{"id":28891,"date":"2013-07-17T21:07:23","date_gmt":"2013-07-17T19:07:23","guid":{"rendered":"http:\/\/www.rapportoconfidenziale.org\/?p=28891"},"modified":"2013-07-17T21:15:34","modified_gmt":"2013-07-17T19:15:34","slug":"locarno-66-open-doors","status":"publish","type":"post","link":"https:\/\/www.rapportoconfidenziale.org\/?p=28891","title":{"rendered":"Locarno 66 \/\/ Open Doors"},"content":{"rendered":"

66. FESTIVAL INTERNAZIONALE
\nDEL FILM
\nDI LOCARNO<\/span><\/strong><\/p>\n

OPEN DOORS<\/strong><\/span><\/strong><\/p>\n

\"\"Don’t Look Into the Mirror,\u00a0Suren Babayan<\/span><\/span><\/p>\n

 <\/p>\n

Questa sezione non competitiva presenta ogni anno una selezione di opere particolarmente rappresentative della cinematografia e del panorama culturale di una particolare regione. Quest’anno, verranno proiettate 22 opere provenienti da Armenia, Azerbaijan e Georgia.<\/span><\/p>\n

OPERE SELEZIONATE<\/span><\/strong><\/p>\n

\u2028\u2028A FOLD IN MY BLANKET by Zaza Rusadze \u2013 Georgia \u2013 2013 \u2013 73 min. Presentato dal regista
\nA STORY OF PEOPLE IN WAR AND PEACE by Vardan Hovhannisyan \u2013 Armenia \u2013 2007 \u2013 69 min.
\nBONDED PARALLELS by Hovhannes Galstyan \u2013 Armenia \u2013 2009 \u2013 90 min.\u2028 Presentato dal regista
\nDON\u2019T LOOK INTO THE MIRROR by Suren Babayan \u2013 Armenia \u2013 2010 \u2013 101 min.
\nEMBERS by Tamara Stepanyan \u2013 Armenia \u2013 2012 \u2013 77 min.\u2028 Presentato dal regista
\nI\u2019M GOING TO CHANGE MY NAME by Maria Saakyan \u2013 Armenia \u2013 2012 \u2013 102 min. Presentato dal regista
\nKEEP SMILING by Rusudan Chkonia \u2013 Georgia \u2013 2011 \u2013 90 min.\u2028 Presentato dal regista
\nRETURN OF THE POET by Harutyun Khachatryan \u2013 Armenia \u2013 2005 \u2013 88 min.\u2028 Presentato dal regista
\nSAROYANLAND by Lusin Dink – Armenia – 2013 – 72 min. Presentato dal regista
\nSTRANGE TIMES by Huseyn Mehdiyev \u2013 Azerbaijan \u2013 1996 \u2013 85 min.
\nTBILISI-TBILISI by Levan Zaqareishvili \u2013 Georgia \u2013 2005 \u2013 107 min.
\nTHE BAT by Ayaz Salayev \u2013 Azerbaijan \u2013 1995 \u2013 80 min.\u2028 Presentato dal regista
\nTHE BEACON by Fariz Ahmedov \u2013 Azerbaijan \u2013 2012 \u2013 28 min.
\nTHE PRECINCT by Ilgar Safat \u2013 Azerbaijan \u2013 2010 \u2013 116 min.\u2028 Presentato dal regista
\nWILL THERE BE A THEATRE UP THERE?! by Nana Janelidze \u2013 Georgia \u2013 2011 \u2013 55 min.\u2028 Presentato dal regista
\n27 MISSING KISSES by Nana Djordjadze \u2013 Georgia \u2013 2000 \u2013 95 min.
\n13 TZAMETI by G\u00e9la Babluani \u2013 Georgia \u2013 2005 \u2013 93 min.<\/span><\/p>\n

