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.

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.

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.

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.

LA NOTTE DEL 12 – un grande noir femminista di Dominik Moll – Cannes 2022

In the corridors of the criminal police, it is said that all the investigators have a crime that haunts them. One day or another, they come across a case hurting them more than the others, without always knowing why. It starts spinning in their heads to the point of obsession. Young and ambitious Captain Vivés has just been appointed group leader at the Grenoble Criminal Squad when Clara’s murder case lands on his desk. Vivés and his team investigate Clara’s complex life and relations, but what starts as a professional and methodical immersion into the victim’s life soon turns into a haunting obsession.

LA DONNA DEL FIUME 苏州河 SU ZHOU HE di Lou Ye – COPIA RESTAURATA

Along a polluted waterway near Shanghai, Mardar (Jia Hongsheng) rides his motorcycle each day, transporting Moudan (Zhou Xun), the teenage daughter of a local criminal. Despite his secret love for the young girl, he gets caught up in a scheme to kidnap her and hold her for ransom. The plan goes awry, however, and Moudan throws herself into the river and drowns. Mardar emerges from prison years later and encounters a nightclub entertainer who looks exactly like his lost love.
A strong but gentle film about identity, neediness, and desire, as well as our ability to re-invent the world to suit ourselves.

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.