festival internazionale del film di roma

Transcript

FESTIVAL INTERNAZIONALE DEL FILM DI ROMA
ROME FILM FESTIVAL
November 8 | 17 2013
With the support of the President of the Italian Republic
PRESS CONFERENCE
Monday, October 14, 2013
11.30 am – Sala Petrassi
Auditorium Parco della Musica di Roma
PRESS KIT CONTENTS
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
Mayor of Rome, Ignazio Marino
Governor of the Lazio Region, Nicola Zingaretti
Special Commissioner of the Rome Province, Riccardo Carpino
President of Rome Chamber of Commerce, Industry, Handicrafts and Agriculture, Giancarlo
Cremonesi
President of the Fondazione Musica per Roma, Aurelio Regina, and CEO of the Fondazione
Musica per Roma, Carlo Fuortes
President of the Fondazione Cinema per Roma, Paolo Ferrari
General Manager of the Fondazione Cinema per Roma, Lamberto Mancini
Artistic Director of the Rome Film Festival, Marco Müller
The 8th Rome Film Festival
The numbers
The Opening and Closing Films
The films
Competition
Out of Competition
CinemaXXI preview
Prospettive Doc Italia
The Official Awards
The Presidents of the Competition and CinemaXXI Juries
The Posthumous Lifetime Achievement Award to Aleksei Yuryevich German
The Maverick Director Award to Tsui Hark
The Collateral awards
The Master classes
Retrospectives and Tributes
Cinema portraits
The Rome International Film Market: The Business Street (TBS) and New Cinema Network
(NCN)
Alice nella Città
General Information
How to attend the Festival – Tickets, advance sales, prices
How to reach the Festival
Guide to the Auditorium
Venues and services for the press
V.le Pietro De Coubertin, 10 00196 Roma | ph. +39 06 40401900 | fax +39 06 40401700 | [email protected] | www.romacinemafest.org
IGNAZIO R. MARINO
MAYOR OF ROME
Once again this year, Rome is proud to host the Rome Film Festival, with its rich programme of films,
previews, talks with directors and international guests, at the Auditorium Parco della Musica, the
MAXXI Museum and at venues across the city.
This eighth edition, like the previous one, will feature an abundance of splendid films that will
capture our hearts and broaden our horizons with new cultures and new stories.
As always, the stars of the show won’t just be the actors and other film personalities and
professionals, but the Romans as well, and the film buffs who come from all over Italy and beyond to
take part in this great celebration of cinema, to pay tribute to this art form and its roots in the
history of specific places and the people who live there.
Rome will be enveloped in the magical atmosphere of world premieres and all those events where we
will meet world-class filmmakers, glimpse rising actors and Hollywood stars, hand out awards and
admire novel ways of creating, imagining and producing cinema. All this in a setting and a showcase
conscious of its uniqueness: the most fabulous film set in the world.
In the heart of Rome, in its streets and squares and outwards to the outskirts of the city, some of the
most iconic scenes in film history were shot and legendary Italian and international hits were filmed.
Roman Holiday, Rome Open City, Shoeshine, La Dolce Vita and Dear Diary all gave the city of Rome
top billing in their casts.
As a film set, the city is a natural set, and during the 8th edition of the Festival, it will turn into the
largest and most exciting red carpet the world has to offer, welcoming emerging directors and
famous stars.
On this festive occasion, when the city becomes a showcase for the international film industry, it
behooves us to remember fondly our fellow travellers recently departed: Carlo Lizzani, a terrible
loss, and the actor Giuliano Gemma, who died prematurely just before Lizzani. And if we lengthen
our backward glance a bit further, we can salute the splendid Anna Magnani, our own “Nannarella”,
who died 40 years ago.
The best way to honour their legacy is to put on a great film and cultural event, a truly special
edition as exciting as those that preceded it.
(catalogue)
PRESIDENT OF THE REGIONE LAZIO
NICOLA ZINGARETTI
Few cities in the world can boast a history and a culture so closely intertwined with cinema as
Rome’s. This magnificent tradition can still be seen today, in the high profile the seventh art
continues to enjoy in the life of the city, as greatly changed as that is. Rome is the Italian city with
the most filmgoers, the most cinemas and the largest number of art houses. The capital is also topranked when it comes to the number of people employed by the audiovisual industry, and its film
school and other organisations are some of the finest in Europe.
By virtue of these remarkable assets, in 2006 the Rome City Council, the Chamber of
Commerce, the Lazio Region, the Province of Rome and the Fondazione Musica per Roma joined
forces to take on an enormous challenge: to create an event for the capital that would be innovative
and very different from the other film festivals already in existence in our country. The thinking was
that the festival’s identity would have to factor in one element in particular: the love affair between
Rome – and the Romans – and cinema: the sheer delight city residents take in soaking up a new story
on the big screen, the better to know themselves, and the world.
Not just a festival, therefore, but a versatile event on a par with other international showcases,
a crossroads for a variety of cultures, genres and art forms, and, above all, a festival that would
reach out to the entire city. The response of audiences and industry professionals alike, over the
years, has been consistently enthusiastic.
Now in its eighth year, the Rome Film Festival is again called upon to display that courage it
showed on its initial gamble, and renew the challenge: to create a new tool for social aggregation
and an opportunity for growth that will positively impact the entire Lazio region.
(catalogue)
SPECIAL COMMISSIONER OF THE PROVINCE OF ROME
RICCARDO CARPINO
In a phase as delicate as this one, when the economic crisis is one of the major topics of conversation
in Italy and abroad, an event such as the “Rome Film Festival” acquires even greater significance.
For ten days, in fact, Rome becomes the international centre of attraction for all film aficionados
and for the professionals in the film industry, hosting screenings, exhibitions and events of primary
importance.
This is a festival that has therefore been successful in maintaining a superior level of quality and has
become consolidated as a vital opportunity to support film production in its entirety; an event of
which the Province of Rome is a founding member.
Italian cinema has always been a source of cultural inspiration and it is crucial that it continues to be
even now, making showcases out of the locations in the city where the festival is held, to inspire the
entire country and with it our Province.
Once again this year, the Province of Rome is proud to promote and sustain such an important and
significant event, in the hope that it may continue to reap ever greater success.
(catalogue)
PRESIDENT OF THE CHAMBER OF COMMERCE OF ROME
GIANCARLO CREMONESI
The Chamber of Commerce of Rome, the Capital’s premiere economic Institution, has guaranteed its
support to the Rome Film Festival since the very first edition, investing significant economic
resources and know-how.
By supporting this event, the Chamber of Commerce is pursuing two objectives at the same time. The
first is to advance the film industry as a strategic asset for development, with positive downfall on
the local economy. The Eternal City is without a doubt the natural choice for a festival dedicated to
cinema. In 1906, Rome was the birthplace of Cines, the first Italian film production company; over
three thousand films have been made in the studios at Cinecittà, and most of the Italian film industry
operates out of Rome. Our city is an endless source of inspiration for cinema; it has produced great
directors and unforgettable actors, offering open-air sets of incomparable beauty that have attracted
visitors from all over the world.
The second goal is to promote the territory of Rome, to maximize the vitality and the cultural
opportunities offered by the city. This commitment has prompted the Chamber of Commerce, along
with other local institutions, to support many cultural initiatives – such as the participation in the
major cultural Foundations of the city: Cinema per Roma, as well as Musica per Roma, the Accademia
Nazionale di Santa Cecilia, the Teatro dell’Opera di Roma – with the aim of making our territory more
attractive to tourists, creative professionals and foreign investors.
The importance of the Festival is underscored, furthermore, by the large number of private partners
working with the local public institutions. In particular, the Rome International Film Market is now
established as a key stimulus for the Italian film industry, substantiated by the increasing
participation of buyers, sellers and distributors from around the world.
Thanks to the prestige and credibility it has acquired over the years, the Festival is now recognized
as one of the major international film events.
(catalogue)
PRESIDENT OF FONDAZIONE MUSICA PER ROMA
AURELIO REGINA
CEO of FONDAZIONE MUSICA PER ROMA
CARLO FUORTES
Out of all the arts, cinema is perhaps the most popular, along with music. Cinema is best able to
break down borders and barriers and come up with a universal language that transcends social and
cultural differences. Cinema touches people to the core, caressing their dreams, fears and hopes.
This is exactly what the Rome Film Festival has always been about, by its own choice: a popular
event for one and all. Not just a showcase and platform for new films, but an idea: that a festival
can bring the public at large face-to-face with film stars and filmmakers without sacrificing one iota
of artistic merit or depth of meaning.
And for these same reasons, the “natural” venue for the Festival, from the start, has been the
Auditorium Parco della Musica. Over the course of its first ten years of operation, Rome’s premier
cultural institution has excelled at wedding the quality of its cultural offerings to a knack for being a
point of reference with a popular touch, a magnet for the whole city, along with the millions of
visitors who arrive from all over Italy and the rest of the world.
For its eighth edition, the Auditorium will once again be the nerve-centre of the Festival. For ten
days, from November 8 to November 17, all its halls, the Cavea, and every inch of its grounds,
starting with the Cinema Village set up for the occasion, will literally be invaded by stars from Italy
and abroad, films, acclaimed actors and directors, and obviously the festival-goers themselves,
flocking in thousands to get a taste of that old film magic. Once more Rome and its Auditorium will
be re-enacting what has been their tribute to cinema since the Festival’s debut: an act of love for
the seventh art.
(catalogue)
FESTIVAL INTERNAZIONALE DEL FILM DI ROMA | ROME FILM FESTIVAL
PAOLO FERRARI
The Rome Film Festival, which once again unfolds under the high patronage of the President of the
Italian Republic, is now in its eighth year, eager to renew the challenge of bringing cinema of an
international calibre to the capital: cinema distinguished by its quality and, at the same time, its
popular appeal.
With the support of its main partner, BNL – BNP Paribas, the 8th edition of the Rome Film Festival is
promoted by Roma Capitale, with the Mayor of Rome Ignazio Marino; the Lazio Region, with its
president, Nicola Zingaretti; the Province of Rome, with its Special Commissioner, Riccardo Carpino;
the Rome Chamber of Commerce, with its President Giancarlo Cremonesi; and the Fondazione Musica
per Roma, with its President Aurelio Regina. The Festival is produced by the Fondazione Cinema per
Roma and its Artistic Director is Marco Müller.
In the trying economic climate of the past year – difficult for all, the public administration, the city’s
institutions and private companies alike – we have succeeded in guaranteeing the production of this
event in 2013, thanks to the shared commitment of our founding members and the partners who have
supported us.
The achievement of this ambitious goal required an extraordinary effort on the part of the
Fondazione Cinema per Roma, which strove to ensure a sound management, from the financial point
of view, and increase our operational efficiency, after an organisational and structural review.
On the basis of our experience over the past year, we are confident that we have strengthened the
Festival’s editorial line and enhanced the synergies with a variety of government and cultural
institutions, and can now provide our guests and visitors with an even warmer welcome.
A perfect example is our collaboration with the MAXXI Museum, consolidated not only for the
duration of the Festival itself – a portion of the programme is held at the museum – but all year long,
taking the form of shared initiatives such as the film series “Cinema at the MAXXI”. Indeed,
expanding our activities all throughout the year – and significant progress has been made in 2013 – is
a cornerstone of the strategy pinpointed by the Fondazione Cinema per Roma.
Another partner institution I would like to mention here is the Centro Sperimentale di Cinematografia
– Cineteca Nazionale, whose collaboration allows the Festival to keep the memory of a great
cinematic legacy, especially Italy’s, alive.
Concurrently with the Festival, once again this year its film market, The Business Street, devoted to
the sale and circulation of audiovisual works, takes advantage of our new mid-November dates,
proving itself to be an ideal platform for distributors and producers at both the national and
international level.
Lastly, I would like to take this occasion to thank the entire staff of the Fondazione Cinema per Roma
for their remarkable efforts, from the Artistic Director Marco Müller and the General Director
Lamberto Mancini to the whole team, whose all-out commitment has resulted in a programme of the
highest calibre.
President
Fondazione Cinema per Roma
(catalogue)
LAMBERTO MANCINI
In difficult and uncertain times, such as we are currently experiencing, it is important to return to
our roots as a base from which to start over. In this sense, Cinema and Rome have represented a
prestigious combination for many decades at the international level, a valuable heritage that may be
taken as the foundation for a vigorous new start. The Rome Film Festival is of course a festival for
the entire city – with its screenings, its context of events, movie stars, Red Carpet and awards – but
most of all it is a clear message that the Capital wishes to convey to Italy and to the world. Rome
believes in Cinema – which is entertainment, culture, emotion, industry, national expression and a
window open onto the international scene – and invests on Cinema so that it may increasingly
become a key to the growth and development of the entire region. Now in its eighth edition, the
Rome Film Festival has already conquered its position as one of the major international film festivals.
It boasts one of the most beautiful Red Carpets in the world, within the unique scenario of Renzo
Piano’s Auditorium which has been its main venue from the start, with its magnificent concert halls
transformed into highly prestigious movie theatres. The ingredients of this success are the public,
which has always followed the festival with great enthusiasm, the media return on television, in the
press and the new media, the strong commitment to the film industry, within a context built on the
wealth of vital relationships with major international institutions, from MEDIA to Eurimages, from
Sundance to Film London, from Cinéfondation to CineMart, to name just a few. The impact of the
Festival on the economic film and audiovisual industry is evident and profound, and is based first and
foremost on the success of the Market, The Business Street which like every year will be a meeting
ground for specialized professionals from all over the world. And New Cinema Network, a powerful
incubator to help organize co-productions and develop projects that will become films in the future.
The activity of TBS is completed by the ample spectrum of professional seminars and meetings for
operators in the field, who can take advantage of the Market as an opportunity to reflect on what has
happened over the past year, and as a starting place for the year to come. To guarantee the widest
possible access to the Festival for all types of audiences, we have established a particularly
articulated pricing policy, which focuses attention on the needs of audiences with lesser economic
resources. We have paid special attention to young people. Following the success of last year’s
initiative, we are again offering cheaper accreditation for the entire duration of the event, available
to all university students. And for months we have maintained an open dialogue with the variegated
