MAI presents: “El etnógrafo”



PAGINA PRECEDENTE Home

The series of documentaries that we offer on Più Compagnia the last screening is available from December 21st at Più Compagnia (free access) – is an integral part of the MAI – Museo Antropologico Immaginario multidisciplinary project curated by Valeria D’Ambrosio for Villa Romana in Florence and realized thanks to the contribution of the Fondazione CR Firenze. Being a partner of the project, Festival dei Popoli, proposes a selection of documentaries from its Archives related to the themes of the MAI in order to develop the food for thought triggered by the exhibition.

Within the MAI, various practices are confronted with the aim of decolonising thought and vision through creative languages unhinged by the objectivising distance of the scientific discipline. Contemporary art, Radical Architecture, Live Performance and Documentary Cinema are in fact called upon to reason about the role of Ethnographics & Anthropological Museums in contemporary Society. This can be made focusing on the dynamics of representation of human cultures no longer seen through an essentially Eurocentric and static filter, but trying to create real participatory models and  a wide network of collaborations to tell stories of the Past, narratives of the Present and possible visions of the Future.

In response to this call, the Festival dei Popoli Archives proposes a programme of international films questioning and rethinking the concept of an Anthropological Museum, and which aim to bring together cultures and populations that every day seek to bring ancient traditions into dialogue with the demands of the contemporary world.

Last date: from December 28th to 31st at Più Compagnia (click here to enter)

El etnógrafo (The Ethnografer), by Ulises Rosell 

(Argentina, 2008, 72’ – o.v. Spanish and local languages – English subtitles)

Thirty years ago, John Palmer left Oxford to study the Wichis, a nomadic population living in some green areas of Argentina and Bolivia. During his stays within the community, John underwent a slow but inexorable transformation: he put aside his studies and joined the community, whose language, customs and habits he learned and where he met the woman with whom he gave birth to a large and lively offspring. A curious example of “reverse colonisation”, John offers his contribution to the community by dealing with administrative and bureaucratic issues that burden the largely anaphalbeta community. In the film, we see him struggling with two problems: a multinational company has invaded the native lands and is carrying out oil surveys there; one of the heads of the family has ended up in prison because his marriage, which took place – according to tradition – with a young woman who has become fertile, led him to trial for child abuse. The situation seems to be getting worse by the day, nevertheless John does not give up and does his best to make himself useful. (A. Lastrucci)

The film will be preceded by an introduction curated by the Festival dei Popoli Archives.

How to access

All screenings are free on the Più Compagnia platform.

The films are in original language, with English subtitles.

***

MAI is a project of Villa Romana, curated by Valeria D’Ambrosio, realized with the contribution of Fondazione Cassa di Risparmio di Firenze with the Patronage of the Municipality of Florence and the Tuscan Region. The SAGAS UniFi Department is the scientific partner of the project.

The film review, curated by Alberto Lastrucci and Daniela Colamartini of the Festival dei Popoli Archives, is part of the project for Cataloguing, Digitisation and Valorisation of the Festival dei Popoli and Mediateca Toscana Archives, which involves the Tuscan Region nd the Tuscan Archival and Bibliographic Superintendence.

The MAI arrives in the ‘Land of the Devil’



PAGINA PRECEDENTE Home

The series of documentaries that we offer on Più Compagnia the second screening is available from December 21st at Più Compagnia (free access) – is an integral part of the MAI – Museo Antropologico Immaginario multidisciplinary project curated by Valeria D’Ambrosio for Villa Romana in Florence and realized thanks to the contribution of the Fondazione CR Firenze. Being a partner of the project, Festival dei Popoli, proposes a selection of documentaries from its Archives related to the themes of the MAI in order to develop the food for thought triggered by the exhibition.

Within the MAI, various practices are confronted with the aim of decolonising thought and vision through creative languages unhinged by the objectivising distance of the scientific discipline. Contemporary art, Radical Architecture, Live Performance and Documentary Cinema are in fact called upon to reason about the role of Ethnographics & Anthropological Museums in contemporary Society. This can be made focusing on the dynamics of representation of human cultures no longer seen through an essentially Eurocentric and static filter, but trying to create real participatory models and  a wide network of collaborations to tell stories of the Past, narratives of the Present and possible visions of the Future.

