Indiecinema Film Festival 2020 second session will be online between 13 and 20 December
The inaugural session of the Indiecinema Film Festival 2020 took place between 6 and 11 October last, a film event that aspires to be a reference point for independent films, both in Italy and abroad.
And the first feedback was certainly positive! In addition to the favorable reactions of the public and the press, we have registered the birth of new and sometimes unexpected synergies: the invitation, which came as a surprise and in progress, to present our films at the Farnesina Arena in Rome, was particularly appreciated. , where the spectators were thus able to benefit from those projections on the big screen that at the moment, alas, are no longer possible.
Indiecinema Film Festival 2020 second session
But despite the stop to public events, the hunger for good cinema has certainly not disappeared, so we are pleased to announce that the IndieCinema platform will host the second tranche of our festival between 13 and 20 December, divided into three staggered sessions. during the film season.
Many surprises in Indiecinema Film Festival 2020 second session. Starting from this session, in fact, the vote of the public will be accompanied by that of a technical jury, composed of highly qualified entertainment and information professionals, whose interest in independent cinema has received several confirmations over the years.
We will better introduce each member of the jury to you later. Another novelty of the second session will be a precious “twinning”, given by the interaction with yet another quality initiative expected on the IndieCinema platform in mid-December: the audiovisual section of THER (Thematic Exhibition on Human Rights), a thematic event under the artistic direction by Isabel Russinova who tackles topics on human rights told through the arts.
Our review grows and meets new travel companions. Not to mention that we will also give the opportunity to review the shorts of the previous festival session.
But now we come to the works selected for this second session of the IndieCinema Film Festival. Thirteen of shorts, feature films and documentaries, with an eye to the most interesting results of Italian independent production, but with works also coming from countries such as Greece, Korea, the United States and the United Kingdom.
The independent films of the second session.
Like the first session, perhaps even more so, we aimed to privilege the variety of approaches, ranging from pure experimentation to intersections with theatrical language, from social documentary to genres that represent the backbone of popular culture, such as the western , horror and science fiction.
And always in the spirit of the extreme freedom of selection, we wanted to assign some wild card tennis to older films that certainly deserve a wider circuit, such as the little explosive cult from Marche Bumba Atomika. Michele Senesi’s is one of the five independent films of fiction, in competition.
Browsing through the rest of the selection, we find a decidedly current pandemic horror from the United States, The Cove by Robert Enriquez, as well as the light-hearted and unconventional comedy of Luca Martinelli’s film, The Samargantic Man.
Still on the subject of out-of-the-box realities, anyone who appreciates research cinema and experimental films will certainly be intrigued by Fabio Nicosia’s Il Ghigno e la Mucca.
Instead, the two documentaries in competition seem to have a tutelary deity, which is also dear to us: the Theater. In the case of Was Shakespeare English ?, the original work of Russian director Alicia Maksimova, the central link seems more evident, even if the exciting research on the origins of the Bard will lead, for some surprisingly, to Italy.
But in addition to Luca there is another Martinelli, that Marco Martinelli who with the Teatro delle Albe wrote important pages of Italian culture. Here we see him struggling with a documentary shot in the heart of black Africa, The Sky over Kibera, in which Dante’s reinterpretation is tinged with laudable nuances of solidarity.
Precisely in the meetings organized by the Teatro delle Albe we became familiar with the name “amphibian”, ideal for defining those who are artistically confronted with both cinema and theater. And it seems to us that the term is very well suited to the experimental film Doriana by Mariano Lamberti, based on a text by Roberta Calandra. This is also the longest of the six short films, indeed, of the six gems, which make up the second session of the festival.
Indiecinema Film Festival is also a showcase of short films that takes shape passing through the Greece of Naturally by Dimitrios Stasinopoulos and the Korea of the poetic In the Land of Morning Calm, created by the Italian Alessandra Pescetta, to then arrive at The Shout by Federico Mattioni, surprising adaptation of the eponymous tale by Robert Graves.
Dystopian and philosophical science fiction is also well represented, with Adelmo Togliani’s Néo Kósmo, fresh winner of the Castelli Romani Film Festival. Last gem of the Sola downhill lot by Michele Bizzi and Claudia Di Leave, which will make you get on an elevator and see the others with a different eye.