universe that thrives on the Social Networks and the new possibilities for exchange offered by the
Web, to achieve our goal of becoming one of the international festivals with the highest degree of
innovation and of interaction with our audiences, especially the younger ones. The parallel sidebar
“Alice nella città”, will bring thousands of school-age children to the Auditorium. I would like to
express my sincerest thanks to the group that has put together and is still at work on this eighth
edition, with commitment, dedication and enthusiasm. As always, the contribution of the founding
members of the Festival remains vital. Roma Capitale, Regione Lazio, Provincia di Roma, the
Chamber of Commerce and the Fondazione Musica per Roma have demonstrated that they believe in
the event and confirmed their support. The same trust that has been placed in us by our Main Partner
BNL – Gruppo BNP Paribas and by all the other sponsors and partners who have chosen to join us in
this initiative serving the film industry and the entire territory. I would like to express my heartfelt
gratitude to each and every one of them. In closing this introduction, one year ago, I swore to
develop other activities that would keep the legacy of the Festival alive beyond the 10 days of the
event. We did it, and today the Fondazione Cinema per Roma works on many other important
projects, all year round. Film series, exhibition curating, meetings with the public, international
inter-sectorial projects, special initiatives within important national events. A motor that is always
running, the beating heart of the industry, always tuned into and often actively collaborating with
the other realities of our territory. We intend to persevere in our intent, in search of the finest
synergies in the audio-visual and film industry, as we continue to cultivate the competences
expressed not only by the Fondazione, but by the entire territory.
Generale Manager
Fondazione Cinema per Roma
(catalogue)
MARCO MÜLLER
Rome 2013, a new beginning for the adventures of the eye, and the somersaults of planetary vision.
Just run through the list of films on the line-up. Cinema-cinema and the most unorthodox of artistic
objects; auteur cinema and sword-and-sandals; masterpieces (Aleksei German) and mainstream
cinema; experimental films and entertainment; films you know everything about and films of the sort
you don’t have a clue; established names and brand new ones (there is a substantial number of debut
and second films in the various competitions again this year): we believe the “right” films are all
there, on a tightly-curated line-up that doesn’t call for a road map.
If we’re so sure we have come close to the result we hoped for, it’s because once again we have
worked hard, furiously, passionately, obstinately. Behind us, a “trial run”; ahead of us, the prospect
of “a period of adjustment” in 2013, assessing the validity of our entire strategy for the 2012 edition
and, predictably enough, tweaking the formula here and there. Without getting ahead of ourselves
with our wishful thinking, and as reasonably as could be expected of us with over 1,500 featurelength films to view in under five months, we have tried to keep our sights trained on both the
creative and the commercial, the content and the vehicle conveying it, taking stances – lucidly – and
singling out values to be pitted against others, level-headedly. Perhaps we are all tired, after all, of
the pointlessly complicated and cumbersome machinery a certain kind of cinema relies on. What we
need is the élan of a grand aesthetic gesture and the evidence that a poetics is at work: we need gut
feelings, that pulling on our heartstrings; a dream before us for an instant; a good story, a great
show.
Once again we find ourselves in a time when the pleasure of seeing movies and sharing emotions in a
cavernous dark room is not automatic, or even natural. It feels familiar, yet it is already partially
unrecognisable, a puzzling luxury from a past era.
The pessimism of reason would lead us to declare, therefore, that the era of festivals is coming to an
end. Yet how much longer will it be worth our while to continue brooding over the original sin of a
festival’s function as a promotional tool and a tourist draw, as we present ourselves as a showcase
and launching pad for that share of film output that is visible (often all too much so), while at the
same time serving as a stop-gap to counter the failings of the distribution circuits and media
coverage?
The optimism of will suggests, instead, that we widen the rift between those “original” ideas and the
philosophy, necessarily in motion, of an all-encompassing “metropolitan” event. Not all attempts at
renewal are destined to fail, as long as there is greater clarity in the goals of an event that engages a
wide-ranging audience throughout Europe, elaborating an idea of “festival/festa” that rejects the
separation between “culture” and “market”, and among its constituent elements includes a healthy
dose of schizophrenia, tamed but not domesticated. A big event of openness, built on the
relationship of complicity and trust forged with the spectators in the giant halls of the Auditorium
Parco della Musica, facing a programme that develops new ideas but also reflects on how long it
takes the “public” to absorb them – and so begs to be judged by both the juries composed of
important professionals and popular juries. This is the only thing that can transform it into a place
with richer individualities and subjectivities, that are formed not by assimilation but by
understanding, relying on an active gaze and more opportunities for debate.
The programme of each new edition must respond not only to the questions raised by the previous
one, but also to the reality of structures and infrastructures, budgets and partnerships. Though
conditions seemed insufficient to formulate “innovative” proposals, what did happen is that the
“old” ones realigned into fragments of an irregular design, a pattern of secret unity. They are not
trend-setting lines, they derive from the unexpected and provisional result of the 2013 programming;
they emerge from a very unusual combination of works that only rarely seem to be related in some
way, of dynamics that were able to interact and experiences that suddenly revealed themselves to
be linked. So it is from the selection and arrangement of the works (works that should speak for
themselves) that our philosophy must filter out, with no need to constrain it into a form based on
general concepts – which would destroy any gateway to a multiplicity of possible futures.
In a pluralistic, and therefore deliberately contradictory “festival/festa”, the glue that holds the
programme together is simply the intuition of the truth of cinema that lies concealed in every film in
the selection. Quality counts, but so does the non-identity, the multiplicity of expressive
phenomena; we must exalt narrative freedom and the splendour of forms, the pleasure of the screen
and the constant questioning of the idea of fiction, the challenge to our “common sense of reality”,
(an approach reinforced by the first decision made with the selection committee: to concentrate our
Prospettive Doc Italia section on documentary films).
Because to truly call yourself into question, you must be able to contradict yourself, to question
yourself so that you may open up more completely. It is only by developing proposals and options,
questioning existing models and generic constraints, that the possibility of addressing a range of very
diverse spectators can gather strength. We must ask them questions as well as ask ourselves, and
rather than take them for an answer, sound out their willingness to explore, to think, to enjoy the
varying trajectories of a selection. One that wishes to blend, like the ingredients of an inebriating
cocktail, the kind of film that you can’t stop thinking about and the kind that keeps you glued to your
seat. Inevitably, this means offering the finest of Italian and American cinema and the thousand
faces of the cinema of faraway countries, films that challenge the new politics of genre and works
with conspicuous formal asperities. It’s the kind of cinema that we would give anything to have the
chance to discover, because it is made by directors and actors who bring that something extra. So we
must make an effort to give something back in exchange to this cinema: in our case, our second year,
with our highly determined team, a year intensified by the emotion of building a new idea of
“festival/festa” for Rome, for the people who make films, or make them circulate, or go to see
them.
Marco Müller
Artistic Director
Festival Internazionale del Film di Roma | Rome Film Festival
(catalogue)
Selection committee: Laura Buffoni, Marie-Pierre Duhamel, Massimo Galimberti, Manlio Gomarasca,
Sandra Hebron, Giona A. Nazzaro, Mario Sesti
Programming Office: Alessandra Fontemaggi, Marta Giovannini, Massimiliano Maltoni, Jacopo Mosca,
Samanta Telleri
Consultants: Isa Cucinotta, Deepti D'Cunha, Elma Hadzirdezepovic Tataragic, Babak Karimi, Diego
Lerer, Tomita Mikiko, Paolo Moretti, Aliona Shumakova, Chen Zhiheng
THE 8TH ROME FILM FESTIVAL
The 8th Rome Film Festival will take place from November 8 to 17, 2013, at the Auditorium Parco
della Musica designed by Italian architect Renzo Piano. All the spaces in the Auditorium, for a total
capacity of four thousand seats, will be open for the Festival. Thus, for ten days, the building
complex will be the centre of attraction for professionals, journalists, and film buffs, hosting
screenings, exhibitions, events, conferences, debates. The 1,300 square metres of the avenue
leading to the Cavea (an open-air theatre square used) will become one of the largest red carpets in
the world.
The audience will have a choice of seven movie theatres (Santa Cecilia, Sinopoli, Petrassi, Teatro
Studio, Studio 3, Auditorium MAXXI at the National Museum of XXI Century Arts, and the Multiplex
cinema Barberini). Next to the Auditorium, the Cinema Village will feature pavilions and stands made
of steel, glass, and wood, created specifically for this event and its visitors. The Festival programme
will also involve the area of Via Veneto, the street that epitomizes Italian cinema, with the Rome
International Film Market, The Business Street, hosted at the Hotel Bernini Bristol and the Barberini
Multiplex. The panels will be held at the Casa del Cinema at Villa Borghese and at the MAXXI.
Professional and institutional encounters will take place at the AuditoriumArte.
The Official Selection of the Festival consists in an international Competition, an Out of Competition
section with the selection of 2013 gala screenings, the CinemaXXI competitive section, dedicated to
new trends in world cinema, and the Prospettive Doc Italia competition, a survey of new directions in
Italian documentary filmmaking. The parallel and independent sidebar Alice nella città will organize
a programme of films for young people, following its own regulations.
The Rome International Film Market –The Business Street and New Cinema Network – will be held
from November 13 to 17, 2013, staking out a strategic position in the Italian and international
calendar of industry events, and making Rome an ideal commercial platform for launching new films,
both in Italy and abroad. During the Market, screening facilities and a video library will be available
to producers and world sales agents, who will also be offered a rich agenda of meetings, workshops,
and events.
The 8th Rome Film Festival is made possible by the support of the President of the Italian Republic
and is produced by Fondazione Cinema per Roma. Paolo Ferrari is the President of the Fondazione,
Lamberto Mancini is the General Manager. Marco Müller is the Artistic Director of the Rome Film
Festival.
The event is promoted by Fondazione Musica per Roma, Roma Capitale, the Chamber of Commerce of
Rome, the Regione Lazio and the Provincia di Roma. The Main Partner is BNL – Gruppo BNP Paribas.
The Institutional Partners are ICE - the Italian Trade Promotion Agency for the support and
internationalization of Italian businesses abroad, and the Ministry for the Cultural Heritage and
Activities and Tourism, with the support of the MEDIA Programme, and in collaboration with Alice
nella città, ANICA, Centro Sperimentale di Cinematografia – Cineteca Nazionale (Experimental
Cinematography Centre – National Film Archive), and MAXXI – National Museum of the XXI Century
Arts. The official sponsor is Il Gioco del Lotto. Cinemeccanica is the Technical Partner for the
screening equipment (film and digital), and Atac is the Eco Mobility Partner. Rai Movie, Rai News, Rai
Radio 2, Getty Images, Erma Production, My Movies are media partners.
In 2013, the Rome Film Festival maintains its commitment to social issues, in partnership with
Fondazione Telethon, and to environmental sustainability, with the project to compensate CO2
emissions in collaboration with Zero Impact® by LifeGate, thanks to the support of Ricola.
Furthermore, for its eighth edition, the Festival will once again guarantee audio description and
digital subtitling in Italian for people with visual or hearing impairments, so that they may not only
participate but enjoy the screenings of some of the films at the Festival.
THE NUMBERS
2,620 films viewed from 76 countries: 1,542 feature-length films and 1,078 short films
71 Feature-length films in the Official Selection
11 Medium-length films
19 Short films
COMPETITION
18 Films
12 World premieres
5 International premieres
1 Italian premiere
OUT OF COMPETITION
20 Gala screenings:
9 World premieres
2 International premieres
2 European premieres
6 Italian premieres
1 Festival premiere
3
Films in collaboration with Alice nella città
1 International premiere
1 European premiere
1 Italian premiere
3
Special events
2 World premieres
1 Italian premiere
CINEMAXXI COMPETITION
16 Feature-length films
6 Medium-length films
13 Short films
The complete line-up of CinemaXXI will be announced and commented in a press conference which
will take place at the MAXXI – National Museum of XXI Century Arts, on Wednesday, October 23,
2013. The following titles are just a preview of the selection.
PROSPETTIVE DOC ITALIA
7 Documentaries in Competition (world premieres)
3 Documentaries Out of Competition (world premieres)
CINEMA PORTRAITS
6 Portraits
COUNTRIES
31 Algeria, Argentina, Austria, Belgium, Brazil, Chile, China, South Korea, Croatia, Denmark,
France, Germany, Japan, Greece, Hong Kong, India, Iran, Israel, Italy, Latvia, Lebanon, Mexico,
Portugal, United Kingdom, Romania, Russia, Spain, United States, South Africa, Switzerland, Turkey
ITALIAN FEATURE-LENGTH FILMS IN THE OFFICIAL SELECTION
24
DEBUT AND SECOND FILMS
17
SCREENING ROOMS FOR THE FESTIVAL AUDIENCE
7
THE OPENING AND CLOSING FILMS OF THE 8TH ROME FILM FESTIVAL
L’ultima ruota del carro (The Fifth Wheel) by Giovanni Veronesi will be the opening film of the 8th
Rome Film Festival, presented as a gala screening Out of Competition. Veronesi is one of the most
important Italian directors and screenwriters (he has written screenplays for directors such as Carlo
Verdone, Francesco Nuti, Leonardo Pieraccioni, among others) and the author of some of the
greatest box-office hits in recent years - the “Manual of Love” trilogy, What Will Become of Us (Che
ne sarà di noi), Parents & Children – Shake Well Before Using (Genitori & figli – Agitare bene prima
dell’uso). The new work by the Tuscan filmmaker ties into the great tradition of “Italian comedy”,
and stars Elio Germano as Ernesto, a mover who for forty years has travelled up and down Italy in his
moving van: through his eyes, the film tells the story of Italy from the 1970s to the present day. Also
starring with Germano - awarded twice with the David di Donatello as Best Actor for My Brother is an
Only Child (Mio fratello è figlio unico) and Our Life (La nostra vita), which also won him the award
for Best Actor at the Cannes Film Festival - will be Alessandra Mastronardi, as Ernesto’s wife, Ricky
Memphis, Sergio Rubini, Virginia Raffaele, and Alessandro Haber.
Sou Duk / Saodu (The White Storm) by Benny Chan will be the closing film of the 8th Rome Film
Festival. The new work by the award-winning Chinese director, producer and screenwriter, “student”
of Johnnie To, Kei Feng and Tsui Hark, a master of action movies and the author of films such as Big
Bullet – which won him a nomination for Best Director at the Hong Kong Film Awards – and New
Police Story (in which he directed Jackie Chan), will be presented at the Festival in its world
premiere screening. Sou Duk tells the story of Ma Ho-tin (Sean LAU), So Kin-chow (Louis KOO) and
Tsz-wai (Nick CHEUNG) who work together at the Narcotics Squad. The three, who are like brothers
to one another, have the chance to capture an infamous “drug lord” in Thailand, but during the
operation Ho-tin’s team is wiped out: Ho-tin is forced to choose which of the two will live, Tsz-wai or
Kin-chow.
THE LINE-UP
COMPETITION


