Sections Popoli Reloaded
A borderland journey between film and the new technologies, questioning the status of image in the contemporary world and exploring hybrid languages that can pave the way for new and extraordinary ‘visions of the real.’ Doc Explorer welcomes technological experimentation and asks the audience a crucial question: how are human beings, who interact with reality, challenged by the future of technology? In cooperation with Fondazione Giacomo Brodolini.
Diamonds are Forever (curated by Daniele Dottorini) is not only a festival section dedicated to the great cinema of the past: the whole of its titles makes up a new journey every time, a path throughout images that re-emerge in new configurations, ‘diamonds’ opening up fresh connections with other images as well as new outlooks. The common thread between the films of the section is that each of them contributes to re-modulating the idea of time, letting present, past, and future come together and at times collide, creating narratives and images that do not refrain from playing with time and reject its sheer linearity.
The past intended as anticipation of the future, dystopian narration, time as duration or recollection, photography as voyage to the future, image as an instant charged with temporality: these are only some of the paths proposed by Diamonds, throughout films to be discovered or rediscovered, great cineastes, and dazzling pictures.
The section pays homage, curated by Roberto Manassero, to the Romanian film director Radu Jude, one of the most interesting voices of a national film industry that, over the 2000s, has flourished as a real New Wave. Born in 1977, an adolescent at the time of the 1989 Peaceful Revolution, a student and then filmmaker during the European integration of Romania, Jude has dedicated many of his films – namely since his third feature, Aferim! (2015) – to a reflection on the history of his country.
The pogroms against the Jewish population during the Nazi invasion and WWII; the repression of dissent under Ceaușescu; and the injustices of a still feudal society in the 19th century: over time, the cinema of Jude has found an ever clearer and at times controversial historiographic function. Departing from rigorous documentary research, Jude has questioned not only the way contemporary Romania has reconstructed its identity (often altering blames and responsibilities), but also the role of cinema and in general of art in looking into the past, exploring the complex relationship between memory and repression with courage and self-criticism. The section is in cooperation with Accademia di Romania in Rome.