News del Locarno Festival

Gaspar Noé profile


When somebody is asking you what is your favorite movie of all time, you are always afraid that you could be judged (or blamed) from your choice. Picking up an ultra-rare arthouse film could make you presumptuous, while a classic movie can be a... classical and safe answer which could classify you as boring. But there are also exceptions, because there is nothing classical and boring in Gaspar Noé, in spite of his decision to elect Stanley Kubrick's 2001: A Space Odyssey as its favorite. The Argentine auteur was invited at the Festival del film Locarno from Red Bull Music Academy (a global music institution committed to fostering creativity in music) for a conversation with its co-founder Torsten Schmidt. The event is going to take place at Spazio Cinema on Saturday 6 August at 1PM.

Gaspar Noé (born in 1963) is one of the most daring filmmakers of his generation, but he is also known for having played several roles in the cinema industry: screenwriter, actor, cinematographer, writer, editor. It is difficult to find a position he has not yet covered since the Eighties until today. However, he became famous for directing short films (for example Carne in 1991 or Sodomites in 1998) and features in which he was director, writer, editor and producer at the same time: so it was for Seul contre tous (I Stand Alone, 1998, awarded at Cannes and Sarajevo Film Festivals), Irréversible (2002, starring Monica Bellucci and Vincent Cassel), Enter the Void (2009) and Love (2015). In them, he went all in – and he did not save anything, not being afraid to conduct a multisensorial siege on the audience or being judged for his brave (somebody would say provocative) choices to show brutal fights and scandalous sex scenes. Love, life, death: the quintessence of mankind, showed to the bone.

As the Red Bull Music Academy stated, "Noé is reputed for flexing against cinematic boundaries with his undeniably intense style, and he gives equal credence to the power of moving images and music as mechanisms for emotional immersion". It will be then interesting to check his point of view on the sound aspects in his movies, maybe asking him how much music in Kubrick's movies influenced him. We are sure, he is not going to give any banal answers.

Mattia Bertoldi

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