World premiere
ANOTHER ME - Isabel Coixet, Spain, United Kingdom, 2013, 86’
Cast: Sophie Turner, Jonathan Rhys Meyers, Claire Forlani, Gregg Sulkin, Rhys Ifans,
Geraldine Chaplin, Leonor Watling
World premiere
BEN O DEGILIM / I AM NOT HIM - Tayfun Pirselimoglu, Turkey, Greece, France, Germany,
2013, 125’
Cast: Ercan Kesal, Maryam Zaree

World premiere - Second film
I CORPI ESTRANEI / FOREIGN BODIES - Mirko Locatelli, Italy, 2013, 102’
Cast: Filippo Timi, Jaouher Brahim

Italian premiere
DALLAS BUYERS CLUB - Jean-Marc Vallée, United States, 2013, 117’
Cast: Matthew McConaughey, Jennifer Garner, Jared Leto

International premiere
ENTRE NÓS / SHEEP'S CLOTHING - Paulo Morelli and Pedro Morelli, Brazil, 2013, 97’
Cast: Caio Blat, Carolina Dieckmann, Maria Ribeiro

World premiere - Debut film
GASS / ACRID / ACRE - Kiarash Asadizadeh, Iran, 2013, 94’
Cast: Sber Abar, Pantea Panahiha, Shabnam Moghadami, Mahsa Alafar, Roya Javidnia, Ehsan
Amani, Mahana Noormohammadi, Sadaf Ahmadi, Nawal Sharifi, Mohammadreza Ghaffari

HER - Spike Jonze, United States, 2013, 109’
Cast: Joaquin Phoenix, Amy Adams, Rooney Mara, Olivia Wilde, Scarlett Johansson

LANSE GUTOU / BLUE SKY BONES - Jian Cui, China, 2013, 101’
Cast: ZHAO You-liang, NI Hong-jie, HUANG Huan, YING Fang, LEI Han, TAO Ye

International premiere - Second film
MANTO ACUÍFERO - Michael Rowe, Mexico, 2013, 79’
Cast: Tania Arredondo, Arnoldo Picazzo, Zaili Sofia Macias


World premiere
MOGURA NO UTA / THE MOLE SONG - Takashi Miike, Japan, 2013, 120’
Cast: Toma Ikuta, Riisa Naka, Takayuki Yamada, Yusuke Kamiji, Takashi Okamura, Shinichi
Tsutsumi
International premiere - Second film
OUT OF THE FURNACE - Scott Cooper, United States, United Kingdom, 2013, 116’
Cast: Christian Bale, Casey Affleck, Woody Harrelson, Forest Whitaker, Zoë Saldaña, Sam
Shepard, Willem Dafoe

QUOD ERAT DEMONSTRANDUM - Andrei Gruzsniczki, Romania, 2013, 105’
Cast: Florin Piersic jr., Dorian (Doru) Boguta, Medeea Marinescu, Mihai Calin, Ana Popescu,
Adina Cristescu, Alina Berzunteanu, Lucian Ifrim, Ada Zamfira, Paul Ipate, Dan Tudor, Ofelia
Popii, Sorin Leoveanu

World premiere
SEBUNSU KODO / SEVENTH CODE - Kiyoshi Kurosawa, Japan, 2013, 70’
Cast: Atsuko Maeda, Ryohei Suzuki, Aissy, Hiroshi Yamamoto

World premiere
SORG OG GLÆDE / SORROW AND JOY - Nils Malmros, Denmark, 2013, 107’
Cast: Jakob Cedergren, Helle Fagralid, Nicolas Bro, Ida Dwinger




TAKE FIVE - Guido Lombardi, Italy, 2013, 100’
Cast: Gaetano Di Vaio, Peppe Lanzetta, Carmine Paternoster, Salvatore Ruocco, Salvatore
Striano, Gianfranco Gallo
TIR - Alberto Fasulo, Croatia, Italy, 2013, 90’
Cast: Branko Završan, Lučka Počkja, Marijan Šestak
World premiere – Second film
A VIDA INVISÍVEL / THE INVISIBLE LIFE / LA VITA INVISIBILE - Vítor Gonçalves, Portugal, 2013,
99’
Cast: Filipe Duarte, Maria João Pinho, João Perry, Pedro Lamares, Susana Arrais
International premiere - Debut film
VOLANTIN CORTAO / KITE ADRIFT - Diego Ayala, Anibal Jofré, Chile, 2013, 77’
Cast: Loreto Velasquez, René Miranda, Victor Montero, Alejandro Lafuente, Isaac Arriagada,
Isis Kraushaar
OUT OF COMPETITION

Italian premiere
AU BONHEUR DES OGRES / THE SCAPEGOAT / IL PARADISO DEGLI ORCHI - Nicolas Bary,
France, 2013, 92’
Cast: Raphaël Personnaz, Bérénice Bejo, Émir Kusturica, Guillaume De Tonquédec, Thierry
Neuvic, Mélanie Bernier, Dean Constantin Gaigani, Marius Yelolo

Italian premiere
BORDER - Alessio Cremonini, Italy, 2013, 95’
Cast: Dana Keilani, Sara El Debuch, Wasim Abo Azan

Italian premiere
LAS BRUJAS DE ZUGARRAMURDI / WITCHING&BITCHING - Álex de la Iglesia, Spain, 2013, 110’
Cast: Javier Botet, Mario Casas, Santiago Segura, Carmen Maura, Hugo Silva, Carolina Bang








World premiere
COME IL VENTO / LIKE THE WIND - Marco Simon Puccioni, Italy, 2013, 110’
Cast: Valeria Golino, Filippo Timi, Francesco Scianna, Chiara Caselli, Marcello Mazzarella,
Salvio Simeoli, Francesco Acquaroli, Rosa Pianeta, Domenico Balsamo, Vanni Bramati, Vanni
Fois, Enrico Silvestrin, Pascal Zullino, Alex Pascoli
European premiere
DI RENJE ZHI SHENDU LONGWANG 3D / YOUNG DETECTIVE DEE: RISE OF THE SEA DRAGON 3D
- Tsui Hark, China, 2013, 134’
Cast: Mark Chao, Shaofeng Feng, Kevin Lin, Angela Baby, Kim Beom
World premiere – Debut film
GODS BEHAVING BADLY - Marc Turtletaub, United States, 2013, 90’
Cast: Christopher Walken, John Turturro, Sharon Stone, Alicia Silverstone, Edie Falco, Oliver
Platt, Rosie Perez
Italian premiere
THE GREEN INFERNO - Eli Roth, United States, 2013, 103’
Cast: Lorenza Izzo, Ariel Levy, Aaron Burns, Sky Ferreira, Nicolás Martínez
Festival premiere
THE HUNGER GAMES: CATCHING FIRE / HUNGER GAMES – LA RAGAZZA DI FUOCO - Francis
Lawrence, United States, 2013, 146’
Cast: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth
Banks, Lenny Kravitz, Philip Seymour Hoffman, Jeffrey Wright, Sam Claflin, Jena Malone,
Stanley Tucci, Donald Sutherland
JE FAIS LE MORT - Jean-Paul Salomé, France, 2013, 104’
Cast: François Damiens, Géraldine Nakache, Lucien Jean-Baptiste
World premiere
LA LUNA SU TORINO / 45TH PARALLEL - Davide Ferrario, Italy, 2013, 90’
Cast: Walter Leonardi, Manuela Parodi, Eugenio Franceschini, Daria Pascal Attolini, Benedetta
Perego, Aldo Ottobrino
Italian premiere
ROMEO AND JULIET / ROMEO E GIULIETTA - Carlo Carlei, United Kingdom, 2013, 118’
Cast: Douglas Booth, Hailee Steinfeld, Damian Lewis, Paul Giamatti, Laura Morante, Thomas
Arana, Kodi Smit-McPhee, Natascha McElhone









