A Glance at Day 2
- It's Women's Day, actresses who are the stars of films, all different from one another. In Diane, Mary Kay Place brings the role upon herself, indulging the transition to a dreamlike universe; in L'Ordre des méecins, Marthe Keller offers a silent but no less touching counterpoint to the parable of the doctor/child played by Jérémie Renier..
- A common moral calling. Sibel and De chaque instant bring caring for one's neighbour into the spotlight. In the first, a young girl meets a fugitive who is able of pushing her to rebel against her father's rules; in the second Nicolas Philibert brings us up-close to the difficult job of a nurse, where every gesture is the result of a complicated balance between technical knowledge and a willingness to listen.
- The two films by current filmmakers speak of invisible cracks within our societies. In a territory that is no longer countryside, but not yet city, Jiao qu de niao (Suburban Birds) brings together past and present and two characters, an adult and a child, who bear the same name. Sophia Antipolis is the mapping of non-place, where between characters with no apparent connection, Virgil Vernier captures the signs of a shattered society.
- False movement. The Grand Bizarre is a seductive kaleidoscope that immerses itself in a weave of carpets to tell of a world in eternal movement. The experimental tone of Jodie Mack's film converts into a chat-based narrative in Martina Melilli's debut opera My Home, in Libya. Starting with the memories of her grandparents in Libya, she explores this land separated by a stretch of the sea.
For the award-winning cinema, a fundamental role is played by those who do not limit themselves to thinking just about the aspect of funding, but who also want to indulge in the entire process of making a film. One man did so, accompanying directors such as Ang Lee or Michel Gondry; Ted Hope is awarded the 2018 Premio Raimondo Rezzonico.