\"\"Artavazd Peleshian<\/span><\/p>\n

ARTAVAZD PELECHIAN<\/span><\/strong><\/p>\n

BEGINNING by Artavazd Pelechian \u2013 Armenia (URSS) \u2013 1967 \u2013 10 min.
\nWE by Artavazd Pelechian \u2013 Armenia (URSS) \u2013 1969 \u2013 30 min.
\nOUR CENTURY by Artavazd Pelechian \u2013 Armenia (URSS) \u2013 1982 \u2013 50 min.
\nEND by Artavazd Pelechian \u2013 Armenia \u2013 1992 \u2013 7 min.
\nLIFE by Artavazd Pelechian \u2013 Armenia \u2013 1993 \u2013 8 min.<\/span><\/p>\n

\u00a0\"\"Return of the Poet, Harutyun Khachatryan<\/span><\/p>\n

Armenian Cinema<\/span><\/strong><\/p>\n

With a tradition of national film production spanning 90 years and a solid reserve of classic films made by world-famous directors (H. Bek-Nazarov, S. Parajanov, A. Peleshian, H. Malyan, F. Dovlatyan), Armenian cinema entered the era of independence in the early 1990s with promising debuts and new names. Although the excitement of this initial period was short-lived as a result of the worsening economic crisis, we can definitely speak today of New Armenian Cinema as a cultural phenomenon.<\/span><\/p>\n

Some films in this New Armenian Cinema were built around either allegorical generalizations (Suren Babayan\u2019s\u00a0Crazy Angel, Jeano\u00a0andDon\u2019t Look Into the Mirror; Mikayel Dovlatyan\u2019s\u00a0Labyrinth\u00a0and EdgarBaghdasaryan\u2019s\u00a0Mariam) or unembellished representation of the reality of life (Harutyun Khachatryan\u2019s\u00a0Documentarist,\u00a0Return of the Poet\u00a0and\u00a0Endless Escape, Eternal Return; David Safaryan\u2019s\u00a0Lost Paradise). Others combined both approaches in an interesting way, as in Vigen Chaldranyan\u2019s\u00a0God, Have Mercy, Symphony of Silence\u00a0andThe Voice of Silence,Narine Mkrtchyan & Arsen Azatyan\u2019s\u00a0Radio Yerevan\u00a0and\u00a0Bobo, or Edgar Baghdasaryan\u2019s\u00a0Outflow\u00a0and\u00a0Land of Holy Rites. Finally,Artavazd Peleshian\u2019s\u00a0The End\u00a0and\u00a0Life\u00a0and Ruben Gevorkyants\u2019\u00a0Parajanov. The Last Collage\u00a0have, of course, a unique position in the palette of films of the past two decades.<\/span><\/p>\n

New Armenian Cinema focused on searching for national identity on many levels \u2013 national, historical and individual \u2013 raising the fundamental questions of who \u201cwe\u201d Armenians are and how \u201cwe\u201d perceive the modern world. Directly or indirectly, these questions are present in the majority of films: a reaction to the political and social cataclysms that Armenia experienced during recent years. It is no accident that the most important film of the period is H. Khachatryan\u2019sReturn to the Promised Land\u00a0(1991), about a young refugee couple settled in a desolate village in the north of the historical motherland.Another internationally acclaimed docu-drama by the same director,\u00a0Border\u00a0(2003), surveys the landscape following the country’s war with Azerbaijan in the late 1990s, from the perspective of a rescued buffalo.<\/span><\/p>\n

Armenian film production is under-developed today, but its cinema combines a rich heritage with a new film language. Among recent promising debuts are Vartan Hovhannisyan\u2019s feature-doc\u00a0The Story Of the People in War and Peace, Hovhannes Galstyan\u2019s\u00a0Bonded Parallelsand Maria Saakyan\u2019s\u00a0Alaverdi.<\/span><\/p>\n

By Susanna Harutyunyan<\/strong><\/span><\/p>\n

\"\"The Beacon, Fariz Ahmedov<\/span><\/p>\n

Azerbaijani Cinema<\/span><\/strong><\/p>\n

Prominent among films made in recent years are the short subjects The House by Asif Rustamov\u00a0and The Knot by Ali Isa Djabbarov, alongside the full-length features The Fortress by Shamil Najafzade and The 40 th Door by Elchin Musaoglou. The latter won the Gold Remi Award for a foreign film at the 42 nd Houston International Film Festival in 2009.<\/span><\/p>\n

