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Journalists' Verdict

What’s Your Favorite Film of #Locarno70?

Journalists' Verdict

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The critic, at the forefront of the analysis of this art, has a fundamental prompting and encouraging role for festivals, catching the very essence of director's choices as far as building these complex structures of senses and visions, these days of cinema and discussion. Then Pardo del Cuore becomes a necessary (pre)vision of see what this Locarno70 has been.

 

Stéphane Gobbo, Le Temps, Switzerland

Favela Olímpica

This immersive film shows the strength of documentary creation compared to TV reporting. Samuel Chalard tells, in 90 minutes, the uplifting story of underprivileged people fighting for freedom in the face of the power of the wealthy.

Pascal Gavillet, La Tribune de Genève, Switzerland

Charleston

With its galloping states of mind, rejected feelings and elusive surrealism, this is a film that you have to dance to rather than describe.

Rafael Wolf, RTS – Radio Télévision Suisse, Switzerland

Contes de juillet

Free, fun, a breath of fresh air.

Matthias Lerf, SonntagsZeitung, Switzerland

Lucky  

perché a volte ci vuole così poco, per fortuna: una tartaruga, due canzoni e molto Harry Dean Stanton.

Michael Sennhauser, SRF – Schweizer Radio und Fernsehen, Switzerland

Lucky

Il film combina con cuore americanerie, mitologia cinematografica e personalità con uno sguardo consolante sull’età e la morte.

Christian Jungen, NZZ am Sonntag, Switzerland

Le Vénérable W.

Barbet Schroeder portrays one of the most disturbing leaders in the world: a nationalistic Buddhist monk in Burma who calls for terror attacks against Muslims. An investigative documentary – illuminating and powerful.

Pascal Blum, Tages-Anzeiger, Switzerland

Dene wos guet geit

La commedia a concetto bressoniana di Cyril Schäublin parte dai codici della vita digitale per fare cinema svizzero tanto divertente quanto genuino.

Francesca Monti, Giornale del Popolo, Switzerland

Mrs. Fang

La mia preferenza va a Mrs. Fang di Wang Bing, una lezione di cinema e di etica dello sguardo di cui oggi abbiamo bisogno.

Ugo Brusaporco, laRegione Ticino, Switzerland

Meteorlar (Meteors)

Perché sa trarre dal dramma di un popolo, la bellezza della poesia. Bianco e nero stupefacente e una pioggia di meteore che si confonde con i fuochi d'artificio in una delle più belle scene della storia del cinema.

Marco Zucchi, RSI, Switzerland

Easy

Punto sulla comicità, quella un po' lunare e demenziale, alla John Belushi, di Nicola Nocella. Un film che offre al genere road movie gustose variazioni e qualche connotazione postsovietica alla Leningrad Cowboys.

Adrian Camartin, RTR - Radiotelevisiun Svizra Rumantscha, Switzerland

Iceman

Con l’oscillare tra finzione e documentario il regista crea un un’atmosfera intensa che indaga il modo di vivere arcaico dei nostri progenitori.

 

 

Maurizio Porro, Corriere della Sera, Italy

Lucky

Riesce a misurare l’alto e il basso, filosofia e birra, malinconia e vitalità, giovinezza e vecchiaia, nel ritratto di un uomo catarroso 90enne uscito dalla grande Hollywood, ma con un sospetto (la querelle sul realismo è eccezionale) che lo rende a suo modo unico. Peccato solo che Harry Dean Stanton non abbia potuto esserci perché non ci sono aerei solo per fumatori…

Alessandra Levantesi, La Stampa, Italy

Lucky

Un film che, pur ispirato alla personalità di Harry Dean Stanton, sa reinventarlo come personaggio, intrecciando con finezza narrativa una sorta di ballata che si fa stoica riflessione di vecchiaia, vita e morte.

Francesco Boille, Internazionale, Italy

Mrs Fang

Il ritratto immobile di una donna alla fine dei suoi giorni è privo di pornografia e pieno invece di umanità. Un documentario d'autore unico nella storia del cinema.

Massimo Lastrucci, Ciak, Italy

Lucky

Quando un film riesce a parlare dell’anima e a essere metafisico come una testuggine, allora si tratta di grande cinema.

Nicola Falcinella, La Provincia di Como / Azione, Italy

Did You Wonder Who Fired the Gun?