In response to this call, the Festival dei Popoli Archives proposes a programme of international films questioning and rethinking the concept of an Anthropological Museum, and which aim to bring together cultures and populations that every day seek to bring ancient traditions into dialogue with the demands of the contemporary world.

Second date from December 21st to 23rd at Più Compagnia (click here to enter)

El país del diablo (Land of the Devil), by Andrés Di Tella

(Argentina, 2008, 72’ – o.v. Spanish – English subtitles)

Andrés Di Tella, one of the greatest contemporary Argentinean filmmakers, sets out on the trail of Estanislao Zeballos, a 19th century writer and anthropologist who, affiliated with the Argentinean army in the bloody campaign of colonisation of the south of the country (named the “conquista del desierto”) was among the first to document the traditions and culture of the Mapuche people at the very moment when the troops commanded by Julio Argentino Roca were systematically exterminating them.

The car driven by Di Tella took a journey through space and, metaphorically, through time, tracing the places of the battles, “rediscovering” documents that had survived oblivion, meeting the descendants of the original inhabitants of Patagonia. Structured as an open journey, made up of unexpected encounters and sudden discoveries, the film reveals the particular condition of a national history also made up of hidden pages and ghosts that must be faced. (A. Lastrucci)

The film will be preceded by a Introduction curated by the Festival dei Popoli Archives.

How to access

All screenings are free on the Più Compagnia platform (the access is reserved to the Italian territory only).

The films are in original language, with English subtitles.

***

MAI is a project of Villa Romana, curated by Valeria D’Ambrosio, realized with the contribution of Fondazione Cassa di Risparmio di Firenze with the Patronage of the Municipality of Florence and the Tuscan Region. The SAGAS UniFi Department is the scientific partner of the project.

The film review, curated by Alberto Lastrucci and Daniela Colamartini of the Festival dei Popoli Archives, is part of the project for Cataloguing, Digitisation and Valorisation of the Festival dei Popoli and Mediateca Toscana Archives, which involves the Tuscan Region and the Tuscan Archival and Bibliographic Superintendence.

MAI – The programme goes online



PAGINA PRECEDENTE Home

The series of documentaries that we offer on Più Compagnia from December 14th (free access) is an integral part of the MAI – Museo Antropologico Immaginario multidisciplinary project curated by Valeria D’Ambrosio for Villa Romana in Florence and realized thanks to the contribution of the Fondazione CR Firenze. Being a partner of the project, Festival dei Popoli, proposes a selection of documentaries from its Archives related to the themes of the MAI in order to develop the food for thought triggered by the exhibition.

Within the MAI, various practices are confronted with the aim of decolonising thought and vision through creative languages unhinged by the objectivising distance of the scientific discipline. Contemporary art, Radical Architecture, Live Performance and Documentary Cinema are in fact called upon to reason about the role of Ethnographics & Anthropological Museums in contemporary Society. This can be made focusing on the dynamics of representation of human cultures no longer seen through an essentially Eurocentric and static filter, but trying to create real participatory models and  a wide network of collaborations to tell stories of the Past, narratives of the Present and possible visions of the Future.

In response to this call, the Festival dei Popoli Archives propose a programme of international films questioning and rethinking the concept of an Anthropological Museum, and which aim to bring together cultures and populations that every day seek to bring ancient traditions into dialogue with the demands of the contemporary world.