Sahe (The Precinct) is a film by Azerbaijani director Ilgar Safat, produced by the Narimanfilm company with Georgian partners Gruziya-Film and Baguirafilm, with financial support from the Azerbaijan Ministry for Culture and Tourism and PashaBank. It was the Azerbaijani candidate for \u201cBest Foreign Film\u201d at the 83 rd Academy Awards and its leading player, Baku Film School graduate Teymur Odushev, picked up a prize for Best Performance in an International Feature Film \/ Leading Young Performer at the 32 nd Annual Young Artist Awards.<\/span><\/p>\n

By Nariman Mammadov<\/strong><\/span><\/p>\n

\"\"A Fold in My Blanket, Zaza Rusadze<\/span><\/p>\n

A Portrait of Georgian Cinema from \u201cPerestroika\u201d to the Contemporary Scene<\/span><\/strong><\/p>\n

In 1987 the dominant trend in the \u201cPerestroika\u201d (Rebuilding) reform of the Communist Party was \u201cglasnost\u201d, or openness, which meant abolition of ideological prohibitions and freedom in every field of thought. However, even before Perestroika, Tenghiz Abuladze created a film called Repentance which became a symbol of the Perestroika movement. For the first time in the history of Soviet cinema, this film drew a metaphorical image of repressions, terror and the fates of victims of repressions. In parallel with Repentance, other films dedicated to similar themes were being made: Nana Dzhordzhadze\u2019s Robinsonada or My English Grandfather, Irakli Kvirikadze\u2019s Swimmer, Giorgi Shengelaia\u2019s Young Composer\u2019s Trip. These films show the tragic fates of the individual and society in the period of ruling Soviet power.
\nThe new generation of film directors marked new trends in the 1980s. New heroes appeared on the scene, aiming to perceive the world in a new way. They were in\u00a0 a constant process of searching for their proper place, sometimes succeeding in achieving this goal, sometimes failing. The poetic metaphorical cinema of the \u201960s and \u201970s, which involved poetic expression and fable-like narration, was replaced by prosaic cinema, due to the realistic nature of the issues on which the directors of the \u201cnew wave\u201d tried to focus. Directors of various generations considered the moral and ethical state of society, the relationship between society and the individual, torn relations, human choice and society when devoid of humane principles (Alexandre Rekhviashvili\u2019s Step, Rezo Esadze\u2019s Nylon Christmas Tree, Tato Kotetishvili\u2019s Anaemia, Dato Janelidze\u2019s Lodgers, Mikheil Kalatozishvili\u2019s The Chosen One, Temur Babluani\u2019s Sun of the Sleepless).
\nIn 1991 the political and social life of Georgia changed radically. The country regained independence and began to build a capitalist state. Georgian films of the first decade of the 21 st century focused on the relationships between a person and society, alienation, a people weary of inner struggle and spiritual crisis (Levan Tutberidze\u2019s Trip to Karabakh, Giorgi Ovashvili\u2019s The Other Side,\u00a0 Levan Koghuashvili\u2019s Street Days, Zaza Urushadze\u2019s Three Houses, Giorgi Maskharashvili\u2019s Watchmaker, Rusudan Chkonia\u2019s Keep Smiling). The characters of these films are devoid of faith, they live monotonous lives without anything or anyone to rely on. Most of these characters perish in loneliness and despair. Those who are strong resist temptation and withstand misery. The weak ones make fatal mistakes, dragging others with them into the abyss. The only salvation is in love and the support of others, in line with the following formula: if you look into somebody\u2019s eyes, they will look into yours, if you smile at someone, they will smile back.<\/span><\/p>\n

By Lela Ochiauri<\/strong><\/span><\/p>\n

 <\/p>\n

Per tutti i testi: \u2028\u00a9 Festival del film Locarno 2013<\/strong>. All rights reserved. www.pardolive.ch<\/a><\/strong><\/span><\/p>\n

 <\/p>\n

La 66a edizione del Festival del film Locarno avr\u00e0 luogo dal 7 al 17 agosto 2013.<\/span><\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

