30 Oct 2021

DAILY: Day 11, October 31, 2021

In our VIENNALE DAILIES you'll find everything you need to know about what's happening around the festival!

It's strange when everybody knows everything but nobody says anything.

(Sergei Loznitsa)

YOU CAN FIND MORE PICTURES OF YESTERDAYS FESTIVALDAY IN OUR GALLERY!

NEED SOME FILMTIPS FOR TOMORROW? HERE ARE SOME HIGHLIGHTS!

RE GRANCHIO | Alessio Rigo de Righi, Matteo Zoppis, Italien/Argentinien/Frankreich 2021 | © Viennale

RE GRANCHIO
Alessio Rigo de Righi, Matteo Zoppis
31.10.: 18:15 - STADTKINO IM KÜNSTLERHAUS

Like the eponymous magic crab that keeps turning towards water whenever it moves, RE GRANCHIO follows a distant longing, something that remains invisible as long as nobody tells us about it. In this case, those telling the tale are not only the filmmakers, but also several elderly hunters sitting around and trying to remember how the story goes. Deeply indebted to folk tales and contemporary tendencies in Italian cinema, Alessio Rigo de Righi and Matteo Zoppis continue their collaboration, suffused as always with an interest in legends and animals, and observe the drunkard Luciano, a tragic and romantic hero in an unjust world around 1900 in Vejano, Italy. After falling in love and rebelling against a local lord, he lives in exile in Tierra del Fuego where he hunts for a treasure buried in a secret mountain lake. RE GRANCHIO is a film in love with fiction and the earth. It is another beautiful attempt by cinema not only to preserve the sight of landscapes and light, but also forms of storytelling. In a similar fashion to Alice Rohrwacher or Pietro Marcello, the filmmakers look at the world with the eyes of poets who must accept that life is vanishing, memories are slippery and painful cracks appear everywhere. (Patrick Holzapfel)

In the presence of Matteo Zoppis and Alegra Micangeli (actress).

ESQUIRLAS
Natalia Garayalde
31.10.: 18:30 - FILMMUSEUM

It seemed like a bombing on the Gaza Strip, a scene of terror that we imagine as being characteristic of faraway countries. Yet this was an incident took place in an Argentine city in the province of Córdoba in 1995: an explosion in a military arms factory that had devastating consequences. There was debris and dust, there were wounded people and corpses, and, with the passing of time, there was the perpetuation of trauma and illness.
No one in the small city of Río Tercero has ever forgotten that fateful day, but director Natalia Garayalde finds an intimate perspective on this collective memory by focusing upon a single painful family history, thus intensifying its universal emotional force and adding political foresight. All memory is invariably a labor of montage. And it is exactly this detailed work on these scattered memories that comes into play as all the material filmed by the members of this serious amateur filmmaking family is reorganized, whether from before or after this episode, acquiring decades later an additional layer of truth and bringing the force of the past into the present in order to understand how one can film a feeling. (Roger Koza)

In the presence of Natalia Garayalde and Eva Cáceres (producer).

IL BUCO
Michelangelo Frammartino
31.10.: 21:00 - FILMMUSEUM

While Italy is experiencing the economic boom of the 1960s, celebrated with architecture that projects into the sky, a mission in the Pollino Highlands of Calabria is exploring one of the deepest caves in the world. It is the Bifurto abyss, just under 700 meters deep.
IL BUCO descends into these secret cavities of the earth, tracing and caressing their outlines. The darkness of the mysterious, deep spaces is brought to light by a group of speleologists who redraw the contours in their mappings. On the surface, there is life: from the fields, the roofs, and the farmyards, the director captures the beauty of landscape and those who inhabit it, the grace of the changes in light that intertwine with the inevitable profundity with the work of the explorers.
Painterly sensitivity is one of Frammartino’s key traits, who celebrates the geometry of the universe through the shrewdness of his gaze and the patience of his camera. The film excavates the spiritual dimension of the cinematic gesture, which is inherent to work, life, or simple observation. In this long-awaited third feature, which made its debut at the Venice Film Festival, Frammartino offers an interpretation of history and our times, which reshapes the South as a generous and tenacious land, whose wealth is discreet but undeniable. (Eva Sangiorgi)