Monday 14 December 2020 – Più Compagnia (Click to enter)

(the event will be available for 72 hours – reserved to the Italian territory only)

The films will be accompanied by a presentation by the Festival dei Popoli Archives

Le terrain du peuple, by Anja Göbel

(Germany, 2015, 34’ – o.v. in French and local languages, English Subtitles)

The National Museum of Ouagadougou, in Burkina Faso, commissioned by Thomas Sankara to promote the indigenous cultures of his country, which has become independent, has become a point of convergence (and friction) of problems caused by an overly authoritarian museum concept. To build the museum, the local king was deprived of his Throne Room – a “public” place, where the sovereign meets his people – and the royal space was incorporated from the courtyard surrounding the museum. In addition, some of the most prominent members of the community are opposed to an object of ritual use, considered sacred and “living”, ending up under a glass case, where It is destined to “die”. Gently approaching the heart of the problem and without attempting to resolve the complex tangle of contradictions, the film proposes the example of a National Anthropological Museum that causes sorrow and arouses opposition from local cultures, which the museum itself intended to celebrate. (A. Lastrucci)

Abigail, by Valentina Homen and Isabel Penoni

(Brasil, 2016, 17’ – v.o. portuguese – English subtitles)

From 1940 through 1950 Abigail Lopes took part in the expeditions of Francisco Meireles, known in Brazil for trying to establish peaceful relationships with the native populations living in isolated areas. Abigail came in contact with the Xavantes in the Serra do Roncador, state of Mato Grosso, and spent there eight years of her life. The film portrays the encounter between the two young film-makers and the aged researcher before her death in 2011. Her house was full of memories and mementos from a past marked by a wealth of encounters and contaminations. Abigail lived there, animating decades of discussions about the connection between ethnic culture and ancestral African-Brazilian religions, which she joined.

“Abigail is a film on our memories of this extraordinary figure, on our encounter with her, and our experience in her home.” Isabel Penoni (also the film narrator) and Valentina Homem make a film about the spiritualist power of memory rather than on a memory. This power can break places and things as well as find the flow of an impersonal soul across time, in nature, and in objects. (A. Lastrucci)

Extremos – Viaje a Karukinka (Extremes – Expedition to Karukinka)

by Federico Molentino and Juan Manuel Ferraro

(Argentina, 2015, 26’ – not spoken)

We are in Tierra del Fuego, an archipelago at the southern end of the South American continent, destination of many tourist cruises every year. Images of a remote past, showing representatives of the original populations dressed and hairstyled according to tradition, are superimposed on the present views. The evocative juxtaposition illustrates a landscape violently disfigured by industrial exploitation, now populated, for a few moments, with ghostly presences. This ‘Journey to the Extremes’ finally arrives in the places where the descendants of those proud ancestors were destined: depersonalising factories which, this is the silent warning proposed by the film, constitute the final step of a process of colonisation that has never been interrupted. (A. Lastrucci)

How to access

All screenings are free on the Più Compagnia platform.

The films are in original language, with English subtitles.

***

MAI is a project of Villa Romana, curated by Valeria D’Ambrosio, realized with the contribution of Fondazione Cassa di Risparmio di Firenze with the Patronage of the Municipality of Florence and the Tuscan Region. The SAGAS UniFi Department is the scientific partner of the project.

The film review, curated by Alberto Lastrucci and Daniela Colamartini of the Festival dei Popoli Archives, is part of the project for Cataloguing, Digitisation and Valorisation of the Festival dei Popoli and Mediateca Toscana Archives, which involves the Tuscan Region nd the Tuscan Archival and Bibliographic Superintendence.

61st Festival dei Popoli



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PALMARES OF 61st FESTIVAL DEI POPOLI

JURY OF THE INTERNATIONAL COMPETITION

JOËLLE BERTOSSA
MARIA BONSANTI
ANDREI UJICA

BEST FEATURE-LENGTH DOCUMENTARY AWARD

THIS RAIN WILL NEVER STOP
by ALINA GORLOVA (Ukraine, Latvia, Germany, Qatar, 2020)

Motivation:
”Ukraine has been the stage of some of the most horrifying tragedies of the 20th century: the Holodomor, the Holocaust, Chernobyl. As one of the gates to the European Union, Ukraine became nowadays a transit territory to their refuge for the migrants, victims of the wars deployed around from Donbas to Syria. This Rain Will Never Stop depicts the dark aura of this place tortured by history using strong black and white images which remind of the great school of the nonfictional Soviet cinema”.

