Locarno Diary #2: Lost men and religiosity

by Elisa Giudici

Heavens Above, a new Serbian film

Locarno has been in, let's say a strange transition period. I first started going when Carlo Chatrian was the Artistic Director (back in 2012). He left for the same position at Berlinale and his successer Lili Hinstin wasn't there long -- under two years which generated a lot of gossip. Giona A Nazzaro is the new director but because of COVID-19 this is his first edition. Maybe I was just lucky or my tastes align more with Nazzaro's than previous directors but this festival started with more energy and verve. (Until now my perception of Locarno was that it held a small number of amazing discoveries diluted in a pull of dull old fashioned auteurial selections.)

I choose today's two movies following my gut instinct and I especially liked how the films were having almost having a dialogue between themselves, despite major differences in tone and setting. Both of them are about the end of the world as known for the male protagonist. Hinterland and Nebesa (Heavens Above) try to describe how men struggle with change and the death of their previous idealogies...

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Locarno Diary #1: The festival begins with "Beckett"

by Elisa Giudici

A couple of weeks after having saying goodbye to Cannes and to the superb blue sea of the French Riviera, I am back at it by the majestic, cloudy mountains of Switzerland for the Locarno Film Festival: the long summer of European festival continues!

Up top you see the Piazza Grande (the biggest outdoor screen in Europe!) where we'll discover smaller movies and younger directors than the ones seen (and reviewed) at the Croisette. Unfortunately today the weather is really rainy. I am writing these lines with my raincoat on, wishing I followed that note I write to my future self every year at Locarno to stuff appropriate clothes in my car for mountain weather. The scenery is really majestic though, with clouds moving fast over the mountain tops and the city, like you're inside Olivier Assayas' Sils Maria.

Enough with scenery, let's talk about the opening night film... 

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Doc Corner: Three new dance documentaries

By Glenn Dunks

Dance is such a physical art. It is a beautiful medium, of course, but one that doesn’t always allow for great documentaries about it. Watching it can be a divine experience (Wim Wenders’ Pina, for instance), but to get into the nuts and bolts of the craft is difficult. A trio of new documentaries highlight these strengths and weaknesses. All three put their focus on black dancers, and all have strong queer themes as they navigate a creative space emerging through the pain of racism and the AIDS epidemic. Can You Bring It: Bill T. Jones and D-Man in the Waters by Rosalynde LeBlanc and Tom Hurwitz, Jamila Wignot’s Ailey, and Firestarter — The Story of Bangarra by Wayne Blair and Nel Minchin each highlight the bodies and the stories. But it’s the former about the iconic titular choreographer and one of his most famous works that best captures the athleticism, the drama and the intimacy of dance...

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Cannes Diary #09: Some unexpected fireworks in Cannes

TFE has been proud to bring you double-sized Cannes coverage this year for the first time, direct from Cannes itself, as well as companion screening suggestions at home. 

by Elisa Giudici

July, 14th: Bastille Day! Let me be honest with you, I totally forgot the holiday was today (time becomes an endless flow/blur during Festivals) but in the morning every hotel, resturant and administrative building was covered by a lot (a lot) of French flags. Happy to report that inbetween two screenings, I was able to see the magnificent fireworks exhibition on the sea with a spectacular view from the press room.

Even happier to report that there were fireworks in the Competition screenings, too...

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Cannes Diary #1: Adam Driver singing, journalists spitting, and other minor inconveniences

TFE is thrilled to have a correspondent on the ground in Cannes this year. Please welcome back Elisa Giudici.

by Elisa Guidici

It's my first day of my first year as a press pass holder at Cannes Film Festival. Let me tell you that as an Italian, I am so proud of how Venice Mostra handled their Covid-19 edition last season. Cannes had an extra year to plan how to be efficient, safe and as Covid-free as possible. How did the organisation spent these months?.The ticketing system to avoid long queues before screenings? A hot mess. The website? Almost always down. Covid tests? Bizzarre, but at least free for pass holders...

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