NON NE PARLIAMO PIÙ. L’inferno a cui siamo sopravvissuti

Quando Sarah, 30 anni, diventa madre, decide di rompere l’omertà imposta dal padre sul passato della sua famiglia.
Durante la guerra d’Algeria, suo nonno ha combattuto a fianco dei francesi contro l’indipendenza del suo popolo.
Quando la Francia perde, l’intera famiglia fugge a Marsiglia… ma invece di essere accolta, viene rinchiusa in un campo. È qui che inizia il viaggio di Sarah… la sua ricerca ci svela ciò che la Francia ha cercato di tenere nascosto per decenni.

LETTERE DALLA PALESTINA + THE BUS DRIVER

Il problema Palestina ci sta nel cuore da tanti e tanti anni. Nella sua complessità e in tutto quello che trascina con sé della storia recente dell’umanità. Direttamente e indirettamente. Per cui a tutti noi di “cinema nel presente” è venuto naturale pensare a un nuovo film collettivo che documentasse la condizione atroce che vive oggi quel popolo. Ma sarebbe meglio dire “raccontasse”. Per la prima volta, infatti, ci siamo posti di fronte a una determinata realtà con l’animo creativo che del resto è specifico del nostro mestiere.
Ne è emerso un film fatto di frammenti, illuminazioni, volti, case: insomma storie. Per raccontare soprattutto una cosa: la straordinaria vitalità culturale e intellettuale – e materiale, fisica – di questo popolo oppresso.
Mario Monicelli ci ha proposto di chiamarlo “lettere dalla Palestina” e non poteva immaginarsi un titolo più giusto. Abbiamo accettato tutti con entusiasmo.

BANK OF TARGETS. CINEMA PALESTINA

Bank of targets, terra di obiettivi, sponda di macerie, rovina della memoria e polvere mediatica a coprire.
Il popolo palestinese non ha mai smesso di raccontare la sofferenza sotto l’occupazione israeliana, in ogni forma possibile. L’autodeterminazione parte dal narrarsi in prima persona, senza filtri occidentali, come atto di resistenza culturale  alla colonizzazione militare e mentale delle forze di occupazione. Nelle immagini di questi film ragazze e ragazzi, donne e uomini prendono la  parola per raccontarci le loro storie di umiliazione, terrore, privazione.

25th Anniversary! Detour Garage Market + Festa di Chiusura 2022

Cinema Detour APS, Via Urbana 107 Roma 
Domenica 18 Dicembre 2022 ore 17.30 – 20.00/ December 18 2022, Sunday h5.30pm – 8.00pm

Richieste prenotazioni sul sito nelle seguenti fasce orarie:
17.30 – 19.00
19.00 – 20.30

L’ULTIMO APPUNTAMENTO NELLA SEDE DI VIA URBANA

25th ANNIVERSARY

DETOUR GARAGE MARKET  

Festa di Chiusura 2022 

 

 


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IN THE COURT OF THE CRIMSON KING – “A riveting piece of cinema” The Guardian

King Crimson is a band that people literally are dying to be in. In the Court of the Crimson King is a dark, comic film for anyone who wonders whether it is worth sacrificing everything for just a single moment of transcendence. For over 50 years Robert Fripp, also famous for his work with David Bowie and Brian Eno, has overseen a unique creative environment in which freedom and responsibility conspire to place extraordinary demands on the band’s members — only alleviated by the applause of an audience whose adoration threatens to make their lives even harder. It’s a rewarding and perilous space in which the extraordinary is possible, nothing is certain, and not everyone survives intact. What began as a straightforward documentary about the cult rock band King Crimson as it turned 50, mutated into an exploration of time, death, family, and the transcendent power of music to change lives. But with jokes.

FEAR – Oscar nominee for best international film from Bulgaria

Svetla, a strong-willed widow, lives alone in a small Bulgarian village close to the Turkish border. She has recently lost her job as a teacher due to the lack of families with young children. One day, while hunting in a forest, she encounters an African refugee, Bamba, who is trying to reach Germany, and will bring about a dramatic turn in her life. Reluctantly, she offers him hospitality, but day after day, a bond develops as Bamba learns the language and takes part in her daily life. Svetla will make life-changing choices that go against her traditional community creating a revolt among the villagers. Absurd, comic and tragic situations ensue as she breaks barriers of loneliness, close mindedness and fear of the outsider.”

MIRACLE – STORIA DI DESTINI INCROCIATI

Divided into two chapters, director Bogdan George Apetri’s MIRACLE begins with the young, beautiful Cristina Tofan (Ioana Bugarin) sneaking away from an isolated convent. Working in the style of the Romanian New Wave, Apetri withholds key information about her motives as we follow her enigmatic journey, allowing tension to steadily build to a wavering precipice. The film’s second part follows Marius Preda (Emanuel Pârvu), a determined inspector retracing Cristina’s steps days after her departure. Here, the narrative opens into both gripping police thriller and devastating social commentary, as Marius gradually uncovers clues and revelations leading not only to the unfathomable truth behind Cristina’s mysterious actions, but possibly, to an actual miracle as well.

A PAGE OF MADNESS – film muto giapponese sonorizzato dal vivo da MIKE COOPER

In Japan, a man takes a job as a janitor at a mental asylum in order to be near his wife. Although his wife suffers genuine mental anguish, the man believes he can rescue her, but his attempt to break her out one night backfires when she panics. After she returns to her room, the husband again makes plans to try to take her out, only to be interrupted in the attempt by a doctor and several attendants, whom he attacks and believes he has killed.

IL PIANETA AZZURRO. Serata speciale alla presenza del maestro Franco Piavoli

So one thing from another rises ever; And in fee-simple life is given to none, But unto all mere usufruct.” With these verses from Lucretius’ De rerum natura opens The Blue Planet, a masterpiece by the Brescian director Franco Piavoli. It, too, is a poem, but one woven with images and sounds rather than words (knowingly excluded from the narration), which unfolds on three planes, three intertwined threads that weave a symphony reproducing the buzz of life itself. On the bottom, outlined with light touches, biological existence: light, water, plants, animals, men. Then the succession of nights and days, the passing of the seasons. Finally, naked and moving, dear and at the same time alien, the life of women and men: games, laughter, love, work, rest, cohabitation, aggressiveness. The eye-camera of Piavoli, with the detachment of love, collects everything and understands – identical and immortal – in the time of its filming, which is an hour or a year, a season, all the time in the world.

IN THE COURT OF THE CRIMSON KING – “A riveting piece of cinema” The Guardian

King Crimson is a band that people literally are dying to be in. In the Court of the Crimson King is a dark, comic film for anyone who wonders whether it is worth sacrificing everything for just a single moment of transcendence. For over 50 years Robert Fripp, also famous for his work with David Bowie and Brian Eno, has overseen a unique creative environment in which freedom and responsibility conspire to place extraordinary demands on the band’s members — only alleviated by the applause of an audience whose adoration threatens to make their lives even harder. It’s a rewarding and perilous space in which the extraordinary is possible, nothing is certain, and not everyone survives intact. What began as a straightforward documentary about the cult rock band King Crimson as it turned 50, mutated into an exploration of time, death, family, and the transcendent power of music to change lives. But with jokes.