Milano Film Festival, the cinema district passes the exam with flying colors

Milano Film Festival, the cinema district passes the exam with flying colors
Milano Film Festival, the cinema district passes the exam with flying colors

The numbers are encouraging, and tell of a successful bet. In the three days of this edition of the Milano Film Festival, reduced to be a sort of post-pandemic field test, the average occupancy of the three locations concentrated in Porta Venezia – 220 seats at the open-air arena of the Montanelli Gardens, 100 at the Meet (formerly Spazio Oberdan) of the Cineteca and about 200 between the two rooms of the Rainbow in viale Tunisia – exceeded 75 per cent, with seven sold out screenings. If the intent was to test the public’s desire to return to the room and meet again, the answer is obvious: they are there, and how. And having concentrated all the activities in a single neighborhood was a winning choice.

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Alvise De Sanctis, organizational director of the festival is convinced of this: “Having created a cinema district worked both on the logistical side for us organizers and for the public because it allowed them to move from one room to another in a few minutes. . A fundamental thing for the spectators of a festival, who like to run marathons “. In full philosophy of Esterni, which founded the festival and has organized it since 1996, the return to sociality was a central point: “Our desire to create an outdoor arena, even if it is cold, went in this sense. the public rewarded us: the night screenings at the Giardini went best, with the closing film sold out, The Velvet Underground, and the opening one, France. Being outdoors gives people pleasure and tranquility, and it was a discrimination. There is a cultural work to be done to bring the public back to crowded places “.

“It was a successful edition – says the artistic director Alessandro Beretta -. With the reduced size it was a bit of a return to the original heart of the festival, it did us and the public good. And the awards also recognized that freshness. of gaze, that less perfect but sincere cinema that we have always supported “. Original and extreme is, in fact, the winning film of the main prize, the International Competition Award: it is French Roaring 20s by Elisabeth Vogler, a daring sequence shot of an hour and a half shot in Paris after the first lockdown with a company of 24 actors directed in a sort of choreography where making mistakes was forbidden, since cuts or editing were not allowed. The jury motivated the award as follows: “For the ability to combine a radical formal choice with the original fresco of a historical moment. The film strikes for the collective dimension of the effort and the technical undertaking which has a symbolic value: of a forced closure it re-appropriates an open urban space and a renewed perception of time, claiming the importance of human contact “.

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The experimental short film by the Italian Chiara Caterina, The enchantment, was awarded the Jury Special Award, “for the audacity with which he tells crimes settled in the collective imagination (the massacre of Erba and the massacre of Circeo, ed), renouncing sensationalist images in favor of a visionary poetics”, and a special mention went to the animated short The Fall of the Ibis King. The public instead rewarded Medusa by Brazilian Anita Rocha da Silveira while Esterni awarded Kit Zahuar, the 26-year-old director of Actual People, the April Award for talent to bet on.

And Pietro Anzani, 23, is also a very young talent, with his subject for the short How much humanity meets in a subway car won the Un set a Milano competition launched during the 2019 festival by Repubblica: he talked about it yesterday at the Giardini together with the troupe of students of the Centro Sperimentale di Cinematografia who will soon start filming it.

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