Un film su più livelli, sincero e radicale, sulla storia individuale e collettiva e sulla memoria rimossa, che fa emergere ingiustizie, razzismi e nazionalismi di ieri e di oggi.

Stefano Della Casa, Hollywood Party, Italy

Night of the Demon

Un film che propone uno sguardo unico e visivamente stupendo sull'incrocio tra naturale e soprannaturale.

Valentina D'Amico, Movieplayer.it, Italy

Lucky

Il film, diretto con grazia ed eleganza dal John Carroll Lynch, offre a Stanton il ruolo di una vita
e ci cattura in una profonda riflessione sul senso dell'esistenza. Ad arricchire il tutto la presenza di David Lynch in un irresistibile cameo che coinvolge una testuggine centenaria.

 

 

Peter Claus, Rbb Kulturradio, Germany

Lucky

Pura magia cinematografica. Harry Dean Stanton come stravagante filosofo restituisce la fede nel miracolo della vita. Intelligente. Commovente. Formalmente brillante.

Patrick Wellinski, Deutschlandfunk Kultur, Germany

La telenovela errante

L’idea di narrare gli intrighi politici del Cile attraverso il prisma della telenovela diventa commento sarcastico alle défaillances storiche di ideologie vecchie e nuove.

Rüdiger Suchsland, Berliner Zeitung, Germany

Grandeur et décadence d'un petit commerce de cinéma

Un film molto spiritoso e profetico, che ha presentito la decadenza del cinema, dell’arte e la presa di potere totalitaria della televisione già 30 anni fa – e un omaggio affettuoso al troppo prematuramente scomparso amico François Truffaut.

Hannah Pilarczyk, Spiegel.de, Germany

Quing Ting zhi yan (Dragonfly Eyes)

Una fiaba, un incubo, una vera rappresentazione della Cina: mi ha sconvolta e entusiasmata come nessun altro film.

Frédéric Jaeger, Critic.de, Germany

Madame Hyde

Ci sono molti motivi per amare l’assurdo e grottesco Madame Hyde. Per me è stato decisivo il finale, perché osa tentare ciò che le commedie non fanno mai, ovvero smettere d’essere una commedia.

Rudolf Neumaier, Süddeutsche Zeitung, Germany

Iceman

Mi è piaciuto più di tutti Iceman, perché Susanne Wuest e Jürgen Vogel rendono umane quelle distanti creature dell’età della pietra che noi continuiamo a essere.

 

 

Jean-Michel Frodon, Slate.fr, France

Ta Peau si lisse

Denis Côté has nothing to say, he watches and lets us watch, and that attention enhances a practice we might not have an interest in and brings us closer to it. An oiled, tattooed, unnaturally tensed surface – that is cinema.

Frédéric Strauss, Télérama, France

As Boas Maneiras

It's a superb and totally unexpected film! It's a new kind of auteur film, made with sensitivity and precision while also relying on the help of CGI. The future of cinema begins in Brazil!

Nicholas Elliot, Cahiers du Cinéma, France

Madame Hyde
As Boas Maneiras

This year contemporary films struggled to pull me away from the Tourneur retrospective. Fortunately the master’s shadow loomed over the two best films in competition: Serge Bozon’s Madame Hyde and Marco Dutra and Juliana Royas’ As Boas Maneiras.

Thomas Sotinel, Le Monde, France

Lucky

When I first saw Harry Dean Stanton on the screen he was almost 60 years old, emerging from the desert. Seeing him again, almost 30 years later, in a role that allows him to reveal his own self while simultaneously showing that a great actor does not fear the passage of time, is enough to make Lucky an overwhelming experience.

Muriel Del Don, Cineuropa, Belgium

Good Luck

Good Luck is a mysterious and powerful film, a collective ritual that you do not leave unscathed. It is cinema as a physical art, shaking our bodies to the point of ecstasy.

Olivia Cooper-Hadjian, Critikat, France

Madame Hyde

Madame Hyde is, to me, the most important film of this festival. Once again, Serge Bozon scrambles the rules and codes of narrative cinema, digging an extremely singular furrow.

Jean-Baptiste Morain, Les Inrockuptibles, France

Laissez bronzer les cadavres, 9 Doigts, Milla, Madame Hyde

This has nothing to do with patriotism, but I thought the French-language films were admirable this year: Laissez bronzer les cadavres, 9 Doigts, Milla, Madame Hyde... those are my favorite films. I can't single out just one of them...

