As a film enthusiast with a deep appreciation for the art of storytelling and the magic of cinema, I find myself utterly captivated by the upcoming Torino Film Festival under the guidance of Giulio Base. His vision to celebrate the centennial of Marlon Brando’s birth and the world premiere of “Waltzing With Brando” starring Billy Zane is truly exciting.
Giulio Base, the fresh director of the Torino Film Festival, aims to provide festival attendees with an offer that’s hard to resist.
At the onset of the 42nd edition, taking place from November 22nd to 30th in Turin, Italy, Ron Howard’s film “Eden” will open, with the director present. Closing the festival is the world premiere of “Waltzing With Brando,” a movie featuring Billy Zane as Marlon Brando during the time he was preparing for roles in both “The Godfather” and “Last Tango in Paris.
Base expresses his excitement as Zane will gracefully attend the event to showcase the movie. “I can hardly contain myself,” he shares, describing Zane’s highly anticipated performance as “he embodies the spirit of Marlon Brando.
Actor-director Base from Italy is honoring the 100th anniversary of Brando’s birth by showcasing a 24-movie collection highlighting the two-time Academy Award winner, renowned for his realistic acting approach and spirit of defiance.
At The Brando retro, you can expect a variety of related activities, including Matthew Broderick presenting a screening of Andrew Bergman’s quirky comedy “The Freshman.” In this film, Broderick portrays a New York University student who encounters a character resembling Vito Corleone, played by Marlon Brando, who is portrayed as mobster Carmine Sabatini.
The base has introduced a fresh “Mixed Bag” segment to the event titled Zibaldone, where classic titles starring their original actors are showcased. For instance, “The Hunt for Red October” will see Alec Baldwin in attendance.
Torino, recognized as Italy’s leading platform for emerging film directors and independent cinema, is also pioneering in various other aspects.
Base mentions that he isn’t aware of any other festival with more female than male directors, and emphasizes that this wasn’t planned,” Base says, clarifying that no quota system was utilized. “It just so happens, and we’re thrilled about it.
Male and female directors are equally represented in the main feature competition and the documentary sections, and 13 of the 24 entries in the shorts sidebar are directed by women. In addition, the main
juries are chaired by female presidents — novelist Margaret Mazzantini, director Roberta Torre and actor Michela Cescon.
Additionally, it’s noticeable that Base has made a significant impact on the festival by reducing the number of performances from last year’s 190 to just 120 this time around.
At the Torino competition, I’m proudly supporting projects primarily focusing on debut works. Among these, there’s “The Needle” by Tunisian director Abdelhamid Bouchnak, which delves into the challenges faced by a traditional Muslim family when an intersex baby is born, questioning deeply rooted family values. We also have “Madame Ida” by Danish director Jacob Møller, set in the 1950s, where a pregnant woman is sent to live with her child’s adoptive mother. Lastly, there’s “Vena” by German director Chiara Fleischhacker, a story about a young woman and her boyfriend navigating an unexpected pregnancy, turning to crystal meth for comfort until a midwife steps in to offer assistance. Each of these films promises an enlightening exploration of human experiences.
As a movie enthusiast, I’ve noticed a recurring theme – motherhood – weaving its way through many films. From surrogate moms to single parents, unexpected pregnancies, it’s the complexities and beauty of maternity that’s being highlighted.
Previously, Torino had a significant political undertone, and this trend continues for its upcoming events. The lineup includes “Dissident,” a Ukrainian drama directed by Stanislav Hurenko and Andriyh Alfiorov; “Under the Grey Sky,” a film about a Belarusian journalist who is arrested following her covert livestreaming of government crackdowns on peaceful protesters after fraudulent elections, created by Mara Tamkovich; and “Higher than Acid Clouds,” a new work by Iranian director Ali Asgari (“Terrestrial Verses”), which serves as the opening piece for the documentary competition. This film is an autobiographical black-and-white essay exploring how censorship drains life and color from his hometown of Tehran.
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2024-11-15 21:17