Finally, we would like to present the jurors of the Indiecinema Film Festival one by one, strictly in alphabetical order:
Actress, author, comedian and film and theater critic. In more than fifteen years of activity he boasts numerous theatrical experiences with various companies, staging Shakespeare, Brecht, Garcia Lorca, Allende, Euripides, but also Benni and lighter plays. As a comic writer and performer she trained at Mago Mancini’s Makkekkomico and participated in various competitions with her own comic texts. At the same time, he continued his activity as film and theater critic, lending his pen to Cineclandestino, SulPalco, Taxidrivers and Il Foyer.
Franco Bocca Gelsi
He was born in Genoa and moved to Milan where he studied and attended the Civic School of Cinema. After years of experience at all levels of the audiovisual industry, in 2002 he became a film producer and founded Gagarin. He studied script and novel at the Holden di Baricco, he graduated from EAVE and EURODOC, so of high European education funded by Europa Creative. Subsequently he teaches and holds several courses in N.A.B.A. (new Academy of Fine Arts), IULM (Free University of Languages and Communication), Luchino Visconti Civic School of Cinematography, Experimental Center of Cinematography in Milan. Participate in various experiences of Audiovisual Associations including the Milan Film Agency, A.P.I.L. (Association of Italian Producers Lombardy), A.G.P.C. (Association of Young Film Producers) and in 2014 he founded CNA Cinema Audiovisivo, of which he became President of the Milan-Lombardy section in 2018. As a producer he has produced 7 films and 7 documentaries, some of which have won several awards and nominations.
Fabrizio Croce (Rome, 1977)
Film critic, he collaborated as editor with the online magazines “Close-up, stories of vision”, “Sentieri selvaggi” and “Schermaglie, Cinema più” (of which he is currently one of the coordinators).
He edited the film critic column “Schermi Svelati” for UilWeb.tv.
He participated as co-screenwriter in the documentaries “La MaMa ETC., the house is open” (2011) and “Claudio Naranjo, aqua y ahora” (2012) directed by Antonio Messia and Donatella Querci.
He wrote, with Sabina Curti, the monographic volume “The inverted sky: refractions between real and imaginary in Mario Balsamo’s cinema” (2020). “
Emanuele Di Nicola
Journalist and film critic. He is editor of the magazine “Gli Spietati”. He writes for various publications (Cineforum, Nocturno), lectures, collaborates with the La Sapienza University. He is the author of “La dissolvenza del lavoro. Crisis and unemployment through cinema ”(Ediesse, 2019).
Massimiliano “Maks” Maltoni (Ravenna, 1972).
At the age of 14 he discovers the VCR, compulsively accumulates tapes and visions and becomes passionate about popular and genre cinema. At the age of twenty he moved to Venice, where he organized various events in the field of cinema and curated educational workshops on image and media for schools. He worked for 10 years at the Programming Office of the Venice International Film Festival, for which he also collaborated in the preparation of the catalog. In 2006 he founded the “Incontri Cinematografici di Stresa”, of which he is co-director and responsible for programming. Since 2012 he has curated the Swiss Cinema event in Venice for the Swiss Consulate. In the same year, he leaves the lagoon and moves to the capital to work at the Rome International Film Festival, which he will leave in 2014. From 2014 to 2016 he is also a member of the Selection Committee of the Bellaria Film Festival. In 2015 he joined the staff of La Cappella Underground in Trieste, and is in charge of the programming of the Trieste Science + Fiction Festival. He also collaborates at the Soundscreen Film festival in Ravenna. For some time now he has been working on a book on the Venetian history of Scalera Film and its film studios on the Giudecca.
Nadia Zavarova. (Kiev, 1981).
Film critic and journalist, screenwriter, translator, university teacher of film history. For many years he coordinated the programming of the Kiev International Festivals: Molodist and Contact. He is currently carrying out a research doctorate at the La Sapienza University of Rome. She finds inspiration in Alfred Hitchcock and Billy Wilder films, tap dance, frothed coffee, soccer, travel and her dog named Julie Andrews (with her in the photo). He believes that studying cinema is a great pleasure and telling about cinema is a real happiness. Favorite quote: “Nobody’s perfect”.