Discover the highlights in tomorrow\u2019s programme!<\/p>\n
<\/p>\n
Cinema Modernissimo<\/strong>\u00a0<\/strong>\u2013 7pm Cinema Jolly<\/strong>\u00a0<\/strong>\u2013 9am and 6.45pm\u00a0|\u00a0Cinema Arlecchino<\/strong>\u00a0\u2013 4.20pm Cinema Jolly<\/strong>\u00a0<\/strong>\u2013 12 noon and 9pm Recovered and Restored<\/strong><\/a> Piazza Maggiore<\/strong>\u00a0<\/strong>\u2013 9.45pm Piazzetta Pasolini\u00a0<\/strong>\u2013 7pm Sala Scorsese<\/strong>\u00a0\u2013 9.15am, 2.15pm and 4pm\u00a0<\/strong>|\u00a0<\/strong>Cinema Jolly\u00a0<\/strong>\u2013 10.45am e 4pm <\/p>","protected":false},"excerpt":{"rendered":" Sorry, this entry is only available in Italiano.Scoprite gli highlight nel programma di domani!<\/p>\n","protected":false},"author":54,"featured_media":84907,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1336],"tags":[],"class_list":["post-84742","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/84742","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/users\/54"}],"replies":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/comments?post=84742"}],"version-history":[{"count":2,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/84742\/revisions"}],"predecessor-version":[{"id":84908,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/84742\/revisions\/84908"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/media\/84907"}],"wp:attachment":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/media?parent=84742"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/categories?post=84742"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/tags?post=84742"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nIn conversation with Jim Jarmusch<\/strong><\/a>
\nJim Jarmusch, one of the leading names of American independent cinema, will be the protagonist of a Cinema Lesson at Cinema Modernissimo. The director, screenwriter and musician with an unmistakable style will talk about his cinema in conversation with Gian Luca Farinelli. Our tribute to Jarmusch will continue on Monday 30 and Tuesday 2 June with the screenings of\u00a0Down By Law<\/em><\/a>\u00a0and\u00a0Dead Man<\/em><\/a>\u00a0at Cinema Modernissimo and of\u00a0Only Lovers Left Alive<\/em><\/a> in Piazza Maggiore \u2013 the latter will be introduced by Jim Jarmusch himself.<\/p>\n
\nMikio Naruse: before, during and after the war<\/strong>
\nThe section dedicated to the lesser explored part of Mikio Naruse\u2019s career \u2013 the years leading up to the Second World War \u2013 draws to a close with two emblematic works: if\u00a0Tsuma yo bara no youni<\/em><\/a>\u00a0is a bittersweet comedy about a young office worker\u2019s attempts to reunite her lonely mother with her unfaithful father, the surprisingly sunny and upbeat tone of\u00a0Magokoro<\/em><\/a>\u00a0\u2013 the story of a friendship between two teenage girls and the discovery of a secret from their past \u2013 probably reflects the increasingly tight censorship in a Japan engaged in a large-scale war with China. The progressive gloom and rigorous style of post-war Naruse are evident in the restored masterpiece\u00a0Ukigumo<\/em><\/a>, a romantic melodrama about unrequited love. In the background, the sense of bewilderment experienced by an entire generation that had lost not only a war but also its place in a rapidly changing social order.<\/p>\n
\nCinemalibero:\u00a0Uir\u00e1<\/em>\u00a0and\u00a0Al \u00d4rs<\/em><\/strong><\/a>
\nAs always, the\u00a0Cinemalibero<\/em>\u00a0section takes us to unexplored territories with two unmissable appointments. A history of repression is brought to the screen with great precision by Gustavo Dahl in\u00a0Uir\u00e1<\/em>, offspring of the post-68 Brazilian\u00a0Cinema Novo, which views the indigenous population as a political subject to be listened to rather than \u201ccivilised\u201d and their natural habitat as a mythical space.\u00a0Al \u00d4rs<\/em> by the Nouveau Th\u00e9\u00e2tre \u2013 the pinnacle of Tunisian cinema \u2013 plunges us into the tragicomic world of petits-bourgeois newlyweds, shattered and defeated.<\/p>\n