BEST MID-LENGTH DOCUMENTARY AWARD

PYRALE
by ROXANNE GAUCHERAND (France, Belgium, 2020)

Motivation: “People say that it looks like a snow storm during the summer. A butterfly snow.” This is the opening line in Pyral. It is the summer of a teenage girl’s first love, who spends her vacation at his grandparents’ country-house. A summer consumed under the sign of Lepidoptera as a messenger of beauty and danger. Pyral is not only a very gracious modern interpretation of Amor & Psyche, but it is simply one of the most beautiful films of the year”.

BEST SHORT DOCUMENTARY AWARD

BUBBLE
by ELEANOR MORTIMER (UK, 2020)

Motivation: “From a small and apparently simple idea, the director draws a brilliant film, playing with the parallelism between animals and humans and offering a delicate portrait of an East London neighborhood. Very authentic and with a lot of tenderness and humor, the director succeeds to express a powerful atmosphere in a very short time.
We want to watch Bubble again and again and know more about the characters. It’s joyful and contagious with its lively humanity. A pure joy!”.

BEST ANTHROPOLOGICAL FILM: “GIAN PAOLO PAOLI” AWARD

APIYEMIYEKÎ?
(Why?)
by ANA VAZ (Portugal, Brazil, France, Netherlands, 2020)

Motivation: “For the human, powerful and respectful use of the drawings of a people native to the Brazilian Amazon to investigate the collective memory of the military dictatorship”.

JURY OF ITALIAN COMPETITION

MARTA DONZELLI
MARIA LETIZIA GATTI
ALESSANDRO RAJA

SPECIAL MENTION

BOSCO
by ALICIA CANO MENONI (Italy, Uruguay, 2020)

Motivation: ”For the gaze and imagination in tackling the themes of loss and death with grace and delicacy”.

THE ITALIAN COMPETITION AWARD

L’OCCHIO DI VETRO
by DUCCIO CHIARINI (Italy, 2020)

Motivation: ”A courageous film that digs an uncomfortable and submerged family story, interweaving personal and collective memory with humanity. An intimate and moving diary in search of a perhaps impossible understanding of one of the darkest pages of Italian history.”

TËNK AWARD

IL LIBRO DI GIONA
by ZLATOLIN DONCHEV (Italy, Bulgaria 2020)

Motivation: “The director Zlatolin Donchev tells us about the protagonist Massimiliano without ever reducing him to his homeless condition. On the contrary, he gives us access to his private life and the confinement in the belly of the whale through the photos taken with his old cell phone. We have lived this marginalization from the world but also the sensitivity and poetry that remains of it”.

JURY OF “IMPERDIBILI” AWARD

CAMILLA TOSCHI (Toscana film Commission – La Compagnia)
MARTINA CAPACCIONI (Toscana film Commission – La Compagnia)
MARTA ZAPPACOSTA (Toscana film Commission – La Compagnia)

“IMPERDIBILI” AWARD

L’ÎLE DES PERDUS
by LAURA LAMANDA (Italy, France, 2020)

Motivation: “This award was created to bring new stories, otherwise difficult to reach, to the audience of La Compagnia Cinema and the whole of Tuscany. For this reason the jury has decided to award the portrait of a place, told, with sincerity and delicacy, through the vicissitudes of its protagonists”.

CG ENTERTAINMENT JURY

CLARA VISINTINI (CG Entertainment)
ELISA BALDINI (CG Entertainment)
JACOPO SGROI (CG Entertainment)

“Popoli Doc – CG ENTERTAINMENT” AWARD

L’ÎLE DES PERDUS
by LAURA LAMANDA (Italy, France, 2020)

Motivation: ”What happens to the things we lose? What kind of emptiness do they leave in the soul of those who have forgotten them? How long does the life of an object last when it separates from its owner? This film drags us into the pulsating life of the objects we create and inhabit every day and then distractedly and violently separate from them forever. And it shows in a lucid and fitting way how much the objects we have possessed and lost can say no to us”..

