Artistic Director's Blog Portraits of different stories
“Dans Les Plages d’Agnès je raconte le parcours d'une artiste indépendante dans la deuxième moitié du XXème siècle. C'est un film très personnel mais qui parle presque plus des autres que de moi. Quelqu'un m'a rappelé le titre d'un roman de Gertrude Stein: Autobiographie de tout le monde. J'aimerais bien avoir fait cela.”
Agnès Varda’s artistic philosophy is as delicate as it is resistant. It looks at the small things and renders them large and unforgettable. Perhaps it is the influence of photography that gives her gaze a different sensibility, taking the everyday as its starting point but then launching it into another dimension. Her characters are wanderers, restless, but capable of unexpected smiles.
Today’s films also seek to move away from the topical in order to have a wider scope. That’s the case with the surreal comedy of Martín Rejtman, Dos disparos, which translates an adolescent’s angst into an invisible bullet, as though that out-of-tune note that sometimes throbs in each one of us had a physical equivalent. LIEW Seng Tat's project also includes the unnatural in the ordinary; starting with a Herzogian image, a house in the forest moved by the force of a whole village, Lelaki Harapan Dunia ends up combining the theme of immigration with a story of ghosts and madness. Definitely veering towards the alienation side is Buzzard by Joel Potrykus, who returns to Locarno with his over-the-top comedy and a character who has an irreverent take on the employment crisis.
Madness, the free expression of oneself in a world that is utopically reflected in this wildness, is the most important lesson coming from Rogério Sganzerla’s films. The screening of the restored version of Copacabana Mon Amour, accompanied by Helena Ignez’s new short, Poder dos Afetos, is not only another step towards the recovery of this experience, but an event to be welcomed as though it was a world première.Carlo Chatrian