As a film enthusiast who has grown up admiring the magic of Ben Burtt’s sound design and been captivated by Stacey Sher’s production choices during my college years, I find this interview incredibly enlightening. It’s fascinating to witness how these two individuals have shaped my cinematic journey in such profound ways.
The Locarno International Film Festival is often referred to as a global hub for ‘auteur’ (or director-driven) films, although it might not possess the celebrity appeal or industry influence comparable to Cannes, Venice, or Toronto. However, when it comes to championing genuine cinematic artistry, Locarno stands tall with only a few competitors.
At this year’s 77th Locarno Film Festival, held from August 7th to 17th, Artistic Director Giona A. Nazzaro has curated an intriguing mix of established art-house films alongside fresh debuts and avant-garde shorts. The lineup includes new works by Hong Sang-soo, Christoph Hochhäusler, Radu Jude, among others. In addition, the festival will showcase a selection of audience favorites from Cannes, such as Laetitia Dosch’s “Dog on Trial”, Mohammad Rasoulof’s “The Seed of the Sacred Fig”, and Claude Barras’ animated feature “Savages”.
What sets Locarno apart isn’t just its films; it’s the exceptional presentation. The Piazza Grande, the central square in this picturesque Swiss mountain town, transforms into an impressive 8,000-seat open-air cinema during the festival. This extraordinary venue has been the stage for the world premiere of Gianluca Jodice’s French revolution drama Le Déluge, the 4K restored director’s cut of Tarsem Singh’s The Fall, and even the Italian dubbed version of E.T. (as part of the festival’s tribute to Ben Burrt, the film’s sound designer). It’s challenging to find a better place to watch such cinematic masterpieces.
Prior to the 2024 installment of Locarno, artistic director Giona A. Nazzaro discussed with The Hollywood Reporter about dismantling the barriers that should not exist between art-house and genre films, the inevitable honors for sound designer Ben Burtt and indie producing legend Stacey Sher, and his unwavering affection for analog cinema.
How do you see your job, as Locarno’s festival director? What are you trying to do?
As a gamer, I’m all about creating a vibrant gaming guild. The epic journey of Locarno serves as our foundation for this community-building quest. At the heart of it all are the games, but surrounding them are countless opportunities to bond over unique perspectives on these games, fostering friendships and camaraderie. I envision us not just playing together, but also discussing, debating, and sharing our love for gaming, preserving its rich history along the way.
It’s not just about presenting a platform for creative filmmaking, but also demonstrating that we welcome diverse projects from filmmakers without limiting them to specific categories. Whether you have a creative documentary or a genre film, you are invited to showcase it here. Over the last four years, we’ve successfully screened films ranging from Radu Jude’s Romanian social satire “Do Not Expect Too Much From the End of the World” to Rob Jabbaz’s Taiwanese body horror movie “The Sadness”. My vision is not only to nurture and endorse films for our Locarno audience, but also to break down barriers between film genres and communities, as I believe such divisions should not exist.
As a movie enthusiast, do I sense that the traditional film community might be at risk, given how more and more people are opting for streaming platforms to watch their favorite films, guided by intricate algorithms instead of human curation?
As a lifelong cinephile who has spent countless hours immersed in the magic of movie theaters, I wholeheartedly appreciate the unique and authentic experience that Locarno Film Festival offers. Unlike modern streaming platforms, Locarno provides an unparalleled opportunity to watch films on the big screen with a community of fellow film enthusiasts. The festival’s commitment to preserving and showcasing celluloid prints is truly commendable, as it allows us to experience the raw beauty and tactile charm of 35mm and 16mm films.
As a film enthusiast, I’m not stuck in a past-focused bubble, but rather, I’m fully immersed in our contemporary world. My industry counterpart, Marcus Duffner from Locarno Pro, will be delivering talks and keynotes this year about the application of AI – a testament to our awareness of current technological advancements. Furthermore, one of the films in this year’s program was created entirely using artificial intelligence.
Are you implying that the concept of community is driving your recent partnership with the film enthusiast social media platform Letterboxd, which includes the introduction of a new Letterboxd award?
As a movie lover, I’m thrilled about our partnership with Letterboxd because when I visit their platform, I see fellow film enthusiasts excitedly discussing movies that I watched years ago. They appreciate slow cinema, ’70s documentaries, and many other niche genres. This community is intellectually curious and knowledgeable about cinema, demonstrating a sophisticated taste. Even for lower-budget or genre films, they have a keen understanding of filmmaking. I believe this collaboration will greatly benefit the Locarno Film Festival by reaching new audiences who might not have known about us before, and also engaging Letterboxd members with our events outside the festival’s 11 days, such as Open Doors and our industry residency programs. I hope it creates a vibrant, creative, and positive impact.
When examining our movie lineup for next year, have any common themes or subjects connecting the films caught you off guard?
