accompaniment by Lorenzo Agnifili

Introduced by

Mariann Lewinsky

Accompanied by Maud Nelissen (piano), Frido ter Beek (saxophone) e Jasper Somsen (double bass)

Introduced by

Bernard Eisenschitz

Making a short film in which the children become magicians and illusionists

Introduced by

Mariann Lewinsky, Gevorg Gevorgyan and Jay Weissberg

Piano accompaniment by

Daniele Furlati

Piano accompaniment by

Antonio Coppola

Introduced by

Yoram Kahana (Foreign Press Association)

Momenti cinematografici
Conference organised in collaboration with l’Institut français Italia as part of its Prospettive Critiche series

Presentation of A pranzo con Orson Conversazioni tra Henry Jaglom e Orson Welles (Adelphi, 2015)
Contributions by Irene Bignardi e Matteo Codignola

Introduced by

Isabella Rossellini

Promoted by Gruppo Hera

(In case of rain, the screening will be moved to the Cinema Arlecchino)

Piano accompaniment by

John Sweeney and Frank Bockius (drums)

Les Vampires

Cast & Credits
Scen.: Louis Feuillade, Georges Meiers. F.: Georges Guérin. Int.: Musidora (Irma Vep / Mlle Le Goff / Juliette Berteaux / Mlle de Mortesaigues), Edouard Mathé (Philippe Guérande), Jean Ayme (Le Grand Vampire / conte di Kerlor / dottor Nox / Mr Treps), Marcel Levesque (Oscar Mazamette), Laurent Morlas (l’ufficiale di Napoleone / un apache), Edmond Breon (il segretario di Satana), Frederik Moriss (Venenos), Miss Edith (una complice dei vampiri / la contessa de Kerlor), Faraboni (il vampiro danzatore), Françoise Rosay (un’invitata di Mortesaigues), Suzanne Delve (Fleur de Lys), Germaine Rouer (Augustine), Fernand Hermann (Juan-José Moréno), Theles (il giudice), Louis Leubas (Père Silence, Satana), Emile Keppens (Géo Baldwin), Stacia Napierkowska (Marfa Koutiloff). Prod.: Société des Etablissements L. Gaumont – DCP. Bn.

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “I think I was able to establish a close relation with my audience. They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Introduced by

Silvia d’Amico and Emiliano Morreale

Piano accompaniment by

Stephen Horne

Followed by the presentation of the lost ending of Tigre reale, curated by Stella Dagna (Museo Nazionale del Cinema)

Introduced by

Ehsan Khoshbakht

Introduced by

Isabella Rossellini and Stig Bjorkman

Conference with Fumiko Takagi, Lee Kline and Chris Zembower

Conference with Jean-Pierre Verscheure

Conteporary french philosophy and italian cinema: new critic strategies.

Introduced by

Céline Ruivo (Cinémathèque française) and Jean Douchet

Introduced by

Timo Malmi who will also present Peter von Bagh’s book, Sodankylä Forever (Edizione Rosebud, 2014)

Introduced by

Jonathan Rosenbaum and Ehsan Khoshbakht

Nicola Mazzanti, Davide Pozzi, Caroline Fournier e Martin Koerber

Michael Pogorzelski (Academy Film Archive)

Hollywood Home Movies from the Acedemy Film Archive
(USA/1931-1970) D.: 71’. V. inglese. Digitale

From the 1930s onward, the home movie camera has played a part in many families’ lives and Hollywood movie makers are no exception. Home movies can show us the private, unguarded side of stars whose images were carefully crafted and managed in the public sphere. Over the years, the Academy Film Archive has
received dozens of collections from filmmakers that have included home movies. Sometimes the home movies are like the ones you’d find in any family: film records of weddings, birthday parties, and holidays. But in some cases, the filmmaker took their home movie camera with them to work – either on set or on location. The result is priceless footage of movies being made during the golden era and some of the biggest Hollywood stars
simply being themselves. Hosted and narrated by archive Director Michael Pogorzelski, the program will
showcase stellar clips from the Academy Film Archive’s home movie collection starting in 1931 up through the late 1960s. Footage of stars such as Marion Davies, Shirley Temple, Douglas Fairbanks, Marlene Dietrich, Cyd Charisse, Humphrey Bogart and Lauren Bacall, Jerry Lewis, Sophia Loren and Steve McQueen will be seen along with rare behind the scenes footage showing the making of films such as Gunga Din and Gone With the Wind.

