DULCIS IN FUNDO
DULCIS IN FUNDO
competitive section, made up of selected according to their formal and essential
quality and originality, destined to the large audience. A new opportunity to
draw, through a cinema focused on food, the metaphors of life. The features
belong to different countries and cinematographies, in order to assure a vision
as wide as possible.
Food is pone
of the most human, material and instinctive aspects. But is it just nourishment,
or culture as well? Unknown tastes, new fragrances, other populations and
cultures’ flavours: intriguing, seductive, stimulating. Food and cinema,
agelong obsessions, excellent languages and silver screen and life’s expressive
raw material: just open any menu of our cinema to realize how much these
philosophies belong to each other.
screenings will take place at night (about 9:45 p.m.) in Castiglione Falletto,
La Morra, Monforte e Serralunga d’Alba, outdoors, near the castles, or in
ancient confraternity churches now deconsecrated.
At the end of
every screening, it will be drawn the number of one of the audience’s badge. The
owner will be given a bottle of vintage Barolo wine, offered by local wine
Cellars that support the festival, as a prestigious symbol of these hills.
NANOOK OF THE
USA 1922, 78'
The father of
all documentaries, the first that gained a worldwide success, “Nanook” was made
nearly accidentally. Flaherty was not a director but an expert sent to the
Hudson bay area in order to verify its mining capacities. After four expeditions
from 1910n and 1916, Flaherty was fascinated by Inuit culture and realized he
was observing a world dying out, so he decide to film it to witness it
existence. The documentary tells Nanook’s everyday’s life: the construction of
an igloo, hunting and fishing, the fight against adversities, the construction
of a kayak. The film was released in 1922 – restored in 1998 – had a worldwide
huge success, giving the possibility to learn something about a culture unknown
to the majority. Flaherty made a wonderful job, on the artistic aspect, but its
authenticity is questionable: its veracity is still discussed, but the narration
is passionate and fascinating. The audio version has a soundtrack composed by
Stanley Silverman in 1975. with this film, the Ermitage continues its
rediscovery of cinema’s masterpieces.
ONCE WE WERE
USA 1997, 96'
Apu live in New York, trying to achieve their personal American Dream. Antonio
is a Sicilian guy without a residence permit, who does the best he can doing
several jobs, in order to maintain himself. One day he meet Ellen, a radio
announcer, and he falls in love with her. Everything gets complicated when she
is offered a job in Paris. Apu, on the contrary, lives in the U.S. since long
time, getting by with the most different jobs. When Devi, the woman is parents
have chosen to become his wife when he was still a child, arrives, he clashes
with a reality which has become unknown to him - the customs of his homecountry
– and with the trouble his wife has settling down in America.
was born to Rome in 1965. he moved to New York where he graduated in 1995, at
the Department of Cinema of the Tish School of the Arts. His début as director,
always in the U.S., is Once We Were Strangers, a feature written
directed and produced by himself, which was screened at Sundance Film
Festival in 1998: he is the first Italian director accepted to Robert
Redford’s festival. From 1998 to 2000, Crialese worked in American theatres.
International success came with Respiro (2002), that won the
Critics Award at Cannes in 2003. In 2006 his feature Nuovomondo
was chosen to take part in the selection for the Best Foreigner Film at the
SERES QUERIDOS / MY
NEW STRANGE FIANCÉE
Argentina/Spain/Portugal/GB 2004, 89'
Leni Dalinsky, Jewish, wants to introduce her new boyfriend, Rafi, Palestinian,
to her parents. The two decide not to reveal the thing, considering the family’s
behaviour which is a little peculiar. The fat gets really near to the fire: the
adolescent son, David, has just become a real orthodox and eats only kosher food
and conforms himself to the Shabbat rules; Tania, the eldest sister, is a
man-eater with a passion for belly-dance; the niece goes round the house with a
pillow under her dress telling she’s pregnant; the grandfather has sight and
hearing problems; mother is unstable mother and neurotic, and the father has
probably a lover. The Palestinian boy joins this complicated situation, and
proves himself so awkward as to risk the family’s life. Tolerance will come at
the end, but coming through winding paths.
Harari are the screenplay’s authors as
well as the directors of their very début.