66. FESTIVAL INTERNAZIONALE DEL FILM DI LOCARNO OPEN DOORS Don’t Look Into the Mirror,\u00a0Suren Babayan   Questa sezione non competitiva presenta ogni anno una selezione di opere particolarmente rappresentative della cinematografia e del panorama culturale di una particolare regione. Quest’anno, verranno proiettate 22 opere provenienti da Armenia, Azerbaijan e Georgia. OPERE SELEZIONATE \u2028\u2028A FOLD IN MY BLANKET by Zaza Rusadze<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[7],"tags":[14999,15176,15177,442,1057,234],"class_list":["post-28891","post","type-post","status-publish","format-standard","hentry","category-festival","tag-66-festival-internazionale-del-film-locarno","tag-armenia","tag-azerbaijan","tag-festival-internazionale-del-film-locarno","tag-georgia","tag-open-doors"],"yoast_head":"\nLocarno 66 \/\/ Open Doors | Rapporto Confidenziale<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rapportoconfidenziale.org\/?p=28891\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Locarno 66 \/\/ Open Doors | Rapporto Confidenziale\" \/>\n<meta property=\"og:description\" content=\"66. FESTIVAL INTERNAZIONALE DEL FILM DI LOCARNO OPEN DOORS Don’t Look Into the Mirror,\u00a0Suren Babayan   Questa sezione non competitiva presenta ogni anno una selezione di opere particolarmente rappresentative della cinematografia e del panorama culturale di una particolare regione. Quest’anno, verranno proiettate 22 opere provenienti da Armenia, Azerbaijan e Georgia. OPERE SELEZIONATE \u2028\u2028A FOLD IN MY BLANKET by Zaza Rusadze\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.rapportoconfidenziale.org\/?p=28891\" \/>\n<meta property=\"og:site_name\" content=\"Rapporto Confidenziale\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/rapportoconfidenziale\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/rapportoconfidenziale\" \/>\n<meta property=\"article:published_time\" content=\"2013-07-17T19:07:23+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2013-07-17T19:15:34+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2013\/07\/Dont-Look-in-the-Mirror01.jpg\" \/>\n<meta name=\"author\" content=\"Rapporto Confidenziale\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@RConfidenziale\" \/>\n<meta name=\"twitter:site\" content=\"@RConfidenziale\" \/>\n<meta name=\"twitter:label1\" content=\"Scritto da\" \/>\n\t<meta name=\"twitter:data1\" content=\"Rapporto Confidenziale\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tempo di lettura stimato\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minuti\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891\"},\"author\":{\"name\":\"Rapporto Confidenziale\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#\\\/schema\\\/person\\\/1bf60340eefe8f99b9cd50688202e9d3\"},\"headline\":\"Locarno 66 \\\/\\\/ Open Doors\",\"datePublished\":\"2013-07-17T19:07:23+00:00\",\"dateModified\":\"2013-07-17T19:15:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891\"},\"wordCount\":1300,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891#primaryimage\"},\"thumbnailUrl\":\"http:\\\/\\\/www.rapportoconfidenziale.org\\\/wp-content\\\/uploads\\\/2013\\\/07\\\/Dont-Look-in-the-Mirror01.jpg\",\"keywords\":[\"66. Festival internazionale del film Locarno\",\"Armenia\",\"Azerbaijan\",\"Festival internazionale del film Locarno\",\"Georgia\",\"Open Doors\"],\"articleSection\":[\"FESTIVAL\"],\"inLanguage\":\"it-IT\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891\",\"url\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891\",\"name\":\"Locarno 66 \\\/\\\/ Open Doors | Rapporto Confidenziale\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891#primaryimage\"},\"thumbnailUrl\":\"http:\\\/\\\/www.rapportoconfidenziale.org\\\/wp-content\\\/uploads\\\/2013\\\/07\\\/Dont-Look-in-the-Mirror01.jpg\",\"datePublished\":\"2013-07-17T19:07:23+00:00\",\"dateModified\":\"2013-07-17T19:15:34+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891#breadcrumb\"},\"inLanguage\":\"it-IT\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"it-IT\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891#primaryimage\",\"url\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/wp-content\\\/uploads\\\/2013\\\/07\\\/Dont-Look-in-the-Mirror01.jpg\",\"contentUrl\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/wp-content\\\/uploads\\\/2013\\\/07\\\/Dont-Look-in-the-Mirror01.jpg\",\"width\":\"620\",\"height\":\"413\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?p=28891#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Locarno 