World premiere
LA SANTA - Cosimo Alemà, Italy, 2013, 96’
Cast: Marianna di Martino, Gianluca Di Gennaro
Italian premiere
SNOWPIERCER - Joon-ho Bong, South Korea, 2013, 126’
Cast: Chris Evans, Tilda Swinton, Ed Harris, Alison Pill, Jamie Bell, John Hurt, Octavia
Spencer, Kang-ho Song
World premiere
SONG'E NAPULE - Antonio Manetti, Marco Manetti, Italy, 2013, 114’
Cast: Alessandro Roja, Giampaolo Morelli, Serena Rossi, Paolo Sassanelli, Peppe Servillo,
Antonio Pennarella, Juliet Esey Joseph, Antonello Cossia, Marco Mario De Notaris, Ciro
Petrone, Franco Ricciardi, Ivan Granatino, Antonio Buonuomo, Carlo Buccirosso
World premiere
SOU DUK / SAODU / THE WHITE STORM - Benny Chan, China, Hong Kong, 2013, 140’
Cast: Louis KOO, Nick CHEUNG, Sean LAU, YUAN Quan, LO Hoi Pang, NG Ting Yip Berg, LAM
Kwok Pun, Kenneth LOW, Hugo NG, Treechada MALAYAPORN, Marc MA
STALINGRAD 3D - Fedor Bondarchuk, Russia, 2013, 135’
Cast: Petr Fedorov, Thomas Kretchmann, Sergey Bondarchuk, Maria Smolnikova, Yanina
Studilina, Andrey Smolyakov, Dmitry Lysenkov, Alexey Barabash, Oleg Volk, Heiner
Lauterbach
European premiere
TALES FROM THE DARK - Simon Yam, Fruit Chan, Chi Ngai Lee, Gordon Chan, Lawrence Lau,
Teddy Robin, Hong Kong, 2013, 199’
Cast: Kelly Chen, Tony Leung Ka Fai, Simon Yam, Lam Ka Tung, Fala Chen
World premiere
TRUDNO BYT’ BOGOM / HARD TO BE A GOD / È DIFFICILE ESSERE UN DIO - Aleksei Yuryevich
German, Russia, 2013, 170’
Cast: Leonid Yarmolnik, Dmitriy Vladimirov, Laura Lauri
World premiere
L'ULTIMA RUOTA DEL CARRO - Giovanni Veronesi, Italy, 2013, 113’
Cast: Elio Germano, Alessandra Mastronardi, Ricky Memphis, Sergio Rubini, Virginia Raffaele e
Alessandro Haber
World premiere
IL VENDITORE DI MEDICINE / THE MEDICINE SELLER - Antonio Morabito, Italy, Switzerland,
105’
Cast: Claudio Santamaria, Evita Ciri, Isabella Ferrari, Giorgio Gobbi, Ignazio Oliva, Pierpaolo
Lovino, Roberto De Francesco, Paolo De Vita, Alessia Barela, Marco Travaglio, Leonardo Nigro
IN PARTNERSHIP WITH ALICE NELLA CITTÀ



BELLE & SEBASTIEN - Nicolas Vanier, France, 2013, 98’
Cast: Felix Bossuet, Tcheky Karyo, Margaux Chatelier, Dimitri Storoge, Andreas Pietschmann,
Urbain Cancelier Mehdi
European premiere
LA COUR DE BABEL / SCHOOL OF BABEL - Julie Bertuccelli, France, 2013, 89’
Italian premiere
METEGOL / FOOSBALL / GOOOL! - Juan José Campanella, Argentina, 2013, 106’
Cast: Rupert Grint, Anthony Head, Juan José Campanella
SPECIAL EVENTS OUT OF COMPETITION



World premiere
CASTELLO CAVALCANTI - Wes Anderson, United States, Italy, 2013, 8’
World premiere
CHIKYU KYODAI / BLUE PLANET BROTHERS - Takashi Miike, Japan, 2013, 60’
Cast: Issei Okihara, Satoshi Judai, Hiroaki Harada
Special event Out of Competition - In collaboration with Accademia Nazionale di Santa
Cecilia
IL CARATTERE ITALIANO / THE ITALIAN CHARACTER - Angelo Bozzolini, Germany, 2013, 100’
THE CINEMAXXI LINE-UP - A PREVIEW
The complete line-up of CinemaXXI will be announced and commented in a press conference which
will take place at the MAXXI – National Museum of XXI Century Arts, on Wednesday, October 23,
2013. The following titles are just a preview of the selection.
FEATURE-LENGTH FILMS IN COMPETITION

L'AMMINISTRATORE - Vincenzo Marra, Italy, 2013, 83’ – Documentario

Debut film
ATLAS - Antoine d'Agata, France, 2013, 75’

BIRMINGEMSKIJ ORNAMENT–2 / BIRMINGHAM ORNAMENT-2 / ORNAMENTO DI BIRMINGHAM-2 Andrey Silvestrov, Yuri Leiderman, Russia, 2013, 89’

O NOVO TESTAMENTO DE JESUS CRISTO SEGUNDO JOÃO / THE NEW TESTAMENT OF JESUS
CHRIST ACCORDING TO JOHN / IL NUOVO TESTAMENTO DI GESÙ CRISTO SECONDO GIOVANNI Joaquim Pinto, Nuno Leonel, Portugal, 2013, 128’ – Documentary

FEAR OF FALLING - Jonathan Demme, United States, 2013, 126’

HOMETOWN | MUTONIA - Zimmer Frei, Italy, 2013, 70’

LITTLE FEET - Alexandre Rockwell, United States, 2013, 64’

A MÃE E O MAR / THE MOTHER AND THE SEA - Gonçalo Tocha, Portugal, 2013, 97’

NEPAL FOREVER - Aliona Polunina, Russia, 2013, 90’

Debut film
ORLANDO FERITO - ROLAND BLESSÉ / ROLAND WOUNDED - Vincent Dieutre, France, 2013,
121’

PARCE QUE J'ÉTAIS PEINTRE, L'ART RESCAPÉ DES CAMPS NAZIS/ SINCE I WAS A PAINTER Christophe Cognet, France, 2013, 105’ – Documentario

RACCONTI D'AMORE / LOVE STORIES - Elisabetta Sgarbi, Italy, 2013, 60’

RANGBHOOMI - Kamal Swaroop, India, 2013, 82’

EL ROSTRO / THE FACE - Gustavo Fontán, Argentina, 2013, 64’

THWARA ZANJ / ZANJ REVOLUTION - Tariq Teguia, Algeria, France, Lebanon, 2013, 116’
OUT OF COMPETITION

RICORDI PER MODERNI / MEMORIES FOR MODERNS - Yuri Ancarani, Italy, 2009, 60’

SAATVIN SAIR / THE SEVENTH WALK - Amit Dutta, India, 2013, 70’

SKURSTENIS / THE CHIMNEY - Laila Pakalnina, Latvia, 2013, 53’
DOCUMENTARIES IN COMPETITION

World premiere – Debut film
CAPO E CROCE, LE RAGIONI DEI PASTORI / HEADS AND TAILS, THE REASONS OF THE
SHEPERDS - Paolo Carboni, Marco Antonio Pani, Italy, 2013, 104’

DAL PROFONDO / FROM THE DEPTHS - Valentina Pedicini, Italy, 2013, 72’

FUORISTRADA / OFF ROAD - Elisa Amoruso, Italy, 2013, 66’

World premiere
LETTERA AL PRESIDENTE / LETTER TO THE PRESIDENT - Marco Santarelli, Italy, 2013, 69’

World premiere
RITRATTI ABUSIVI - Romano Montesarchio, Italy, 2013, 70’

World premiere
THE STONE RIVER - Giovanni Donfrancesco, France, Italy, 2013, 88’

VACANZE AL MARE / SEASIDE HOLIDAYS - Ermanno Cavazzoni, Italy, 2013, 60’
OUT OF COMPETITION

World premiere
L'ALTRO FELLINI / THE OTHER FELLINI - Roberto Naccari, Stefano Bisulli, Italy, 2013, 68’

World premiere
FEDERICO DEGLI SPIRITI – L’ULTIMO FELLINI - Antonello Sarno, Italy, 2013, 18’