Followed by a conversation with Toby Haggith (Imperial War Museum)

Piano accompaniment by

Antonio Coppola

Conversation with Luciano Berriatua

Racconti tradizionali provenienti da vari paesi vanno a comporre una sezione ricca di suggestioni: diverse tecniche di animazione, dal disegno animato alla silhouette, danno vita a film realizzati in vari periodi della storia del cinema, a partire da uno dei primi adattamenti cinematografici di Cenerentola.

La fanciulla del melo (Cecoslovacchia-Italia/1975) R.: Bretislav Pojar. D.: 14’
The Grasshopper and the Ant (La cicala e la formica, Gb/1954) R.: Lotte Reineger. D.: 10’
Principi e principesse (Francia/2000) R.: Michel Ocelot. D.: 10’ (estratti)
La Fée printemps (Francia/1906) R.: Vincent Lorant-Heilbronn. D.: 5’
Le Scarabée d’or (Francia/1907) R.: Segundo de Chomón. D.: 3’

Introduced by

Peter Bagrov and Jay Weissberg

Introduced by

Antonio Bigini, Mariann Lewinsky, Alina Marazzi and Pietro Marcello

Using as a starting point the superimposable card game, designed by Bruno Munari and Giovanni Belgrano, a laboratory on modern and classical fairytales

Introduced by

Florence Dauman (Argos Films)

Presentation of L’avventuriera di Montecarlo. Scritti sul cinema (1919-1935) by Joseph Roth (Adelphi, 2015)
Contributions by Roy Menarini e Leonardo Quaresima

Introduced by

Tim Lanza (Cohen Film Collection) and Cecilia Cenciarelli (Cineteca di Bologna)

Music composed and directed by Timothy Brock, performed by the orchestra of the Teatro Comunale di Bologna

Promoted by Mobil 1 – BluVanti

Introduced by

Sophie Seydoux (Fondation Jérôme Seydoux-Pathé)

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “I think I was able to establish a close relation with my audience. They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Piano accompaniment by

Neil Brand

Introduced by

Silvia d’Amico and Emiliano Morreale

Conversation with Jean Douchet and Kevin Brownlow

Piano accompaniment by

di Stephen Horne

Followed by a meeting with Barbara Sträuli

Lecture by Céline Ruivo

The jury composed of Paolo Mereghetti, Lorenzo Codelli, Alexander Horwath, Mark McElhatten, Jonathan Rosenbaum and Lucien Loguette assign IL CINEMA RITROVATO 2015 DVD AWARDS.

Introduced by

Davide Rosso (Centro Culturale Valdese)

Piano accompaniment by

Maud Nelissen

Conversation with Anke Wilkening and Fumiko Tsuneishi

Bryony Dixon (BFI)

Recorded music composed by Simon Dobson and performed by The Band of Her Majesty’s Royal Marine

Followed by Saute ma Ville

Le Petit soldat (Francia/1947) R.: Paul Grimault. D.: 10’
Cendrillon ou la Pantoufle merveilleuse (Francia/1907) R.: Albert Capellani. D.: 15’
Ali Baba et les quarante voleurs (Francia/1902) R.: Ferdinand Zecca. D.: 9’
Au Pays de l’or (Francia/1908) D.: 8’
Le Faune (Francia/1908) D.: 5’

Cappuccetto a pois (Svizzera/1969) R.: Jean Louis Roy. D.: 50’
Little Red Riding Hood (Gb/1922) R.: Anson Dyer. D.: 8’

A laboratory with cardstock, punches and words to tell new tales

Presentation of La galassia Lumière. Sette parole chiave per il cinema che viene, by Francesco Casetti (Bompiani, 2015)
Contributions by the author and Giacomo Manzoli

Recorded music by Guido Sodo and Francois Laurent, inspired by the Neapolitan tradition. 

