Daily news - 30.7.2010
TV news about the Summer Film School – every evening on channel ČT2. Today’s here
The discussion about digitalization carries on. Today not on the topic of cinema keepers and distributors, but of films, especially to those whose classic copies need a proper purifier. How do they digitalize and clean films at our neighbors – in Slovakia and Poland? How did they do that, how do they do that and how will they do that in the Czech Republic and why hasn’t they renovated Markéta Lazarová? How should the Conception of Czech films’ digitalization help? These are the questions talked over in small hall of Reduta.
Rain in Hradiště, desperation in Hollywood
“If there is someone who hasn’t figured out why it has been raining here it is another extent of Film Noir” said Michael Málek during the introduction to his lecture. “Unfortunately I didn’t succeed in setting one week long eclipse of the Sun.” His lecture was called Nicolas Ray and film Noir, but Málek wasn’t talking about the underestimate director until the second half of the lecture. He was talking especially about Film Noir as such (he believes that the best films were shot between 1941 and 1958) and he added a quotation by famous Roger Ebert: “Film Noir is the most American from all genres, because only naive and optimistic society was able to create a world full of clouds, fatality, fear and betrayal.” The lecture was followed by the projection of “one of the most persuasive films about Hollywood” In a Lonely Place; the speaker said it was a “typical film by Ray, full of desperation and hopelessness. You will enjoy it.”
Latin America yesterday, today and tomorrow
The guests of lecture New Latin American Film were good and generous narrators. They were talking not only about present of local cinematography, they recapitulated whole history of film in Mexico and Argentina up to times when decorations in films were moving when the wind was blowing. Gabriel Rogríguez comes from Mexico, film critique Pablo De Vito comes from Argentina. Both these countries have good background these days. And as De Vito says, that is not always an advantage. “The best that comes from New Latin American film is from countries like Chile and Uruguay, where the production is not good. Film-makers have to fight for their films to be made and thank to their looking for the best ways to tell stories the films are lifeful and fresh. Film-makers of New Argentinean Film became petty-bourgeois.”
B. T. both in cinema and paper
Last important guest came from near Hungary. Béla Tarr presented his masterclass in Hvězda cinema (for those who were present the experience is unrepeatable, because the director doesn’t like to talk about his work) and before the projection of drama Werckmeister Harmonies (“now we will present film that is interesting… it is about chill”) he become the fifth this year’s prizewinner of the Annual AČKK award.
Jan Jílek, who is the originator of Tarra’s visit, said that “his retrospective is my fulfilled dream”. Pavel Bednařík brought out a book about the director. The book is the first from the edition Iniciály (The Initials) that will be dedicated to several important film-makers and “is called as it is because not only are there initials on its cover, but also because it is suppose to initiate interest in works by the directors”. Béla Tarr looked on the statuette and said: “Nice”.
Meaning of life according to Fridriksson
A lot of films by Icelandic bard Fridrik Thor Fridriksson have been projected at the SFS in Hradiště these days. The director didn’t even make introducing them and was going to after-film discussion only. He was present for instance at the discussion after the projection of Niceland about a boy who wants to know the meaning of life. When he gets to know it he only whispered it as quietly that nobody hears it. That’s why the audience wanted the director to say it aloud. “A little boy in Singaput told me: Meaning of life is to watch your films” kept the director clear of the answer. Niceland is untypical of the director – it is made in English mainly with Scotch actors including Martin Compston (who was brought to acting by Ken Loach in Sween Sixteen). “I pick the actors just by watching other films. Casting was like going to a candy store and picking candies.