66 \\\/\\\/ Open Doors\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#website\",\"url\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/\",\"name\":\"Rapporto Confidenziale\",\"description\":\"rivista digitale di cultura cinematografica | digital magazine about cinematic culture\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"it-IT\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#organization\",\"name\":\"Rapporto Confidenziale\",\"url\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"it-IT\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/wp-content\\\/uploads\\\/2017\\\/09\\\/RC_logo_1_nero.png\",\"contentUrl\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/wp-content\\\/uploads\\\/2017\\\/09\\\/RC_logo_1_nero.png\",\"width\":3508,\"height\":709,\"caption\":\"Rapporto Confidenziale\"},\"image\":{\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/rapportoconfidenziale\",\"https:\\\/\\\/x.com\\\/RConfidenziale\",\"https:\\\/\\\/www.instagram.com\\\/icdpavlov\\\/\",\"https:\\\/\\\/www.youtube.com\\\/user\\\/RConfidenziale\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/#\\\/schema\\\/person\\\/1bf60340eefe8f99b9cd50688202e9d3\",\"name\":\"Rapporto Confidenziale\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"it-IT\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d1e03f27aba3e626837ee1e1d254ac277051cae4f639e504c631f8773e283eb3?s=96&d=identicon&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d1e03f27aba3e626837ee1e1d254ac277051cae4f639e504c631f8773e283eb3?s=96&d=identicon&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d1e03f27aba3e626837ee1e1d254ac277051cae4f639e504c631f8773e283eb3?s=96&d=identicon&r=g\",\"caption\":\"Rapporto Confidenziale\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/rapportoconfidenziale\"],\"url\":\"https:\\\/\\\/www.rapportoconfidenziale.org\\\/?author=6\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Locarno 66 \/\/ Open Doors | Rapporto Confidenziale","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.rapportoconfidenziale.org\/?p=28891","og_locale":"it_IT","og_type":"article","og_title":"Locarno 66 \/\/ Open Doors | Rapporto Confidenziale","og_description":"66. FESTIVAL INTERNAZIONALE DEL FILM DI LOCARNO OPEN DOORS Don’t Look Into the Mirror,\u00a0Suren Babayan   Questa sezione non competitiva presenta ogni anno una selezione di opere particolarmente rappresentative della cinematografia e del panorama culturale di una particolare regione. Quest’anno, verranno proiettate 22 opere provenienti da Armenia, Azerbaijan e Georgia. OPERE SELEZIONATE \u2028\u2028A FOLD IN MY BLANKET by Zaza Rusadze","og_url":"https:\/\/www.rapportoconfidenziale.org\/?p=28891","og_site_name":"Rapporto Confidenziale","article_publisher":"https:\/\/www.facebook.com\/rapportoconfidenziale","article_author":"https:\/\/www.facebook.com\/rapportoconfidenziale","article_published_time":"2013-07-17T19:07:23+00:00","article_modified_time":"2013-07-17T19:15:34+00:00","og_image":[{"url":"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2013\/07\/Dont-Look-in-the-Mirror01.jpg","type":"","width":"","height":""}],"author":"Rapporto Confidenziale","twitter_card":"summary_large_image","twitter_creator":"@RConfidenziale","twitter_site":"@RConfidenziale","twitter_misc":{"Scritto da":"Rapporto Confidenziale","Tempo di lettura stimato":"6 minuti"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891#article","isPartOf":{"@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891"},"author":{"name":"Rapporto Confidenziale","@id":"https:\/\/www.rapportoconfidenziale.org\/#\/schema\/person\/1bf60340eefe8f99b9cd50688202e9d3"},"headline":"Locarno 66 \/\/ Open Doors","datePublished":"2013-07-17T19:07:23+00:00","dateModified":"2013-07-17T19:15:34+00:00","mainEntityOfPage":{"@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891"},"wordCount":1300,"commentCount":0,"publisher":{"@id":"https:\/\/www.rapportoconfidenziale.org\/#organization"},"image":{"@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891#primaryimage"},"thumbnailUrl":"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2013\/07\/Dont-Look-in-the-Mirror01.jpg","keywords":["66. Festival internazionale del film Locarno","Armenia","Azerbaijan","Festival internazionale del film Locarno","Georgia","Open Doors"],"articleSection":["FESTIVAL"],"inLanguage":"it-IT","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.rapportoconfidenziale.org\/?p=28891#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891","url":"https:\/\/www.rapportoconfidenziale.org\/?p=28891","name":"Locarno 66 \/\/ Open Doors | Rapporto Confidenziale","isPartOf":{"@id":"https:\/\/www.rapportoconfidenziale.