CG DIGITAL FOR BEST EUROPEAN FILM AWARD

THE WHALE FROM LORINO
by MACIEJ CUSKE (Polonia, 2019)

Motivation: “For having been able to create an ancestral and poetic symphony on the atavistic blood pact between man and nature starting from the excavation of daily gestures and glances that, in a crescendo of music on the waves and thaw, moves forward to the rhythm of such a human adventure, but with a mythical flavor.“.

JURY OF “IL CINEMINO” AWARD

The jury is composed of the founding members

Motivation “The collective vision of a work is fundamental for us, therefore the choice falls on The Glass Eye. A film made to be seen collectively that, starting from a personal story, tells the story of Italy as a whole, of our fears, our shame and everything we have tried to hide.“.

“IL CINEMINO” AWARD

L’OCCHIO DI VETRO
by DUCCIO CHIARINI (Italy, 2020)

YOUNG JURY

THE OPEN WINDOW
by DANIEL OXENHANDLER, WILL SLOAN, ALFRED BIRKERAARD (Denmark, USA, India, 2018, 58′).

The Popoli for Kids and Teens section of the Festival dei Popoli, curated by Sandra Binazzi and Irene Lucchesi, presents every year a selection of documentary films chosen especially for children and young people. The screenings are enriched by workshops and in-depth activities including the possibility of participating in the Popoli Young Jury, the children’s jury.
Popoli for Kids and Teens is in collaboration with Cinema Stensen, Lanterne Magiche, Unicoop Firenze.

RADIO RIDERS



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Radio Riders explores one of the far sides of our cities, the non-stop work of the deliverymen hired by the big home delivery platforms at very precarious terms and conditions. With a sensitive sociological approach, Corbellini and Piscitelli observe the cityscape of a modern, frantic, ‘smart’ Milan, and expose its contradictions by way of the words spoken by faceless gig workers.

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FILMMAKERS

Fabio Corbellini, Paola Piscitelli

Fabio Corbellini was born in Milan in 1986. He is still alive.

Paola Piscitelli embarked on her training and practice in the documentary field in 2017 first as autodidact and then attending film courses. She graduated in 2020 at the Civic School of Cinema “Luchino Visconti”; with the film Radio Riders.

WAN JU WU



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Wan Ju Wu’s goal is to explore a scarcely known area where different dimensions intersect, i.e. sexuality, the alliance between patriarchy and capitalism, and the binomial human/inanimate object. To do so, it leads to an emblematic place, a brothel of technological dolls, smiling and inert pin-ups willing to submit to and satisfy all kinds of desire.

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Isabela Quintana Bianchi

Isabela Quintana Bianchi was born and raised in São Paulo, Brasil. Nowadays she’s living in Madrid, Spain and about finishing her studies at the cinema school of Madrid (ECAM) where she directed her first short film Wan Ju Wu. Her work flirts vulgarly between the pure aesthetics with the audiovisual trash. In the last years, she has been investigating sexuality and new technologies, and how this affects our relationships (online and offline).

Something is Burning



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October 2019. After protests have sparked all over Chile, most of the people are at the barricades. In the city of Antofagasta, little Etienne is scared: he has not been able to go to school for days, and sees burning buildings and vehicles everywhere. From behind the demonstrations, the three film-makers make an urgent film gesture, exposing the contradictions of the city before the troubled eyes of a little boy.

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FILMMAKERS

Macarena Astete, Victoria Maréchal,
Nicolás Tabilo

Macarena Astete (1981, Chile) has written and directed different fiction and documentary short films, video-art, videodance, and video-clips. Her films include H Martha Con H (2018) and It Was a Good Time (2019).

Victoria Maréchal (1988, Switzerland) lives and works in Argentina. Most of her artistic production is circumscribed between the film and the video installation. Several of her projects experiment the techniques of found footage to raise questions regarding migration, translation and representation.

Nicolás Tabilo (1992, Chile) is a student of the Master in Creative Documentary in Barcelona. He edited the film Story of my name (2019), a documentary feature by Karin Cuyul, which won the Special Mention of the Jury at the Bright Future Section of the International film festival Rotterdam. He is currently working on his first documentary feature Drifting Images, a project selected at the IDFA Academy 2020.