World premiere
HO FATTO UNA BARCA DI SOLDI / I MADE A WHOLE LOAD OF MONEY - Dario Acocella, Italy,
2013, 63’
THE OFFICIAL AWARDS
LIFETIME ACHIEVEMENT: Aleksei Yuryevich German (July 20, 1938 – February 21, 2013).
For the first time in the history of European festivals, a Lifetime Achievement Award will be
conferred posthumously. The award ceremony will take place on November 13. The Lifetime
Achievement Award will be presented to Svetlana Karmalita and Aleksei A. German. Following the
award ceremony will be the world premiere screening of Hard to Be a God.
COMPETITION
An International Jury, chaired by American director, screenwriter, and producer James Gray, and
composed of six leading film and cultural figures from various countries, none of whom has been
involved in the production of any of the works selected, or has an interest in their distribution, will
give the following awards for the feature-length films (there will be no split awards):
- Golden Marc’Aurelio Award for Best Film
- Best Director Award
- Special Jury Prize
- Best Actor Award
- Best Actress Award
- Award for Emerging Actor or Actress
- Award for Best Technical Contribution
- Award for Best Screenplay
AUDIENCE AWARD
The BNL Audience Award for Best Film, chosen by festival audiences by means of an electronic voting
system, will be presented to a film in the Official Competition.
CINEMAXXI
An International Jury, chaired by American director and artist Larry Clark, and composed of four
leading film and cultural personalities from various countries, none of whom has been involved in the
production of the works invited to compete, or has an interest in their distribution, will give the
following awards (there will be no split awards):
- CinemaXXI Award for Best Film (reserved for feature-length films)
- Special Jury Prize – CinemaXXI (reserved for feature-length films)
- CinemaXXI Award for Short Films
Award for Best Italian Documentary (no split awards): Premio Doc It - Prospettive Italia Doc
The Italian Polygraphic Institute and National Mint (Ipzs) will make the prizes that will be awarded
to the winners. The prize for the Best Film, the "Golden Marc'Aurelio", represents, at a scale of
1:16, the famous sculpture of Marcus Aurelius in the Piazza del Campidoglio.
COLLATERAL AWARDS
Farfalla d’Oro Prize – Agiscuola | L.A.R.A. (Libera Associazione Rappresentanza di Artisti) for the Best
Italian Actor | AMC Best Editing | AIC Prize for Best Cinematography | Best Sound Editing Award –
A.I.T.S. | “La Chioma di Berenice” Award for Best Make up and for Best Hairstyling in international
movies| Maurizio Poggiali Award for Best Documentary | Centenario BNL Award: #100sec per il futuro
COMPETITION AND CINEMAXXI
THE JURY PRESIDENTS
JAMES GRAY | INTERNATIONAL COMPETITION JURY
Director, screenwriter, and producer James Gray was born in New York in 1969.
In 1994, after attending the University of Southern California School of Cinematic
Arts, he made his debut as a director at the age of 25: he wrote and directed his
first feature film, Little Odessa, starring Tim Roth, Vanessa Redgrave, Maximilian
Schell, and Edward Furlong, won several awards including the Silver Lion and the
Coppa Volpi for Best Supporting Actress (Vanessa Redgrave) at the 51st Venice
International Film Festival. His later films, which inaugurated his artistic partnership with actor
Joaquin Phoenix, were all presented in competition at the Cannes Film Festival. The first, The Yards
(2000), a film noir written and shot in 1998, starring Mark Walhberg, Joaquin Phoenix, Charlize
Theron, James Caan, Faye Dunaway, Ellen Burstyn, and Tomas Milian is a story of corruption and
illegal trafficking set in New York, whereas We Own the Night (2007) tells the story of two estranged
brothers (played by Mark Wahlberg and Joaquin Phoenix) who reconciled to revenge the death of
their father (Robert Duvall). In Two Lovers (2008), inspired by Dostoevsky’s short story “White
Nights”, Gray turns to a different genre to make a love story. The film as always boasts an all-star
cast including Joaquin Phoenix, Gwyneth Paltrow, Isabella Rossellini, and Vinessa Shaw. Finally, The
Immigrant (2013), in Competition at Cannes, starring Jeremy Renner, Marion Cotillard and Joaquin
Phoenix, addresses the struggle of two sisters who leave their native Poland in search of fortune in
the United States of America in the early ‘20s.
LARRY CLARK | INTERNATIONAL CINEMAXXI JURY
One of the most important directors and artists of the past fifty years, Larry
Clark was born in Tulsa (Oklahoma) in 1943. At the age of fifteen he began his
professional experience, working with his mother in the family business, going
door to door as a baby photographer. He later attended the Layton School of Art
in Milwaukee. In 1964 he moved to New York to work freelance, but only two
months later was drafted to serve in Vietnam. After the army, he went back to
Tulsa and continued photographing his friends – whom he had started portraying in 1962 and 1963.
This was the beginning of his book Tulsa (1971), a “photographic documentary” that still influences
our collective imagination today. The images and approach offered by Tulsa have had a profound
influence on cinema: they have been cited as a source of inspiration by directors such as Martin
Scorsese and Gus Van Sant. The book was followed by other photographic works such as Teenage
Lust and The Perfect Childhood. His works were exhibited in prestigious museums such as the
Whitney Museum of American Art in New York, and the Museum of Fine Arts in Boston. In 1993 he
made his directorial debut with the music video for “Solitary Man” by American singer-songwriter
Chris Isaak. Two years later, he directed his first feature-length film, Kids (1995, in Competition at
the Cannes Film Festival), which established him as one of the most controversial and influential
directors of our time. In 1998, he directed Another Day in Paradise, starring Melanie Griffith and
James Woods. His next films, Bully (2001) and Ken Park (2002) both in Competition at the Venice
International Film Festival, were released to controversy and prompted the MPAA to react in
response to the aggressive demand for censorship. In 2006 he directed Wassup Rockers (2006) and
directed the short film Impaled, a segment of the anthology film Destricted, which boasted directors
such as Marina Abramovic and Gaspar Noè. His latest feature-length film, Marfa Girl (2012), world
premiered at the 7th Rome Film Festival, winning the Golden Marc’Aurelio for Best Film, is a comingof-age story touching on sex, drugs, rock and roll, art, violence and racism. Marfa Girl is the first
awarded at an international film festival to bypass a release in movie theatres and become
immediately available on line at www.larryclark.com.
THE LIFETIME ACHIEVEMENT AWARD TO ALEKSEI YURYEVICH GERMAN
World premiere screening of the master’s latest film, Hard to Be a God
The 8th Rome Film Festival (November 8-17, 2013) will present the Lifetime Achievement Award to
the family of the great Russian filmmaker Aleksei Yuryevich German, who passed away in February
this year. The award was announced personally to the Saint Petersburg master in early winter last
year, so as to accompany the release of his new ambitious film Hard to Be a God (Trudno byt’
bogom). For the first time in the history of European festivals, a Lifetime Achievement Award will
thus be conferred posthumously. The award will be accepted by Svetlana Karmalita, the director’s
widow, partner in all of his most personal projects and screenwriter for the great master’s last two
films, along with their son Aleksei A. German, who has also been at the forefront of the renewal of
contemporary Russian cinema (Silver Lion at the 2008 Venice Film Festival for Paper Soldier).
Following the awards ceremony will be the world premiere screening of the Hard to Be a God, the
monumental philosophical science-fiction epic, inspired by the cult novel Hard to Be a God (Trudno
byt' bogom, 1964) written by brothers Boris and Arkady Strugatsky, authors of, among others,
Roadside Picnic, which Andrei Tarkovsky adapted for the screen in his film Stalker.
The Artistic Director commented the decision to honour the master from Saint Petersburg with the
2013 Lifetime Achievement Award in the following words:
“Aleksei German’s career was not ‘a case’. And much less ‘a case of censorship’. He stood by every
film in his highly personal opus, which he produced against everyone and everything, in the course of
an artistic and philosophical progression that is absolutely mind-boggling, displaying a powerful
auteurist imprint even in his first ‘real’ feature-length film, the heretic Trial on the Road (Proverka
na Dorogakh, 1971-1985). A controversial figure for any regime, German soon began his battle against
the censors and the bureaucracy of the Soviet filmmaking system, which continued throughout
Brezhnev’s rule. Not only because his films broke the rules and wilfully neglected the practices of
post-thaw Socialist realism, but above all, because had his filmmaking, as an auteur, become
successful, it would have disrupted existing theoretical, ethical, and stylistic structures and themes.
His explosive influence had to be stopped. In his 46-year career as a director, German was therefore
allowed to make only five films and a half - the ‘half’ was a debut co-directorship.”
“His attention to the difference with respect to the demands of the present, his predilection for
dissent rather than consent, alarmed non-Socialist Russia’s commercial system, which then invented
new obstacles to the filmmaker’s tenacious creative impetus. But that did not stop him from
developing ambitious projects, which led to the production of extreme films such as Khrustalyov, My
Car! (Khrustalyov, mashinu! - in competition at Cannes in 1998) and Hard to Be a God.”
“Hard To Be a God marks the conclusion of the director’s exploration of time and memory,
connecting the absurdity of the past and the present with that of the soon-to-come Medieval Age. In
this film German wants to tell fantastic stories, while keeping faith to his concern for documentary
authenticity. This is a documentary filmmaker who, having penetrated into the imaginary world of
Hieronymus Bosch’s paintings (according to German, ‘Bosch is far more realistic than Rubens’),
obstinately continues to try and capture the smallest details.”
“Aleksei German was a genius artist who has been very persistent in his radical approach. An artist
who always chose to address insurmountable problems. If fate could give me one last opportunity to
dine with him today, in one of those Dostoevskian-Leningrad restaurants he was so fond of, I would
quote this Russian proverb to him: ‘It takes a Chinese to solve a difficult problem. But it takes a
Russian to solve an impossible one.’ A Russian genius like him.”
ALEKSEI YURYEVICH GERMAN
The extraordinary artistic integrity of this filmmaker, equivalent to that of great masters such as
Terrence Malick and Stanley Kubrick, and the incursions of Soviet censorship, which regularly barred
the release of his films, limited German’s production to five feature-length films. They have
represented and continue to represent a vital benchmark. German’s stature has few equals in
modern cinema – with Andrei Tarkovsky and Aleksandr Sokurov he is a member of the ‘Russian trinity’
who revolutionized the conception of cinema.
Aleksei Yuryevich German was born in Leningrad in 1938. His father, Yuri P. German, the famous,
award-winning ‘humanistic’ Soviet writer, a friend of director Vsevolod Emilevich Meyerhold,
convinced him to enrol in the Faculty of Theatre Directing in Leningrad. After graduating, German
collaborated with Georgy Tovstonogov, a key figure in Soviet theatre in the 1950s and 60s. In 1964,
the director began to work with Lenfilm, the oldest “studio” in the Soviet Union, which became the
cradle of auteur filmmaking. In 1967, he made his first film with Grigori L. Aronov, Sedmoy sputnik
(The Seventh Companion). In 1971, German finished Proverka na dorogach or Operacija "S novym
godom" (Trial on the Road or Operation “Happy New Year”), inspired by a novel written by his
father. The film, set during World War II, was immediately forbidden with the excuse that it
distorted historical facts: it was not released until 1985. In 1977, the director made Dvadtsat dney
bez voyny (Twenty Days Without War), inspired by the novel by Konstantin Simonov, the famous
party-loyal writer who defended the film before the leaders of the Central Committee and ensured
its distribution. In 1984, German again worked on one of his father’s novels and made his most
famous film, Moy drug Ivan Lapshin (My Friend Ivan Lapshin), set in the early 1930s. German’s
portrayal of Soviet history irritated the Party and the film was immediately withdrawn from movie
theatres. To survive, German wrote screenplays together with his wife Svetlana Karmalita, under her
name alone.
German’s parabola of life and creation was fraught with events that were as tough as they were
dramatic, and which reduced his opportunities to personally develop his own projects. During the
longest period of his inactivity as a director, in 1988 German and his companion in life and work
Svetlana Karmalita did however create and direct the Studio, for debut works and experimental films
at Lenfilm, a structure to develop debut works by new directors which produced eight feature-length
films, as well as shorts and animated films.
With the advent of the 1990s and the new political situation, German worked on Khrustalyov, My
Car!, released in 1998, after being presented in competition at the Cannes Film Festival. In that film,
German came to the conclusion that after the horrors of the Stalin era, art was no longer possible in
its previous form. In 2000, the director, finally recognized as one of the great masters of Russian
filmmaking, and honoured with many awards, began to work on the epic project of Hard to Be a God,
inspired by the famous eponymous novel by the Strugatsky brothers, which took thirteen years of
hard work. In this work, German portrayed an entire civilization onscreen, reviewing the history of
humanity with ruthless precision and enormous compassion. Aleksei German died on February 21st,
2013: the film was completed by Svetlana Karmalita and by their son Aleksei A. German.
FILMOGRAPHY (director)
1967 - Sedmoy sputnik (The Seventh Companion)
1971 - Proverka na dorogakh (Trial on the Road)
1976 - Dvadtsat dney bez voyny (Twenty Days Without War)
1984 - Moy drug Ivan Lapshin (My Friend Ivan Lapshin)
1998 - Khrustalyov, mashinu! (Khrustalyov, My Car!)
2013 - Trudno byt’ bogom (Hard to Be a God)
THE PRODUCTION OF HARD TO BE A GOD
Hard to Be a God is a project that German had been meditating since the mid-1960s. As a matter of
fact, German tried to make it as early as 1964, as his “actual” debut film, but to respect the rules of
Lenfilm, the historic production company for which the director always worked, he made Trial on the
Road instead. The project was later approved by Goskino, the State agency responsible for organizing
filmmaking in the Soviet Union, but in 1968, after the uprising in Prague, the authorization was
revoked for ideological reasons. Twenty years later the director returned to the project, but decided
instead to make a film that would take him a long time to complete, Khrustalyov, My Car! Ten years
later, after stating “I am not interested in anything but the possibility of building a world, an entire
civilization from scratch”, German committed his efforts to Hard to Be a God. The film was shot
between the autumn of 2000 and August 2006: it even involved the construction of castles near
Prague and on the sets at Lenfilm; the shooting took so long that some of the actors died of old age;
the post-production phase took over five years. German died on February 21st, 2013: the film was
completed by his wife and closest collaborator, Svetlana Karmalita, and by their son Aleksei A.
German.
SYNOPSIS
A brilliant film version of the 1960’s cult novel Hard to Be a God by Boris and Arkady Strugatsky. A
group of scientists is sent to the planet Arkanar to help the local population which is going through a
historical phase equivalent to our own Medieval Age, in which a ban has been issued not only on
intellectuals, but on anyone who simply knows how to read and write. The protagonists, who work in
incognito, have been forbidden to influence political and historical events on the plane: they must
remain neutral. However, Don Rumata – the leading character - tries to save the local intellectuals
from their punishment and cannot avoid taking a position: “What would you do in God’s place?”
TSUI HARK - MAVERICK DIRECTOR AWARD
Director, producer, and screenwriter Tsui Hark, who led the film revolution in Hong Kong starting in
the late 1970’s, will receive the Maverick Director Award during the 8th Rome Film Festival,
(November 8-17, Auditorium Parco della Musica) directed by Marco Müller. The award will be
presented by one of the first observers in Europe to call attention to the Tsui Hark “phenomenon”,
renown French director Olivier Assayas, the director of L’eau froide, Irma Vep, Les Destinées
Sentimentales, Demonlover, Clean, Something in the Air, all selected by the major international film
festivals, and winner of a Golden Globe award for the television series “Carlos”. The Maverick
Director Award event this year will be accompanied by a Master class with Tsui Hark, moderated by
director Olivier Assayas with the critic and Rome Film Festival programmer Giona Nazzaro.
Tsui Hark’s new film, Young Detective Dee: Rise of the Sea Dragon 3D (Di Renjie zhi shendu longwang
3D), will be presented Out of Competition in its international premiere, screening after the Maverick
Director award ceremony. The highly anticipated prequel to the award-winning historical kung-fu
fantasy film Detective Dee and the Mystery of the Phantom Flame (Di Renjie, 2010), this is the
second film made in 3D by Tsui Hark after Flying Swords of Dragon Gate, starring martial arts icon
Jet Li.
This year, the Rome Film Festival acknowledges one of the greatest contemporary filmmakers with
the “Maverick Director Award”, dedicated to auteurs who have contributed to the invention of a
new, nonconformist cinema.
Marco Müller, Artistic Director of the Rome Film Festival, commented on the award: “You think you
will find him where you last left him, but Tsui Hark will always be one step ahead. He has never
stopped experimenting, delving deep into the genres, exploring the limits of technology as he follows
its non-stop evolution. He has reinterpreted the Chinese filmmaking tradition, turning the codes and
conventions of Western cinema upside down. He has gone so far as to rewrite production modes previously demonstrating how to combine a low budget with intelligent entertainment, and now
showing how to keep risking (and succeeding) when provided with the huge budgets offered by the
new Chinese majors. (A perfect example are the two extraordinary films dedicated to Di Renjie,
‘Detective Dee’). Every time he has chosen to look back, retrieving tradition and characters from the
movies of the past, Tsui Hark has absorbed new life blood and transformed it creatively into what is
now an unmistakable style, a blend of photographic precision, choreographic perfection and daring
editing. Though it may seem, given the latest titles in his filmography, that Tsui Hark’s professional
inclinations will continue to bind him to cloak-and-dagger stories, to the cinema of heroic knights
(wuxia) of which he has provided some of the most exuberant moments, the diversity of his films
means that they remain impossible to pigeonhole. Even his most fascinating non-action pieces,
combining comedy and drama, pathos and bathos, moving towards lyrism or romanticism, cannot
obscure the vision of Tsui Hark as one of the most exciting contemporary filmmakers. You can be
sure of one thing: Tsui Hark will continue to leave us spellbound and amazed”.
One of the founding fathers of that extraordinary wave of film creativity from Hong Kong, starting in
the late 1970’s Tsui Hark made a fundamental contribution to that revolutionary era of aesthetic and
formal renewal. His films spawned a new idea of popular cinema, intelligently spectacular and
perfectly stylized, which left its mark around the world, and influenced Hollywood action films for
the past three decades. His films straddle traditional genres and innovation, auterism and
commerciality; they celebrate action and leave the viewer spellbound, but also address – with no
ideological buffers – the critical issues in Chinese identity and culture.
TSUI HARK
Born in Canton but raised in Vietnam up to the age of 14, Tsui Hark studied filmmaking in the USA
and continued his training “in the field”, working for the CTV television channel in Hong Kong.
Throughout his long and prolific career, he has worked with the most famous movie stars in Hong
Kong, including Chow Yun-fat, Andy Lau, Leslie Cheung, Anita Mui, Maggie Cheung, Anita Yuen,
directing (as well as producing) some of the greatest box-office hits in the cinema of this former
English colony.
With Once Upon A Time in China, a trilogy dedicated to the legendary martial arts master Wong Feihung, Tsui Hark turned Jet Li into a world-class star. In his trilogy A Chinese Ghost Story, Tsui Hark
reinvented the traditional Chinese horror story, cross-fertilizing it with the martial arts and romantic
comedy. Revolutionary in the way he blended modern special effects into the fabric of traditional
Hong Kong filmmaking, Tsui Hark is a singular director - admired by colleagues of the calibre of
George Lucas, Steven Spielberg, James Cameron, Sam Raimi and Quentin Tarantino. Tsui Hark has
produced and launched filmmakers such as Ching Siu-tung, Kirk Wong, and Raymond Lee among
others. It is thanks to Tsui Hark's extraordinary intuition that John Woo, after years of working on
commercial films, was able to direct the seminal noir A Better Tomorrow, just when he was thinking
of abandoning cinema for good. He is the author of masterpieces such as Zu: Warriors from the
Mountain (1983), Shanghai Blues (1984), Peking Opera Blues (1986), A Better Tomorrow III (1986),
Swordsman (1990), Green Snake (1993) The Lovers (1994), The Blade (1995), Seven Swords (2005).
After 1997, when Hong Kong was returned to China, Tsui Hark moved to Hollywood, where he
directed two cult movies starring Jean-Claude Van Damme. In the first, Double Team (1997), Van
Damme faced a ferocious Mickey Rourke in the shadow of the Cestia Pyramid. In Knock Off (1998),
the director took contemporary action films to a point of no return, producing a milestone of postmodern genre cinema. In 2005, with Seven Swords, choreographed by the great Lau Kar-leung (who
passed away a few months ago), the director opened the 62nd Venice International Film Festival. With
nearly a hundred films to his name, as director or producer, Tsui Hark today is not only one of the
most representative figures in contemporary Asian cinema, but a master filmmaker recognized the
world over.
THE MASTER CLASSES
JONATHAN DEMME
The American director, screenwriter, and producer, winner of an Oscar® for
The Silence of the Lambs, will speak to the audience about his relationship
with film, commenting on the most significant moments of his career and
answering questions by film buffs.
TSUI HARK
The director, producer, and screenwriter who led the film revolution in Hong
Kong starting in the late Seventies, will meet the audience at the Auditorium
Parco della Musica. The conversation will be moderated by director Olivier
Assayas with the critic and Rome Film Festival programmer Giona Nazzaro.
MEETINGS, DUETS, DEBATES
In addition to the Master classes, the programme includes meetings, duets, debates, panels with
directors, producers, and cinema scholars. The complete programme and calendar will be announced
in the upcoming days.
RETROSPECTIVES AND TRIBUTES
The Centro Sperimentale di Cinematografia-Cineteca Nazionale (Experimental Cinematography
Centre – National Film Archive) will organize two Retrospectives this year as part of the Rome Film
Festival. The retrospective “Hercules conquers the silver screen: the golden age of Italian Sword and
Sandal films”, curated by Steve Della Casa and Marco Giusti, will present eleven films selected
among the almost two hundred made in Italy between 1957 and 1965, set in Ancient Rome and
Greece. The heroes are Hercules, Maciste, Ursus, Sampson; the most famous actors were Mister
Universes such as Steve Reeves, but this genre, beloved by the popular audiences in Italy and by film
buffs in France, revealed or confirmed the talent of authors such as Vittorio Cottafavi, Mario Bava,
Riccardo Freda (and, though not credited, Michelangelo Antonioni or Francesco Maselli).
The Retrospective “Claudio Gora, director and actor”, curated by Emiliano Morreale, presents the
nine films directed by Claudio Gora (the pseudonym for Emilio Giordana), one of the finest character
actors of Italian cinema, who was also an isolated and original director worthy of being rediscovered.
On the one hundredth anniversary of his birth the CSC-Cineteca Nazionale presents the restoration of
the very rare La contessa azzurra (1960), a colourful tribute to the world of variety and silent film.
Along with the Retrospectives, the CSC – Cineteca Nazionale (National Film Archive), will present five
special events:
- LE TENTAZIONI DEL DOTTOR ANTONIO (ep. Boccaccio 70) (1961) by Federico Fellini, restored by
the CSC-Cineteca Nazionale, with the contribution of Dolce&Gabbana and the collaboration of Surf
Film and Videodue, to commemorate Fellini twenty years after his death.
- GERMANIA, ANNO ZERO (Germany Year Zero, 1948) by Roberto Rossellini, in the version restored
by CSC – Cineteca Nazionale, Cinecittà-Luce, Fondazione Cineteca di Bologna. Coproduction Office as
part of the Progetto Rossellini.
- NELLA CITTA L’INFERNO (1959) by Renato Castellani, with the unforgettable performance by Anna
Magnani for a double tribute: to the director on the hundredth anniversary of his birth and to the
actress on the fortieth anniversary of her death.
- IL PROCESSO DI VERONA (The Verona Trial, 1963) by Carlo Lizzani. In the wake of Lizzani’s death,
the Rome Film Festival and the CSC-Cineteca Nazionale will pay him a tribute with a public
presentation of one of his most famous films.
- ARRIVANO I TITANI (1962) by Duccio Tessari. In the wake of Giuliano Gemma’s death, the Rome
Film Festival and the CSC-Cineteca Nazionale will pay him a tribute with a public presentation of one
of his most famous films.
RETROSPECTIVE “HERCULES CONQUERS THE SILVER SCREEN”:
THE GOLDEN AGE OF ITALIAN SWORD AND SANDAL FILMS

