{"id":18872,"date":"2012-02-09T11:30:22","date_gmt":"2012-02-09T10:30:22","guid":{"rendered":"http:\/\/www.rapportoconfidenziale.org\/?p=18872"},"modified":"2012-02-09T17:35:57","modified_gmt":"2012-02-09T16:35:57","slug":"berlinale-62-concorso-internazionale","status":"publish","type":"post","link":"https:\/\/www.rapportoconfidenziale.org\/?p=18872","title":{"rendered":"Berlinale 62 \/\/ Concorso internazionale"},"content":{"rendered":"

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Il mondo in rivolta<\/b>. Questo \u00e8 il filo rosso che lega fra loro gli oltre 400 titoli selezionati da Dieter Kosslick ed il suo staff per la 62esima edizione della Berlinale (9-19 febbraio 2012).
\nDiciotto le opere scelte per il concorso internazionale<\/b>, con una forte predominanza di produzioni e coproduzioni europee. A giudicare ed a premiare una giuria, presieduta dal regista britannico Mike Leight, e composta dal regista olandese Anton Corbijn<\/b>, l’iraniano Asghar Farhadi<\/b> (vincitore lo scorso anno con Una separazione<\/a><\/i>, ed intervistato<\/a> da RC), la meravigliosa Charlotte Gainsbourg<\/b>, l’attore hollywoodiano Jake Gyllenhaal<\/b>, il regista e sceneggiatore francese Fran\u00e7ois Ozon<\/b>, lo scrittore algerino Boualem Sansal<\/b> e l’attrice tedesca Barbara Sukowa<\/b> (molti la ricorderanno in Berlin Alexanderplatz<\/i> di Fassbinder).<\/font><\/p>\n\n\n
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62\u00b0 Berlinale | Berlin International Film Festival
\n9-19 febbraio 2012
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BERLINALE 2012 | CONCORSO INTERNAZIONALE<\/a><\/font><\/p>\n

▪ <\/font>A moi seule (Coming Home)<\/font><\/a><\/b> | Fr\u00e9d\u00e9ric Videau | Francia<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Aujourd’hui (Tey)<\/font><\/b> | Alain Gomis | Francia\/Senegal<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Bai lu yuan (White Deer Plain)<\/font><\/b> | Wang Quan’an | Cina<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Barbara<\/font><\/b> | Christian Petzold | Germania<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Captive<\/font><\/b> | Brillante Mendoza | Francia\/Filippine\/UK<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Cesare deve morire (Caesar Must Die)<\/font><\/b> | Paolo e Vittorio Taviani | Italia<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Csak a sz\u00e9l (Just The Wind)<\/font><\/b> | Bence Fliegauf | Ungheria\/Germania\/Francia<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Dictado (Childish Games)<\/font><\/b> | Antonio Chavarr\u00edas | Spagna – 2011 – 95′<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> En Kongelig Aff\u00e6re (A Royal Affair)<\/font><\/b> | Nikolaj Arcel | Danimarca\/Rep. Ceca\/Svezia\/Germania<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Gnade (Mercy)<\/font><\/b> | Matthias Glasner | Germania\/Norvegia<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Jayne Mansfield’s Car<\/font><\/b> | Billy Bob Thornton | Russia\/USA<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Kebun binatang (Postcards From The Zoo)<\/font><\/b> | Edwin | Indonesia\/Germania\/Hong Kong\/Cina<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> L’enfant d’en haut (Sister)<\/font><\/b> | Ursula Meier | Svizzera\/Francia<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Les adieux \u00e0 la Reine (Farewell My Queen)<\/font><\/b> | Beno\u00eft Jacquot | France\/Spain<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Met\u00e9ora (Meteora)<\/font><\/b> | Spiros Stathoulopoulos | Germania\/Grecia<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Rebelle (War Witch)<\/font><\/b> | Kim Nguyen | Canada<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Tabu<\/font><\/b> | Miguel Gomes | Portogallo\/Germania\/Brasile\/Francia<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font><\/u><\/font>▪ <\/font><\/b> Was bleibt (Home For The Weekend)<\/font><\/b> | Hans-Christian Schmid | Germania<\/font><\/a><\/font> ▪ WP<\/font><\/font><\/p>\n

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BERLINALE 2012 | FUORI CONCORSO + EVENTI SPECIALI<\/a><\/font><\/p>\n

