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Gomes: "I Love When Everything Seems Possible"

Member of jury - Concorso internazionale

Gomes: "I Love When Everything Seems Possible"

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Miguel Gomes, you started your journey as a critic, now you are one of the most cinephile international directors. What will you be looking for as a jury member in Locarno?

Some lively movies. One of the moments I love the most as a spectator is the beginning of a movie, when everything seems to still be possible, everything is open and in motion. Then one look forces itself on the piece and settles it. But there are movies in which, between the beginning and the end, it is evident that there had been movement, a search. I hope to find this breath in the selected films at Locarno.

 

What were moments of astonishment at the cinema?

I am forty-five years old, I love cinema and so I have accumulated many moments of wonder. Choosing one always means regretting the fact shortly afterwords, for not having mentioned others: in my mind there is by now a work by Ruiz composed of fragments of Murnau, Rossellini, Monteiro, Apichatpong... But in this moment, what comes to mind is the surprise I felt – in a fantastic Festival in Porto – for the opportunity to see a movie of a to me unknown Italian filmmaker. Giro di luna tra terra e mare by Giuseppe Gaudino is a movie that made a deep impression on me.

 

What are the characteristics that make a work, perhaps even one made at a young age, worthy of being noticed at an international level?

I always think that a good movie by a young filmmaker must retain memories of those which preceded it. Although in the end the works that we consider masterpieces are prototypes, which invent their own world and their own rules. Locarno is the place where some of these movies were shown, I think of No quarto da Vanda by Pedro Costa, a decisive work that marked a transition in the history of cinema. Unfortunately, these innovative movies are not always recognized with the right value. As a jury member I will do my best so that such works are not ignored from the prizes.

 

Young filmmakers arrive at Festivals even before making their own movies, participating in the always increasing development workshops. What do you think about this new way of conceiving movies?

These workshops can be very important but only when they do not adapt to a system of film fundings, linked to that of television. The projects for growth need to be protected, they should not belong to someone who thinks about what audience they can have. Every good movie reinvents the notion of spectator: therefore good development workshops are those which start from this assumption and do not rely too much on the demands of the major European financiers of art films.

Daniela Persico

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