Giorgia Del Don, Cineuropa, Belgium

Mrs. Fang

Mrs. Fang for its poetry and despair. Wang Bing invites us to lean on the small details that makes us human, to look into the void without losing ourselves. A delicate film to handle with caution.

 

 

Neil Young, The Hollywood Reporter, USA

Țara moartă (The Dead Nation)

One of the simplest and most complex films of the Festival presents a multi-faceted window into the darkness of the past.

Allan Hunter, Screen International, UK

Lucky

Wry, unpretentious and completely engaging as it follows an elderly, independent man coming to terms with his own mortality and the meaning of life.

Kieron Corless, Sight & Sound, UK

Cocote

The film is incredibly evocative and alive with details, and the cinematography and sound design are just phenomenal.

Christopher Small, IndieWire, USA

Mrs. Fang

Wang Bing's materialist theatre of mourning. Inner and outer life. All you need is a face.

Nina Rothe, Huffington Post, USA

Lucky

Perché è una storia bella e avvincente che ti fa venir voglia di vivere in quel posto con quella persona.

Víctor Esquirol Molinas, El Mundo, Spain

Person to Person

An almost perfect balance between all its fronts, achieving through the sharpness of their dialogues the concept of trust as a double-edged sword in the mechanics of human relations. Person to Person transcends assuming, with total sincerity, his own insignificance.

Carlota Moseguí, Otros Cines Europa, Spain

In Praise of Nothing

An outstanding essay about the most scariest thing on Earth. We won't fear the abyss anymore.

Eulàlia Iglesias, Caimán – Cuadernos de Cine, Spain

Did You Wondered Who Fired the Gun?

Travis Wilkerson's new movie is a brilliant and vivid exercise of militant cinema that, in a blend of thriller and performative documentary, explores the genealogies of racism in the United States.

Stas Tyrkin, Komsomolskaya Pravda Daily, Russia

Vinterbrødre (Winter Brothers)

I'll chose the audacious, bombastic and cacophonic Vinterbrødre – at times annoying but overall the most fresh and energetic film of the main competition. Hlynur Pálmason is definitely a director to watch.

Ahmed Shawky, Filfan.com, Egypt

Wajib (Duty)

Palestinian filmmaker Annemarie Jacir crafts a witty, touching and deep analysis of father/son relationship in Wajib. At the same time, a tense and complicated social situation stays very subtle in the back of the film's head.

Raúl Liébana, El Espectador Imaginario, Spain

9 Doigts

9 Doigts talks about survival and insanity in the most original and fascinating way, using the edition as a fundamental tool. The beginning of the film is pure American film noir of the 40s and later French. As might be expected, F. J. Ossang introduced Out of the Past by Tourneur in GranRex.

Joseph Owen, TheUpcoming.co.uk, UK

Chien

A bizarre, confounding film, Chien is frequently hilarious, surreal and deranged – it shows a man stripped away, ground down, and finally, encaged.

John Bleasdale Cine-vue.com, UK

Cho-haeng (The First Lap)

Brilliantly intimate picture of a couple trying to find their own path as they face commitment and the pressure of their families.

Boyd Van Hoeij, The Hollywood Reporter, USA

The Swiss films really impressed me this year, from the formal rigor and dark vision of contemporary society of Dene wos guet geit to the conflicted but also very human characters in Goliath and the warmth, humor and mainstream appeal of Die göttliche Ordnung.

Pamela Jahn, Electric Sheep Magazine, UK

Lucky

John Carroll Lynch’s debut feature is a wonderfully tender, wise and understated drama, anchored by a subtle, nuanced script and a triumphant performance by the 90-year-old Harry Dean Stanton. Everyone who has the chance to see this film should, and will, consider themselves, well, really lucky.

Carlos Nogueira, O Cinéfilo Invertebrado, Portugal

Cocote

Cocote is an exhilarating cinematic experience and confirms what Santa Teresa y otras historias already made us suspect: that Nelson Carlo De Los Santos Arias has a very personal voice and he is a name on which to count in the world cinema.

Francisco Ferreira, Expresso, Portugal

Madame Hyde

I'd have a handful of films by Tourneur and Straub to fill my list of the best. I underline the glowing body of Madame Hyde: she comes from Stevenson and the fantastic cinema with a sharp, political look at contemporary France. In Signs of Life, a big hurrah to Cocote!

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