▪ <\/font><\/b> Bel Ami<\/font><\/b> | Declan Donnellan, Nick Ormerod | UK<\/font><\/a><\/font> ▪ WP<\/font><\/font>
\n<\/font>▪ <\/font><\/b> Extremely Loud And Incredibly Close<\/font><\/b> | Stephen Daldry | USA<\/font><\/a><\/font> ▪ IP<\/font><\/font>
\n<\/font>▪ <\/font><\/b> Flying Swords Of Dragon Gate<\/font><\/b> | Tsui Hark | Hong Kong\/Cina<\/font><\/a><\/font> ▪ EP<\/font><\/font>
\n<\/font>▪ <\/font><\/b> Haywire<\/font><\/b> | Steven Soderbergh | USA<\/font><\/a><\/font> ▪ DP<\/font><\/font>
\n<\/font>▪ <\/font><\/b> Jin l\u00edng Shi San Chai (The Flowers Of War)<\/font><\/b> | Zhang Yimou | Cina<\/font><\/a><\/font> ▪ EP<\/font><\/font>
\n<\/font>▪ <\/font><\/b> Shadow Dancer<\/font><\/b> | James Marsh | UK\/Irlanda<\/font><\/a><\/font> ▪ EP<\/font><\/font>
\n<\/font>▪ <\/font><\/b> The Iron Lady<\/font><\/b> | Phyllida Lloyd | UK<\/font><\/a><\/font> ▪ DP<\/font><\/font><\/p>\n

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 ▪ WP<\/font> : Anteprima mondiale
\n ▪ IP<\/font> : Anteprima internazionale
\n ▪ EP<\/font> : Anteprima europea
\n ▪ DP<\/font> : Anteprima tedesca<\/font><\/p>\n

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| | | CONCORSO INTERNAZIONALE | | | | | | | | | | | | | |<\/font>
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\n<\/font>A moi seule (Coming Home)<\/b><\/font>
\nregia: Fr\u00e9d\u00e9ric Videau | Francia – 2011 – 91′
\ncast: Agathe Bonitzer, Reda Kateb, H\u00e9l\u00e8ne Filli\u00e8res, No\u00e9mie Lvovsky
\nproduzione: Les Films Hatari (Parigi)
\nPrima mondiale<\/i><\/p>\n

SYNOPSIS | A young woman sits at a remote bus stop looking at the image of a missing girl. It is her own photograph; eight years ago, Ga\u00eblle was kidnapped and shut away from the world. Now she has to cope with her traumatic experience and her strange new-found liberty. The film takes the viewer back in time to witness her incredible struggle for survival. Ga\u00eblle crouches in a windowless cellar. She waits and waits for her kidnapper to appear. Since he is her only interlocutor she must somehow find a way to connect with him. As she attempts to establish a relationship slowly the balance of power begins to change. The young girl starts bossing her tormentor; complaining about his long working hours and demanding to be taken out on trips by car at night. After her release she still finds herself left to her own devices, since nobody close to her knows how to behave with someone who has spent half their young life in captivity. \u00c0 MOI SEULE is a controversial work with a disturbingly powerful protagonist who is obliged to carve out her own idiosyncratic path in life.<\/font><\/p>\n

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\n<\/font>Aujourd’hui (Tey)<\/b><\/font>
\nregia: Alain Gomis | Francia\/Senegal – 2011 – 96′
\ncast: Sa\u00fcl Williams, A\u00efssa Ma\u00efga, Djolof M’bengue, Anisia Uzeyman
\nproduzione: Granit Films (Parigi), Ma\u00efa Cinema (Parigi), Cinekap (Dakar Ponty)
\nPrima mondiale<\/i><\/p>\n

SYNOPSIS | Today is the last day of his life. He knows this to be true even though he is strong and healthy. Nonetheless Satch\u00e9 (played by American actor-musician Sa\u00fcl Williams) accepts his imminent death. Walking through the streets of his home town in Senegal he takes in the sites of his past as if he were looking at them for the last time: his parents\u2019 house, his first love, the friends of his youth, his wife and children. Time and again he hears the same reproach: why didn\u2019t he stay in America, where he would have a future? Satch\u00e9 encounters his final moments full of fear but also with a sense of joy.
\nIn his film, director Alain Gomis takes a well-worn topic in Senegalese cinema and turns it on its head: unlike other films, many of which choose to focus on emigration and neo-colonialism, Gomis\u2019 work instead tells the story of a man who leaves America to return to the land of his birth. At first Satch\u00e9\u2019s fellow-Senegalese accompany him lovingly and treat him almost as if he were a saint, but as the day continues Satch\u00e9 discovers how malicious and greedy they can be. Several of the romantic memories he harboured from a distance turn out to be banal when he is face to face with them; nonetheless Satch\u00e9\u2019s encounter with this reality manages to bring him peace.<\/font><\/p>\n

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