ARRIVANO I TITANI directed by Duccio Tessari, Italy, France, 1962, 115’
Cast: Giuliano Gemma, Antonella Lualdi, Pedro Armendáriz, Jacqueline Sassard, Serge
Nubret, Gérard Séty

ERCOLE AL CENTRO DELLA TERRA directed by Mario Bava, Italy, 1961, 80’
Cast: Reg Park, Eleonora Ruffo, Christopher Lee, Giorgio Ardisson, Ida Galli [Evelyn Stewart],
Franco Giacobini

LE FATICHE DI ERCOLE directed by Pietro Francisci, Italy, 1958, 103’
Cast: Steve Reeves, Sylva Koscina, Fabrizio Mioni, Ivo Garrani, Arturo Dominici, Mimmo
Palmara, Lydia Alfonsi

I GIGANTI DI ROMA directed by Antonio Margheriti (Anthony Dawson), Italy, France, 1964, 97’
Cast: Ettore Manni, Goffredo Unger, Richard Harrison, Ralph Hudson, Nicole Tessier, Wandisa
Guida, Renato Baldini

LE GLADIATRICI directed by Antonio Leonviola, 1963, 91’
Cast: Joe Robinson, Claudia Capone, Jeanine Hendy, Alberto Cevenini, Carla Foscari, Maria
Fiore, Harry Baird

MACISTE ALL’INFERNO directed by Riccardo Freda, Italy, 1962, 92’
Cast: Adriano Bellini [Kirk Morris], Hélène Chanel, Angelo Zanolli, Andrea Bosic, Donatella
Mauro, Antonella Della Porta

NEL SEGNO DI ROMA directed by Guido Brignone, Italy, France, 1959, 93’
Cast: Anita Ekberg, Georges Marchal, Folco Lulli, Jacques Sernas, Lorella De Luca, Alberto
Farnese, Mimmo Palmara

ROMA CONTRO ROMA directed by Giuseppe Vari, 1963, 97’
Cast: Ettore Manni, Evelyn Stewart, John Drew Barrymore, Antonio Corevi, Rosy Zichel,
Matilde Calman, Livia Contardi

URSUS directed by Carlo Campogalliani, 1961, 93’
Cast: Ed Fury, Moira Orfei, Cristina Gajoni, Antonio Gil, Eliana Grimaldi, Soledad Miranda,
Nino Fuscagni

LA VENDETTA DI ERCOLE directed by Vittorio Cottafavi, Italy, France, 1960, 90’
Cast: Mark Forest, Broderick Crawford, Gaby Andrè, Federica Ranchi, Sandro Moretti,
Salvatore Furnari, Giancarlo Sbragia

LA VENDETTA DI SPARTACUS directed by Michele Lupo, Italy, 1964, 98’
Cast: Roger Browne, Giacomo Rossi Stuart, Daniele Vargas, Scilla Gabel, Germano Longo,
Gordon Mitchell, Gianni Solaro, Franco Di Trocchio
RETROSPECTIVE CLAUDIO GORA

IL CIELO È ROSSO directed by Claudio Gora, Italy, 1950, 98’
Cast: Marina Berti, Jacques Sernas, Mischa Auer jr., Anna Maria Ferrero, Lauro Gazzolo,
Liliana Tellini

CONTESSA AZZURRA directed by Claudio Gora, Italy, 1960, 105’
Cast: Amedeo Nazzari, Ellys Davis, Zsa Zsa Gabor, Paolo Stoppa, Irène Tunc, Franca Marzi,
Mario Passante

FEBBRE DI VIVERE directed by Claudio Gora, Italy, 1953, 92’
Cast: Massimo Serato, Marina Berti, Anna Maria Ferrero, Marcello Mastroianni, Sandro Milani,
Nyta Dover

LA GRANDE OMBRA directed by Claudio Gora, Italy, 1957, 83’
Cast: Massimo Serato, Mara Berni, Scilla Vannucci, Maria Luisa Rolando, Franco Balducci

L’INCANTEVOLE NEMICA directed by Claudio Gora, Italy, France, 1953, 89’
Cast: Silvana Pampanini, Robert Lamoureux, Carlo Campanini, Ugo Tognazzi, Pina Renzi, Nyta
Dover

L’ODIO È IL MIO DIO directed by Claudio Gora, Italy, Federal Republic of Germany, 1969, 110’
Cast: Tony Kendall [Luciano Stella], Marina Berti, Carlo Giordana, Ella Karin, Herbert
Fleischmann, Peter Dane

ROSINA FUMO VIENE IN CITTÀ… PER FARSI IL CORREDO directed by Claudio Gora, Italy,
1972, 96’
Cast: Ewa Aulin, Hiram keller, Fiona Florence [Luisa Alcini], Lia Zoppelli, Paolo Granata,
Claudio Gora

TORMENTO D’AMORE directed by Claudio Gora, Leonardo Bercovici, Italy, Spain, 1956, 82’
Cast: Massimo Serato, Marta Toren, Otello Toso, Julita Martinez, José Nieto

TRE STRANIERE A ROMA directed by Claudio Gora, Italy, 1958, 95’
Cast: Yvonne Monlaur, Claudia Cardinale, Françoise Danell, Luciano Marin, Roy Ciccolini,
Leonardo Botta
CINEMA PORTRAITS

BERTOLUCCI ON BERTOLUCCI - DIRECTOR’S CUT by Walter Fasano, Luca Guadagnino, Italy,
2013, 120’

GIORGIO ALBERTAZZI: UN MAESTRO / A MASTER by Fabio Poggiali, Italy, 2013, 45’

L’INGANNO by Ferdinando Cito-Filomarino, Italy, 2013, 38’

MASSIMO - IL MIO CINEMA SECONDO ME by Raffaele Verzillo, Italy, 2013, 55'

ROSSELLA FALK, GLI OCCHI PIÙ OCCHI DI COSÌ by Fabio Poggiali, Italy, 2013, 45’

