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Liliana Cavani: "Me, the Golden Lion and my second youth"

2023-03-28T08:00:56.284Z


The Golden Lion for Lifetime Achievement? "It was wonderful news of my awakening" says Liliana Cavani reached by ANSA in America where she participates in a three-day study that Princeton University is dedicating to her. (HANDLE)


The Golden Lion for Lifetime Achievement?

"It was wonderful news of my awakening" says

Liliana Cavani

reached by ANSA in America where she is participating in a three-day study that Princeton University is dedicating to her.

The director, who turned 90 on January 12 and was celebrated with all the honors at the Ministry of Culture with many friends and colleagues, from Marco Bellocchio to Paolo Virzì, Pupi Avati, Paolo Sorrentino, Michele Placido, has finished her new film THE ORDER DEL TEMPO, based on the book by physicist Carlo Rovelli (Adelphi) and interpreted by Alessandro Gassmann, Claudia Gerini, Valentina Cervi and Richard Sammel which will in all likelihood be premiered at the Venice Film Festival (August 30 - September 9).

"A second youth", she says and then she says: "


    "I won in 1965 with the documentary PHILIPPE PÈTAIN. TRIAL IN VICHY", says the director who, after the Experimental Center of Cinematography at the beginning of her career, made documentaries that made history, such as the wonderful one on WOMAN IN THE RESISTANCE, awarded with the Lion of San Marco for the documentary.

"I didn't even pick it up - she confesses - I was on vacation very far away and I was fine where I was".


    Another documentary, LE CLARISSE, in 2012, out of competition in Venice, shot in a cloistered monastery, won the Pasinetti prize.

"It was a great emotion because I could never have imagined the Great Hall full of applauding young people", underlines the director who has always had a special bond with young people as demonstrated by her third time in Princeton to dialogue with the students, to talk about trilogy of FRANCESCO and the NIGHT PORTER, among his most famous works in the world.

"I returned to Venice with the first FRANCESCO of '66 with Lou Castel and Riccardo Cucciolla: I have a special memory for various reasons, the first because they hosted me in the wonderful hotel Des Bains, the second because they approached me with Roberto Rossellini who presented La presa del power by Louis XIV and they said '


    The link with the young?

"Perhaps because, while starting from personal stories, themes that are close to my heart, my films have always had a broader and more universal horizon, capable of attracting many".

Is your latest film, based on Rovelli's book, also personal?

"Yes, over time I collaborate on it - the author quips lucidly -, it is very useful to have this in mind, I never forget it".


    In Venice he presented GALILEO in competition in 1968, the first fiction film in which he investigated the conflict between science and religion, then again in 1972 out of competition THE GUEST, RIPLEY'S GAME in 2002 with John Malkovich among his greatest successes and in 2018 at the Lido the recognition of the Bresson prize, first director.

Another moving memory is at the Fortnight in Cannes for THE CANNIBALS, a film strongly linked to the atmosphere of its time, 1969: "It was seen there by American intellectuals, including Susan Sontag, who then wanted it in New York for a screening at Lincoln Center where there was a tremendous reception".

The director from Carpi has a strong link with America: from Princeton, where she holds a seminar on her cinema coordinated by the teacher and critic Gaetana Marrone-Puglia,

it then continues to New York with a series of meetings, screenings and round tables in collaboration with the Italian Cultural Institute.

"America introduced me to Mickey Rourke - the Francesco of 1989 presented at Cannes, ed - one of the most beautiful and never banal people I met in my life", she concludes with affection.


“One of the most emblematic protagonists of the new Italian cinema of the 1960s, with a work that subsequently spans over sixty years of the history of entertainment, Liliana Cavani - said the director of the Venice Film Festival Alberto Barbera - is an artist versatile capable of frequenting television, theater and opera with the same unconventional spirit, and the same intellectual restlessness that made his films famous.

Hers has always been a nonconformist thought, free from ideological preconceptions and free from conditioning of any kind, moved by the urgency of the continuous search for a truth hidden in the most hidden and mysterious parts of the human soul, up to the borders of spirituality.

The characters in his films are immersed in a historical context which bears witness to an existential tension towards change, young people seeking answers to important questions, complex and problematic subjects which reflect the unresolved conflict between the individual and society.

His is a political gaze in the highest sense of the term, anti-dogmatic, non-aligned, courageous in facing even the most demanding taboos, alien to fashions, refractory to compromises and productive opportunisms, open instead to a fertile ambiguity towards of characters and situations.

A fruitful lesson that is both aesthetics and ethics, from a protagonist of our cinema, which defines its perennial modernity".

complex and problematic subjects in which the unresolved conflict between the individual and society is reflected.

His is a political gaze in the highest sense of the term, anti-dogmatic, non-aligned, courageous in facing even the most demanding taboos, alien to fashions, refractory to compromises and productive opportunisms, open instead to a fertile ambiguity towards of characters and situations.

A fruitful lesson that is both aesthetics and ethics, from a protagonist of our cinema, which defines its perennial modernity".

complex and problematic subjects in which the unresolved conflict between the individual and society is reflected.

His is a political gaze in the highest sense of the term, anti-dogmatic, non-aligned, courageous in facing even the most demanding taboos, alien to fashions, refractory to compromises and productive opportunisms, open instead to a fertile ambiguity towards of characters and situations.

A fruitful lesson that is both aesthetics and ethics, from a protagonist of our cinema, which defines its perennial modernity".

refractory to compromises and productive opportunism, open instead to a fertile ambiguity towards the characters and situations staged.

A fruitful lesson that is both aesthetics and ethics, from a protagonist of our cinema, which defines its perennial modernity".

refractory to compromises and productive opportunism, open instead to a fertile ambiguity towards the characters and situations staged.

A fruitful lesson that is both aesthetics and ethics, from a protagonist of our cinema, which defines its perennial modernity".

Source: ansa

All life articles on 2023-03-28

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