Preceded by the presentation of music from the workshop held by Daniele Furlati as part of Il Cinema Ritrovato Kids

Evening promoted by Ottica Garagnani

(In case of rain, the screening will be moved to the Cinema Arlecchino)

Piano accompaniment by

Maud Nelissen

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “I think I was able to establish a close relation with my audience. They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Piano accompaniment by

Stephen Horne

Piano accompaniment by

Donald Sosin

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “I think I was able to establish a close relation with my audience. They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Conversation with Caterina D’Amico

Piano accompaniment by

Neil Brand

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “I think I was able to establish a close relation with my audience. They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

I fratelli Dinamite (Italia/1949) R.: Nino e Toni Pagot. D.: 94’

Introduced by

Introduced by

Andrea Mascitti and Andrea Meneghelli

A workshop to build a cardboard car, to be “driven” to the Kids Drive-In

Les Vampires offers pleasures beyond the surrealist interpretation of – in the words of Louis Aragon – “a sexual revelation” and a glamorization of criminality. The series was meant to entertain and to distract people from their worries about a war dragging on and their beloved ones at the front. To this aim the crime story was sprinkled with comedy and a teasing defiance of authorities. In the role of the ostensibly silly Mazamette, an ex-vampire and assistant to the journalist who persecutes the bandits, the star comedian Marcel Levesque zestfully outwits his former mates time and again. The Vampires themselves seem an agile mix of the notorious Bande à Bonnot and the appealing Apache-gangs, which counterbalances their frightening exploits with an anarchistic and rebellious flavor. With their fantastic and obviously improbable tricks they expose the incompetence of authorities such as the police and crime fighters who tend to take them too seriously. As the elusive and sensual Irma Vep even Musidora contributed to the amusing aspects of the series. In each episode appearing in a new disguise, the actress was in charge of ‘informing’ spectators that they were watching Irma Vep, for which she deployed her trademark sidelong glance at the camera and the Apache-pose of placing her hands on her hips. These devices added playfulness and irony to the otherwise mysterious and disconcerting Irma Vep, and likewise created a crucial understanding between Musidora and the public, as the actress suggested in an interview on Radio Suisse Romande (18 November 1947): “I think I was able to establish a close relation with my audience. They used to say: ‘there’s a lot of blood, no doubt about it, but he kills to amuse us and not to scare us because in the end, they would laugh”.

Annette Förster

After Fantômas in 2014, Gaumont undertook the digital restoration of Les Vampires, another Louis Feuillade serial (in 10 episodes) made between 1915 and 1916. The serial was a source of inspiration for Surrealists, who admired its narrative freedom and unbridled imagination.
The Éclair lab (Éclair Group) oversaw its restoration working with a nitrate duplicate of the film, a nitrate print and a more recent safety film print for any missing shots. Unfortunately, despite scouring film archives around the world through FIAF, we have been unable to find the original nitrate negative. For the 4K scanning we chose to work with the duplicate, using the later prints only when necessary (for missing shots or ones too damaged in the duplicate). The images were then restored so they could be put back on film. Since the materials available to us gave no indication about the film’s color, the restored version is in black and white. The original intertitles survived in the form of typewritten lists kept at the Bibliothèque du Film (Louis Feuillade archive) and were reintegrated in the 2015 version. The film was restored with the participation of the Centre national du cinéma et de l’image animée as part of a program for film heritage restoration and digitalization, and with the cooperation of the Cinémathèque française, which provided its materials.

Agnès Bertola

Conference with projections conceived by the Comitato Promotore Maestro Pietro Mascagni

An open-air screening of some short animations, reserved for those children who come in their own Car Box

Score by Pietro Mascagni , directed by Timothy Brock and performed by the Orchestra of the Teatro Comunale di Bologna