2022 – 9ª EDIÇÃO
COMEÇAR A OLHAR SCHOOL FILM COMPETITION
||||||| QUI 17 NOV • 17H | CINEMA SÃO JORGE • SALA 3
Com a presença da realizadora The director will be present
https://vimeo.com/643416546
CHILDREN LOVE TO HIDE AI BAMBINI PIACE NASCONDERSI
Angela Norelli
Itália • Exp • 2021 • 15’
As crianças são antigas criaturas tribais que há alguns anos se extinguiram misteriosamente. O que nos resta agora delas são só imagens – fotografias e vídeos de todo o mundo onde são celebrados estranhos rituais. Uma investigadora herda os diários de um colega partido para a Amazónia, convencido de que a última tribo de crianças que conseguiu sobreviver se encontrava na floresta.
Children are ancient tribal creatures who mysteriously went extinct a few years ago. What remains of them now are only images – pictures and videos from all over the world in which they celebrate odd rituals. A scientist inherits the diary of a colleague who left for Amazonia, believing that the last surviving children tribe was hidden in the jungle.
Argumento e Montagem Screenplay and Editing Angela Norelli
Produção Production Centro Sperimentale di cinematografia
Fotografia Cinematography Archive footage
Música Original Original Music Paolo Casali
Som Sound Design Giampaolo Pulcini, Marcello Sodano
Com With Angela Norelli
Distribuidor Distributor Première Film
ESTREIA EUROPEIA EUROPEAN PREMIÈRE
Festivais Festivals
Itália Torino FF [Prémière] | Visioni Italiane | Matera FF | Fescaal | Cinemambiente | Prato FF | FLIGHT – Genoa IFF | Dominio Pubblico | Effetto Notte || Cinemancia FF, Colômbia | Ultra, México
Nota da Realizadora Director’s Statement
“Where is that child? She doesn’t exist anymore!”, my mum always says whenever she sees an old picture of me. Since I poked around the super8 of my grandma, at least I can accuse my mother of my same fault: she usurped herself too, she is a missing child, not less than me. I see her playing jester in front of the camera, and I can’t recognize her. I see her focused on crack pine nuts – she is adapting to the customs and traditions of the children society. In those films, she looks more like a any other child than like herself today. All that remains of the lost childhood are casual moments, condemned to repeat themselves in every kind of images, silent to our questions. If Truffaut was right to say that making a film means prolonging childhood games, there are no objects unfit for play. My whole film has been made with every kind of found footage. High or low-quality images, action cam or super8, are all part of our memory. Just as in childhood games, the only limit to the archive is fantasy.
Com o apoio de