\nCanonised masterpieces from the history of cinema and rediscovered little gems alternate, as always, in our\u00a0Recovered and Restored\u00a0<\/em>offering of the day. The former rightly includes two films that redefined the use of colour: the dazzling caramelised Technicolor of\u00a0Artists and Models\u00a0<\/em>(at the centre of a meeting on restoration at the AuditoriumDAMSLab), the fourteenth collaboration of the award-winning duo Jerry Lewis & Dean Martin, and the chromatic and luminous perfection of Kubrick\u2019s\u00a0Barry Lyndon.\u00a0<\/em>Among the other pearls of the day, don\u2019t miss the surprising\u00a0Winter Kept Us Warm,\u00a0<\/em>directed by David Secter, the first gay-themed Canadian film,\u00a0Daddy<\/em>, a liberating film about the patriarchy and Nikki de Saint Phalle\u2019s directorial debut (introduced by her granddaughter Arielle), and the precious programme of shorts from 1905 belonging to the Goldstaub-Fund, with live musical accompaniment from Daniele Furlati on piano.<\/p>\n
\nSta\u010dka<\/strong><\/em>\u00a0cineconcert in Piazza Maggiore<\/strong><\/a>
\nOne of the most important films in cinema history is celebrating its one-hundredth birthday this year. Sergei Eisenstein\u2019s directorial debut and the first act of the so-called \u201crevolutionary trilogy\u201d \u2013 together with\u00a0Battleship Potemkin<\/em>\u00a0(also at the festival) and\u00a0October \u2013\u00a0<\/em>in\u00a0Sta\u010dka<\/em>\u00a0(Strike<\/em>) the Soviet director, supported by the brilliant director of photography Eduard Tiss\u00e9, completely rejects traditional narrative structure, employing discontinuities, incongruities, intentionally disorienting camera angles and \u201cmontages of attractions\u201d at will. The screening in Piazza Maggiore will be accompanied by a live musical score performed by Laura Agnusdei, Jacopo Battaglia, Luca Cavina, Giuseppe Franchellucci, Ramon Moro, Stefano Pilia and Paolo Spaccamonti.<\/p>\n
\nNot just books\u2026 under the stars<\/strong><\/a>
\nThe final appointment of\u00a0Not just books\u2026 under the stars<\/em>\u00a0is closely linked to one of the main themes of this year\u2019s\u00a0Cinemalibero\u00a0<\/em>section.\u00a0Labanta! Ex colonie portoghesi e cinema italiano\u00a0<\/em>(Effegi, 2024), curated by Andrea Gelardi, Luca Peretti and Paola Scarnati, is an investigation into the relationship between Italian cinema and the struggle for independence of Portugal\u2019s African colonies, with numerous contributions about documentaries and narrative films produced in Italy during the 1960s and 1970s, illustrated by previously unpublished photographs. Cecilia Cenciarelli will be in conversation with Paola Scarnati, Luca Peretti and Sana Na N\u2019Hada, the Guinean director who brought his\u00a0O regreso de Am\u00edlcar Cabral<\/em>\u00a0to Il Cinema Ritrovato.<\/p>\n
\nThe Willi Forst and Lewis Milestone sections and the homage to Nordic noir come to a close<\/strong>
\nThe final hurrah of some of the sections that have animated this 39th edition of the festival. Our homage to Willi Forst concludes with a repeat screening of\u00a0Maskerade<\/em><\/a>, considered the Austrian director\u2019s masterpiece, and\u00a0Allotria<\/em><\/a>, which draws inspiration from American screwball comedies. The curtain also closes on the section dedicated to Lewis Milestone with repeat screenings of two of his greatest works,\u00a0Arc of Triumph<\/em><\/a>\u00a0and\u00a0A Walk in the Sun<\/em><\/a>, lucid reflections on the absurdity of war and its catastrophic consequences. Then back to Europe, and into the shadows of Scandinavia, for a farewell to\u00a0Norden Noir<\/em>: American crime films and Hitchcockian suspense intertwine on the menacing streets of Oslo in\u00a0P\u00e5 slaget \u00e5tte<\/em><\/a>.<\/p>\n