I TARANTINIANI by Maurizio Tedesco, Steve Della Casa, with Manlio Gomarasca, Italy, 2013,
59’
ROME INTERNATIONAL FILM MARKET
The Business Street and New Cinema Network
November 13 | 17, 2013
The eighth edition of The Business Street (TBS) and New Cinema Network (NCN) is now a market
event that has become steadfastly consolidated in the schedule of international film industry
professionals. The stability of the attendance figures, with an average of around 700 industry
accreditations, confirms the fidelization of the key players and the interest and participation of new
distributors and producers from 45 different countries. Scheduled at due distance from the crowded
summer calendar of festivals, Rome is a strategic platform for launching new films on the market, for
distributing Italian cinema abroad and encouraging international cooperation on projects in
production.
An exceptional showcase for Italian cinema and a driving force for the internationalization of local
industry, since its very first editions the Market has been able to count on the support and
collaboration of ICE – Italian Trade Promotion Agency and on the precious partnership with ANICA –
the national association of audiovisual and multimedia film industries, with which it has organized
activities for the industry throughout the year.
The Market will be held during the second part of the Festival, from 13 to 17 November 2103 in the
neighbourhood of Via Veneto, which will be connected to the Auditorium during the event by a
shuttle service. A now traditional venue for the industry, starting this year the Hotel Bernini Bristol
will also host the New Cinema Network, a co-production forum where authors may find the ideal
platform to present their new projects and come into contact with the most important players in the
international film industry. For the first time this year, the two hearts of the Roman market will join
forces in a single venue: while the Terrace will host the trading and the negotiations between the
buyers and sellers of The Business Street, the meetings for the co-production of 25 projects selected
by NCN will take place on the first floor. The Market screenings will be concentrated in the Multisala
Barberini movie theatre, located in front of the Hotel Bernini Bristol; the digital Video Library,
created in collaboration with Rai Trade and located on the basement floor, will present the films
from the official selection of the Festival, the films screened at the Market and the works of the
authors selected for NCN. An excellent tool for accredited participants, the video library offers the
opportunity for buyers to view all the films individually on demand (about 535 digital-format films
presented over 7 years) and sellers to get real-time feedback on the viewing statistics of their films.
In addition to the organized events, the Hotel Bernini Bristol will therefore offer all participants an
ideal atmosphere for making new contacts and for informal networking.
Thanks to its efficient organization, its international drawing power, the record of results – about 50%
of the projects selected by NCN over the past seven editions have been totally funded and become
award-winning internationally recognized films – since 2008 the Market in Rome has been one of the
few Italian initiatives supported by the MEDIA Programme of the European Union (‘Access to Market’
scheme). The vast network of prestigious relationships and partnerships confirms its international
stature: today NCN can count on 30 partners which include European Institutions for the promotion of
cinema and international bodies such as the Sundance Feature Film Labs, the Cinéfondation
L’Atelier, ACE – Atelier du Cinéma Européen, Eurimages. For the fourth year in a row, the Council of
Europe has selected NCN as one of the most important co-production markets and chosen Rome for
the awards ceremony of the prestigious Eurimages Co-production Development Award: a 30,000 euro
prize to develop the best project presented at NCN 2013.
This year NCN presents a roster of 25 projects from around the world, screened and chosen by a
selection committee composed of Marco Müller, Marie-Pierre Duhamel and Sandra Hebron with the
staff of New Cinema Network.
The traditional activities and events will be joined this year by new initiatives and opportunities: a
special focus on remakes, titled “RE-MAKE IT!”, will present compelling stories that can globally
communicate with the public around the world, to an audience of producers and buyers. The
selected films will be presented in a special section of the video library of The Business Street, “High
Concept Remake”.
During the tradition cycle of meetings and panel discussions devoted to the industry, in collaboration
with WCPMedia Services, Casa del Cinema | Zètema Progetto Cultura and Media Consulting Group,
special attention will be devoted this year to the new horizons opened by digital distribution, Video
on-demand and a debate on the new day-and-date release strategies. For the sixth year in a row,
November 15th has been designated as European Day, a day to focus on the opportunities offered by
the European Union for direct funding of the audio-visual industry, organized with MEDIA Desk Italia.
Michel Magnier, General Manager of “Culture and Creativity” from the Directorate General for
Education and Culture of the European Commission, and Silvia Costa, member of the European
Parliament and author of the Creative Europe Programme, will present the results of the negotiations
between the institutions of the European Union which have led to the institution of the new sevenyear Creative Europe (2014-2020) programme to sustain the audio-visual and cultural industries, soon
to be approved.
The conferences and workshops organized by the Market will be held at the Casa del Cinema, which
has always been one of the main venues for the activities of TBS and NCN.
This year NCN will also present Words on Screen, an international project to promote two
fundamental segments of the Italian cultural industry (publishing and film production), the result of
the partnership between ANICA and AIE with the support of the Ministry for Economic Development.
The initiative intends to focus on internationalization and professional exchange programmes with
foreign countries and on the networking between industries: the goal is to strengthen business
relations and collaboration and to create significant opportunities for operators. The first phase took
place in June in the United States: a series of Italian films based on books was presented in New York
and an industry meeting was organized between Italian and American professionals. A second event
will be held on October 24th (workshop for Italian publishers and producers).
The third phase will take place in November, as part of the NCN Project Workshop, the Film Market
and the Rome Film Festival, with a session of international meetings. The Italian participants
(publishers, literary agents and producers) will be offered significant market, business and contact
opportunities for cultural and industrial relationships in the two fields with international
professionals attending the Market and the Festival. In addition, two Italian projects, previously
selected by Words on Screen and presented in June in the United States, will be part of the final
selection of NCN 2013.
CHINA DAY
Following the valuable experience of “Spotlight China!”, the event held during the last edition, the
dialogue with the Chinese industry continues. In collaboration with ANICA, the association which
manages ‘Made in Italy’ - the promotional project of the Ministry for Economic Development -, a
‘China Day’ will be held to foster trade between Italy and China and to celebrate Asian film and the
Asian film industry. ‘China Day’ will open on November 16th with the screening of Young Detective
Dee: Rise of the Sea Dragon 3D followed by the ceremony to confer the Maverick Award to director
Tsui Hark. It will continue on the following day with a series of meetings with Chinese producers and
buyers dedicated to co-productions, to investment in Italy and the distribution of Italian film on the
Asian continent; it will end with the World Premiere Gala screening of The White Storm by Benny
Chan, the closing film of the 8th Rome Film Festival.
NEW CINEMA NETWORK 2013 - SELECTED PROJECTS
SHADOWS IN THE FRAME by Leandro Listorti
(Argentina)
Produced by Paula Zyngierman
PEACE TO US IN OUR
DREAMS by Sharunas Barthas (Lithuania)
Produced by Philippe Avril
MY LIFE AS AN ACTOR by Eric De Kuyper
(Belgium)
Produced by Tomas Leyers
SOLITAIRE KING by Bassam Jarbawi (Palestine)
Produced by Shrihari Sathe
EILON RABIN DOESN’T BELIEVE IN DEATH by
Ricardo Alves (Brazil)
Produced by Michael Wahrmann
A REVERENCE FOR SPIDERS by Faiza Ambah,
Karim Bensalah (Saudi Arabia)
Produced by Silvio Saadé
LITTLE CRUSADER by Václav Kadrnka (Czech
Republic)
Produced by Alice Tabery
OUT by Gyorgy Kristof (Slovak Republic)
Produced by Marek Urban
LA MOGLIE DI LOT by Roberto De Paolis (Italy)
Produced by Roberto De Paolis, Carla Altieri
UNSETTLED by Willem Droste (Germany)
Produced by Fabian Massah
SAINT NICHOLAS by Loukianos Moshonas
(Greece/France)
Produced by Paul Conquet
OMNIYAM by Kamal Swaroop (India)
Produced by Kamal Swaroop
THE SUBSTANCE by Lluis Galter (Spain)
Produced by Paco Poch
CAFÉ ABU NAWAS by Samir (Switzerland)
Produced by Jent Joel
MA MÈRE by Géraldine Zosso (Switzerland)
Produced by Francine Lusser
PASSING CLOUDS by Tatiana Korol (United
Kingdom)
Produced by Ian Prior
THE VOICE OF EGYPT by Shirin Neshat (Iran)
Produced by Girard Ilann
STUPOR MUNDI (Italy)
Produced by Andrea Stucovitz
IL PENDOLO by Aureliano Amadei (Italy)
Produced by Giorgio Ginori, A. Amadei
UOMINI E CANI by Fabrizio Cattani (Italy)
Produced by Elisabetta Olmi
IL VENTO E LA LUCE by Marco Dentici (Italy)
Produced by Gianluca Dentici
IL BALLO by Simone Gattoni (Italy)
Produced by F. Calvelli, M. Bellocchio
LA COSPIRAZIONE DELLE COLOMBE by Marina
Spada (Italy)
Produced by Francesco Pamphili
DAWN by Laila Pakalnina (Latvia)
Produced by Laila Pakalnina
ALICE NELLA CITTÀ – THE PROGRAMME
Alice nella città, curated by Gianluca Giannelli and Fabia Bettini, is once again cooperating with the
Rome Film Festival, as a parallel and independent sidebar, to carry on a mission to promote,
circulate, and support cinema, oriented to the new generations.
COMPETITION

CAZANDO LUCIÉRNAGAS / CHASING FIREFLIES directed by Roberto Flores Prieto, Colombia,
2013, 100’
Cast: Marlon Moreno, Valentina Abril

JULIETTE directed by Pierre Godeau, France, 2013, 81’
Cast: Astrid Bergès, Féodor Atkine, Yannik Landrein, Elodie Bouchez, Sébastien Houbani,
Roman Kolinka, Nina Meurisse

MIG ÄGER INGEN / NOBODY OWNS ME directed by Kjell-Åke Andersson, Sweden, 2013, 110’
Cast: Mikael Persbrandt, Ida Engvoll, Saga Samuelsson, Ping Mon Wallén, Tanja Lorentzon

EN SOLITAIRE / TURNING TIDE directed by Christophe Offenstein, France, 2013, 96’
Cast: François Cluzet, Samy Seghir, Guillaume Canet, Virginie Efira, Arly Jover, Jose
Coronado, Dana Prigent, Jean-Paul Rouve

SE CHIUDO GLI OCCHI NON SONO PIÙ QUI / IF I CLOSE MY EYES I’M NOT HERE directed by
Vittorio Moroni, Italy, 2013, 110’
Cast: Giorgio Colangeli, Giuseppe Fiorello, Mark Manaloto, Hazel Morillo, with the
participation of Ignazio Oliva, Vladimir Doda, Anita Kravos, Elena Arvigo, Stefano, Scherini,
Ivan Franek

LÄRJUNGEN / THE DISCIPLE directed by Ulrika Bengts, Finland, 2013, 93’
Cast: Erik Lönngren, Patrik Kumpulainen, Niklas Groundstroem, Amanda Ooms, Ping Mon
Wallén Philip Zandén, Sampo Sarkola, Alfons Röblom

IL SUD È NIENTE / SOUTH IS NOTHING directed by Fabio Mollo, Italy, 2013, 90’
Cast: Vinicio Marchioni, Miriam Karlkvist, Valentina Lodovini, Andrea Bellisario, Alessandra
Costanzo, Giorgio Musumeci

LAUF, JUNGE, LAUF / RUN, BOY, RUN directed by Pepe Danquart, Germany, France, 2013,
108’
Cast: Andrzej Tkacz & Kamil Tkacz, Elisabeth Duda, Jeanette Hain, Itay Tiran, Katarzyna
Bargielowska

SITTING NEXT TO ZOE directed by Ivana Lalović, Svwitzerland, 2013, 88’
Cast: Runa Greiner, Lea Bloch, Charlie Gustafsson, Bettina Stucky, Roeland Wiesnekker, Siir
Eloglu, Adnan Maral

UVANGA directed by Marie-Hélène Cousineau, Madeline Piujuq Ivalu, Canada, 2013, 86’
Cast: Lukasi Forrest, Marianne Farley, Travis Kunnuk, Madeline Piujuq Ivalu, Carol Kunnuk,
Peter-Henry Arnatsiaq, Pakak Innuksuk
Two surprise films are to be announced soon
OUT OF COMPETITION

PLANES in Disney Digital 3D directed by Klay Hall, United States, 2013, 91’

IL MONDO FINO IN FONDO directed by Alessandro Lunardelli, Italy, Chile, 2013, 95’
Cast: Filippo Scicchitano, Luca Marinelli, Barbora Bobulova, Camilla Filippi, Alfredo Castro,
Manuela Martelli, Cesare Serra

BELLE & SEBASTIEN directed by Nicolas Vanier, France, 2013, 98’
in collaboration with the Rome Film Festival
Cast: Felix Bossuet, Tcheky Karyo, Margaux Chatelier, Dimitri Storoge, Andreas Pietschmann,
Urbain Cancelier Mehdi

LA COUR DE BABEL / SCHOOL OF BABEL directed by Julie Bertucelli, France, 2013, 89’
SPECIAL EVENTS

MA MAMAN EST EN AMÉRIQUE, ELLE A RENCONTRÉ BUFFALO BILL / MY MOMMY IS IN
AMERICA by Marc Boréal, Thibaut Chatel, France, 2013, 75’

WHO IS DAYANI CRISTAL? by Marc Silver e Gael García Bernal, United Kingdom, Mexico, 2013,
84’
Cast: Gael García Bernal

METEGOL / FOOSBALL / GOOOL! by Juan José Campanella, Argentina, 2013, 106’
Voices: Rupert Grint, Anthony Head, Juan José Campanella
HOMAGE TO HIROKAZU KORE-EDA

KISEKI / I WISH directed by Hirokazu Kore-eda, Japan, 2011, 128’

