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09 | 08 | 2018
A Glance at Day 9
The character and his nomadic image. From the sofa wanderings of the protagonist of L’ospite to the long walks under the African sun of Siyabonga (We Are Thankful), travel returns as a metaphor with which to read not so much the man but the society in which he participates.
Often confined to short form, animation arrives in Locarno with a feature film that comes to Piazza Grande carrying with it not only the characteristic refinement but the subversive charge towards the rules of physics and geometry. The extravagant and nocturnal journey through painting in Ruben Brandt, Collector is a universe of shapes and colours in continuous change.
The last film in the competition is a direct punch in the stomach. Wintermärchen reverses the muffled protective dimension of bourgeois art cinema to confront a true and senseless story, revealing the non-existent ethics that a trio of angry young people live for no reason.
Francis Reusser, the enfant terrible of Swiss cinema, winner of the Pardo d’oro in 1976 with Le Grand Soir (The Big Night), returns to Locarno for a tribute that shows the variety of his cinema, from the experience of 1968 to collective films. The works restored thanks to the Cinémathèque suisse represent fundamental elements for rediscovering an important writer of Swiss cinema.
Sometimes it takes a great operation to reveal a small gap in the perception of things. Christo's art - even without his accomplice Jeanne-Claude - has never ceased to cause wonder. In Locarno he returns as the protagonist of a film dedicated to his floating pier on Lake Iseo.