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891#primaryimage"},"image":{"@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891#primaryimage"},"thumbnailUrl":"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2013\/07\/Dont-Look-in-the-Mirror01.jpg","datePublished":"2013-07-17T19:07:23+00:00","dateModified":"2013-07-17T19:15:34+00:00","breadcrumb":{"@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891#breadcrumb"},"inLanguage":"it-IT","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.rapportoconfidenziale.org\/?p=28891"]}]},{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891#primaryimage","url":"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2013\/07\/Dont-Look-in-the-Mirror01.jpg","contentUrl":"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2013\/07\/Dont-Look-in-the-Mirror01.jpg","width":"620","height":"413"},{"@type":"BreadcrumbList","@id":"https:\/\/www.rapportoconfidenziale.org\/?p=28891#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.rapportoconfidenziale.org\/"},{"@type":"ListItem","position":2,"name":"Locarno 66 \/\/ Open Doors"}]},{"@type":"WebSite","@id":"https:\/\/www.rapportoconfidenziale.org\/#website","url":"https:\/\/www.rapportoconfidenziale.org\/","name":"Rapporto Confidenziale","description":"rivista digitale di cultura cinematografica | digital magazine about cinematic culture","publisher":{"@id":"https:\/\/www.rapportoconfidenziale.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.rapportoconfidenziale.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"it-IT"},{"@type":"Organization","@id":"https:\/\/www.rapportoconfidenziale.org\/#organization","name":"Rapporto Confidenziale","url":"https:\/\/www.rapportoconfidenziale.org\/","logo":{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/www.rapportoconfidenziale.org\/#\/schema\/logo\/image\/","url":"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2017\/09\/RC_logo_1_nero.png","contentUrl":"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2017\/09\/RC_logo_1_nero.png","width":3508,"height":709,"caption":"Rapporto Confidenziale"},"image":{"@id":"https:\/\/www.rapportoconfidenziale.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/rapportoconfidenziale","https:\/\/x.com\/RConfidenziale","https:\/\/www.instagram.com\/icdpavlov\/","https:\/\/www.youtube.com\/user\/RConfidenziale"]},{"@type":"Person","@id":"https:\/\/www.rapportoconfidenziale.org\/#\/schema\/person\/1bf60340eefe8f99b9cd50688202e9d3","name":"Rapporto Confidenziale","image":{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/secure.gravatar.com\/avatar\/d1e03f27aba3e626837ee1e1d254ac277051cae4f639e504c631f8773e283eb3?s=96&d=identicon&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/d1e03f27aba3e626837ee1e1d254ac277051cae4f639e504c631f8773e283eb3?s=96&d=identicon&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/d1e03f27aba3e626837ee1e1d254ac277051cae4f639e504c631f8773e283eb3?s=96&d=identicon&r=g","caption":"Rapporto Confidenziale"},"sameAs":["https:\/\/www.facebook.com\/rapportoconfidenziale"],"url":"https:\/\/www.rapportoconfidenziale.org\/?author=6"}]}},"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=\/wp\/v2\/posts\/28891","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=28891"}],"version-history":[{"count":0,"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=\/wp\/v2\/posts\/28891\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=28891"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=28891"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rapportoconfidenziale.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=28891"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}