SOSHITE CHICHI NI NARU / LIKE FATHER, LIKE SON directed by Hirokazu Kore-eda, Japan,
2013, 120’
GENERAL INFORMATION
How to participate in the Festival
Tickets, advance sales and prices
Advance purchase of tickets for the 8th Rome Film Festival will be available starting October 29, and
through November 7:




at the Central Ticket Office of the Auditorium Parco della Musica (Viale P. de Coubertin, 30)
from 11 am to 8 pm. For safety purposes during the first two days of advance ticket sales, a
numbered queuing system will be in operation starting at 8 am at the entrance gate to the
Auditorium Parco della Musica;
at authorized LIS (Lottomatica Italia Servizi) ticket offices. The list of these ticket offices is
available at www.listicket.it;
from the LIS ticket phone-line (fee-paying service): for calls from Italy dial 892 982, for calls
from abroad dial +39 -2- 60060900 (opening hours: Monday to Saturday 10 am to 1 pm and 2
pm to 6 pm);
online from the websites www.romacinemafest.org and www.listicket.it from October 29th to
the day before the event you wish to book.
During the Festival, tickets will also be sold at:

at the Central Ticket Office of the Auditorium Parco della Musica (Viale P. de Coubertin, 30)
from November 8 to 17 from 8.30 am to 11 pm.
and at:






the Cinema Village ticket office (Viale P. de Coubertin, 30) from November 8 to 17 from 10
am to 11 pm;
the Cinema Barberini ticket office (Piazza Barberini 24) on November 9 from 5 pm to 11 pm
and from November 10 to 17 from 8.30 am to 11 pm;
the MAXXI Museum ticket office (Via Guido Reni 4/a) from November 8 to 17, which will open
and close depending on the schedules of screenings that require a ticket (open exclusively for
the Festival screenings held at the MAXXI Museum);
authorized LIS – Lottomatica Italia Servizi ticket offices (the list is available at
www.listicket.it);
from the LIS ticket phone-line (fee-paying service): for calls from Italy dial 892 982, for calls
from abroad dial +39 -2- 60060900 (Monday through Saturday 10 am to 1 pm and 2 pm to 6
pm);
online on the websites www.romacinemafest.org and www.listicket.it from October 29th to
TICKETS
Advance sale of individual tickets will begin on Tuesday October 29.
TICKET PRICES
Sala S. Cecilia
Afternoon
Prime Evening
Late Night
€ 8
€ 25
€ 15
Sala Sinopoli
Afternoon
Prime Evening
Late night
€ 10
€ 15
€ 10
Sala Petrassi
Afternoon
Evening
€ 8
€ 10
Teatro Studio
Teatro Studio
Matinée
Afternoon and Evening
€ 5
€ 8
Cinema Barberini
Matinée
Afternoon and Evening
€ 5
€ 9
MAXXI Museum
Retrospective
Repeat showings
All day
€ 5
€ 5
€ 8
Tickets for all the events in the programme of Alice nella città, open to the public, in the screening
rooms made available by the Rome Film Festival, will be sold at 5 euro for the screenings beginning
before 3 pm, and 8 euro for the screenings beginning after 3 pm (this ticket price will not apply to
any co-productions made in collaboration with the Rome Film Festival).
DISCOUNTS AND CONCESSIONS
There are no discounts on tickets for screenings costing €5 or less. Festival-goers between the ages of
18 and 26 or over 65 are entitled to a 10% discount on the full ticket price. There are many
combinations of promotional passes sold at the Auditorium ticket offices. Please note that discounts
for concessions to entities or associations may only be applied at the official Festival ticket offices.
Lost tickets will not be replaced or refunded. None of the screenings have been rated for their
contents so only persons aged 18 and over will be admitted. All screenings are in the original
language version with subtitles in English and in Italian for the foreign films or with subtitles in
English only for the Italian films.
THIS INFORMATION MAY BE SUBJECT TO CHANGE, PLEASE CHECK FOR CONFIRMATION ON THE
FESTIVAL WEBSITE ON THE DAYS BEFORE ADVANCE SALES BEGIN
TICKET OFFICES






Central Ticket Office of the Auditorium Parco della Musica (Viale P. de Coubertin, 30) open
October 29 to November 7 from 11 am to 8 pm, and from November 8 to 17 from 8.30 am to
11 pm.;
Cinema Village ticket office (Viale P. de Coubertin) open from November 8 to 17 from 10 am
to 11 pm;
Cinema Barberini ticket office (Piazza Barberini 24) open on November 9 from 5 pm to 11 pm
and from November 10 to 18 from 8.30 am to 11 pm;
authorized LIS - Lottomatica Italia Servizi ticket offices (list of offices is available at
www.listicket.it);
LIS ticket phone-line (fee-paying service): for calls from Italy dial 892 982, for calls from
abroad dial +39 -2- 60060900 (Monday to Saturday from 10 am to 1 pm and 2 pm to 6pm);
online on the websites www.romacinemafest.org and www.listicket.it from October 29th to
Prepaid tickets for the screenings at the Auditorium may be collected at the Cinema Village ticket
office. Prepaid tickets for external venues may be collected at the ticket offices where the event
will be held. Entrance to the spaces of the Cinema Village is always free. Please note that the Red
Carpet will be set up in the Cavea area with a specially-reserved area for the press and
photographers.
The sensorially-disabled at the 2013 Rome Film Festival
The eighth edition of the Festival will guarantee audio description and digital subtitle services for
people with seeing or hearing disabilities who will therefore be able to enjoy as well as participate in
the screening of some films at the Festival.
ACCREDITATION PASSES
Accreditation passes for the Festival and Press categories may be collected at the Accreditation Desk
in the offices of the Fondazione Cinema per Roma (at the Auditorium Parco della Musica, Viale P. de
Coubertin). Those granted accreditation will receive a colour-coded pass corresponding to their
category of accreditation.
The accreditation pass may be collected at the Accreditation Desk of the Rome Film Festival
(Auditorium Parco della Musica, Viale P. de Coubertin, Rome), starting on November 6th and through
November 17th 2013, at the following times:
-
November 6: from 10 am to 5 pm
November 7 to 12: from 9 am to 7 pm
November 13 to 16: from 10 am to 5 pm
November 17: from 10 am to 12 noon
Accreditations for the International Film Market | The Business Street will be distributed:
- November 6: from 10 am to 5 pm and from November 7th to 11th from 9 am to 7 pm at the
Accreditation Desk in the offices of the Fondazione Cinema per Roma (at the Auditorium Parco della
Musica, Viale P. de Coubertin);
- November: 12 to 16 from 9 am to 7 pm at the Accreditation Desk located in the Hotel Bernini Bristol
(Piazza Barberini, 23);
- November: 17 from 9 am to 1 pm at the Accreditation Desk in the Hotel Bernini.
HOW TO GET TO THE FESTIVAL
Cinema Line
ATAC, the public transportation company in Rome, offers the Festival’s audience a daily shuttle
service between the Auditorium Parco della Musica, via Veneto and Piazza Barberini on a fleet of 20
electrically-powered buses. The shuttle buses will run from 8 am to 12 noon every 7 minutes – from
12 noon to 11 pm every 5 minutes and from 11 pm to 2 am every 7 minutes.
Service for the physically disabled
A transportation service for the physically disabled, managed by ATAC, is available upon reservation
and at a fee (obviously, for those citizens who are not authorized to use the service free of charge by
the Dipartimento Promozione Servizi Sociali e della Salute). For reservations and information, please
call Centrale Operativa “Bus Abile” at the toll-free number 800-469540.
Reservations must be made at least one working day in advance of the date on which the service is
required: Monday-Friday, 8 am–1 pm.
The Auditorium Parco della Musica may be reached by means of the following public transportation
services:
Bus
910 – Terminus Termini / Piazza Mancini (weekdays, Sundays and holidays)
53 – Terminus Piazza Mancini / Porta San Giovanni (weekdays only)
217 – Terminus Viale XVII Olimpiade / Stazione Termini (weekdays, Sundays and holidays)
Line M – Terminus Stazione Termini / Viale P. De Coubertin (Auditorium) from 5 pm to the end of the
last screening. Departures every 15 minutes.
Tram
2 – Terminus Piazzale Flaminio / Piazza Mancini, stop at Auditorium: Via Flaminia / Piazza Apollodoro
(weekdays, Sundays and holidays).
Subway
Metro A, stop at Flaminio, then tram line 2.
Railway
Roma-Nord, stop at Piazza Euclide.
Parking
In the immediate vicinity of the Auditorium Parco della Musica, ATAC S.p.A. runs two parking garages
(with entrance on Viale Maresciallo Pilsudski and Viale Pietro de Coubertin) and a street-level parking
lot (with entrance on Via P. De Coubertin, on the side of the Palazzetto dello Sport) for a total of
1,005 parking spaces, 26 of which are reserved for the disabled.
GUIDE TO THE AUDITORIUM
THE SPACES OF THE AUDITORIUM PARCO DELLA MUSICA
The heart of the Rome Film Festival will be the Auditorium Parco della Musica with its screening
rooms:
 Sala Santa Cecilia
 Sala Sinopoli
 Sala Petrassi
 Teatro Studio
 Studio Tre
The Auditorium spaces open to the public will also include the Foyer and the AuditoriumArte space;
in the latter, from November 9th to 17th, Rai Movie will screen a programme dedicated to Federico
Fellini.
All the Auditorium spaces are barrier-free.
CINEMA VILLAGE | VILLAGGIO DEL CINEMA
From November 8 to 17, the entire pedestrian area in front of the Auditorium will be covered by the
Cinema Village, designed to offer Festival audiences information and services.
The village will feature:
 1 info-point (for detailed information on the Festival and general information for citizens);
 1 ticket box office (for accredited and non-accredited visitors);
 1 BNL automatic cash dispenser (in the Food Area);
 Festival partner spaces, used for meetings and discussions about cinema with the Village
public;
 Welcome Area near the info-point to use for the logistic needs of the sponsors and
delegations.
FOOD SERVICES
“SeT” risto&bistrot, ReD restaurant, Kiosko del Kebab, Bar’T.
LOCATIONS AND SERVICES FOR THE PRESS
PRESS ROOM
The press room will be located in the Spazio Risonanze; open to journalists, it will offer Internet
connections and be furnished by Ethimo.
PHOTOGRAPHERS’ PRESS ROOM
The press room for photographers will be located in the cloakroom of Sala Sinopoli, and offer
Internet connections.
PRESS REGISTER
Located at the entrance to the photographers’ press room, in the cloakroom of the Sala Sinopoli.
OFFICIAL PRESS CONFERENCES
The Official Press Conference room will be the Sala Petrassi in the Auditorium Parco della Musica.
INTERNAL PHOTO CALLS
Photo calls with the delegations will be held in the Sala Ospiti, to the right of the entrance to Sala
Sinopoli, approximately fifteen minutes before the press conferences.
RED CARPET AND SPECIAL EVENTS
Accredited televisions wishing to film the red carpet appearances, which will be held approximately
40 minutes prior to the official screenings, must apply to the Press Office for confirmation of their
filming position.
ONLINE PRESS AREA
The service offers journalists access to press books, press releases, video material and high resolution
images of the Festival, in digital format; accredited journalists will have access to the reserved press
area on the website www.romacinemafest.org. Username and password will be provided by e-mail in
the letter confirming accreditation.
The images will be supplied by Getty Images which will be one of the media partners as the official
photo agency for the eighth edition of the Rome Film Festival. The agreement between Getty Images
and the Fondazione Cinema per Roma is now its seventh consecutive year.
ACCREDITATION
Applications are open for Press/Media accreditation to the Rome Film Festival through October 21
2013. Applications made after this date will not be taken in consideration.
Accreditation entitles the holder to attend the official screenings of the Festival, provided seats are
available and within the terms established by the organization of the Festival. Press/media
accreditation is reserved exclusively to professional journalists for the written or online press,
multimedia, radio, television, press agencies, photographers, public relations agencies, press offices,
etc.
Press accreditations may be picked up, upon presentation of valid identification, at the
Accreditations Desk in the offices of the Festival.
The address, dates and opening hours will be announced in the letter confirming accreditation.

festival internazionale del film di roma

Transcript

Documenti analoghi

regulation - Festival del Cinema Europeo

European premiere of Free Fire to close the 60th BFI London Film

Of monsters, spirits, soldiers and the power of

festival internazionale del film di roma rome film

for immediate release - Istituto Di Cultura

Mrs. Doubtfire - Port Townsend Film Festival

Deformation history of Mauna Loa (Hawaii) from 2003 to 2014

NAPOLETANA: IMAGES OF A CITY fact sheet

16 The Edinburgh Fringe

D - Minerva Pictures

Wolfgang G. Krajic, Director Synergies

HOTEL PARCO DEI PRINCIPI (Conference Venue)

Press Sheet PDF - Think Tank Festival 2010

Humbug - Artesano

amaya:Layout 1 - WordPress.com

Dolly_Layout 1 - WordPress.com