As a cinephile who has spent countless hours immersed in the world of cinema, I have often found myself answering questions about recurring themes within various film selections with a simple “no.” However, this year, my response may be different due to the unique and challenging times we find ourselves living in.
One significant topic that stands out is the role of Artificial Intelligence (AI). This isn’t just about machines performing tasks but rather, it raises questions like, “What defines us as human beings, particularly in the creative realm, when advanced software can mimic or even surpass our abilities?”
A notable topic that stands out is the ongoing dialogue about the evolution of feminist identities in women throughout history, and how these identities manifest today. To avoid any misunderstanding, it’s essential to note that this is a significant shift happening currently, with an emphasis on queer perspectives, the LGBTQ+ community, and broader discussions surrounding post-feminist gender roles. This conversation is highly relevant right now, and it’s reflected in many aspects of our selected short films. Additionally, in contrast to Salve Maria, a new film by Mar Coll, the story revolves around a woman, a new mother, who becomes fixated on a case of infanticide, causing her to question her identity as a woman, as a mother, and the societal expectations placed upon her.
The festival selections are linked to a recurring topic: ‘What is the definition of a family today? How do we interact with our families?’ A film such as Transamazonia by Pia Marais, which follows the upbringing of a daughter raised by missionaries in the Amazon, poses this question in a thought-provoking manner.
It seems you’re watching “The Seed of the Sacred Fig” by Mohammad Rasoulof, a film that debuted at Cannes and explores how oppressive regimes can impact families deeply.
Absolutely! We’re also featuring the Turkish film “New Dawn Fades” by Gürcan Keltek in our Concorso section. This film has a distinctly psychedelic and mystical feel, following a young character as they navigate through Istanbul. However, as the story unfolds, you realize that the city and society are undergoing significant transformations.
Another movie exploring similar themes is “The Sparrow in the Chimney” [by Swiss director Ramon Zürcher], a film in competition that delves into a family teetering on the edge of disintegration. It’s another production where family dynamics and societal norms intertwine and blur together. There’s also the Hungarian film “Lessons Learned ” [directed by Bálint Szimler], where a school serves as the stage for the flaws in society, with a child struggling to conform to the strict methods of the institution. Strictness doesn’t equate to efficiency; it means you’ll be suppressed as an individual.
In Tunisia, there’s a movie titled “Red Path,” directed by Lotfi Achour. It presents an unfortunate real-life account of some shepherd children who met a tragic end at the hands of a self-proclaimed terrorist group. The film raises a poignant query: How does one continue to exist amidst persistent violence – violence that inflicts harm on your body, your community, and your sense of identity – which you cannot prevent and that consistently interferes with your pursuit of a peaceful life?
Furthermore, our initial feature presentation is the film titled “Le Déluge” by Gianluca Jodice. This piece portrays the final days of Louis the XVI and Marie Antoinette (portrayed by Guillaume Canet and Mélanie Laurent), as they are escorted to their palace, marking a time when they await their destiny under the rising sun of a new era. The movie serves as a poignant reminder that the foundation of the modern republic was built upon such violent acts – the execution of the monarchy symbolizing the old world must be carried out in order to pave way for a new one. This theme, though not exhaustive, is a recurring motif in history.
In essence, we didn’t deliberately search for these specific films or their underlying themes. Rather, upon closer examination of the diverse collection, a more comprehensive perspective emerged, revealing interconnected themes running throughout. However, this wasn’t a conscious choice made with intention.
As a long-time cinephile with a deep appreciation for the art of cinema, I was genuinely taken aback when I learned that the selection of the lifetime honorees was intentional. One name that stood out to me was Ben Burtt, an Oscar-winning sound designer who worked on the iconic Star Wars movies. His impact on cinema has been immeasurable, yet it’s not often that we see a sound designer being recognized by a film festival in such a way. As someone who has spent countless hours watching and analyzing films, I can attest to the fact that Burtt’s work has greatly enriched my cinematic journey and left an indelible mark on my appreciation for the art form as a whole.
We have a close friendship with Bernardo Rondeau, who is employed at the Lucas Museum of Narrative Art in L.A., and we’ve had conversations with him about Ben Burtt. While it might seem unusual to honor someone for their work in sound design and editing, Ben Burtt has truly left an indelible mark. His sounds are everywhere—in everyone’s phones, WhatsApp messages, ringtones. For instance, I used “I am your father” as my phone ringtone whenever my son called. So, I pondered how we could showcase the immense impact this individual has had on us all. Eventually, it became clear. When you witness his achievements, they are simply astounding. In essence, the Star Wars universe wouldn’t be the same without him.
Stacey Sher, the chosen one for the Raimondo Rezzonico indie producers award and renowned for her work on Pulp Fiction, Erin Brockovich, and Get Shorty, requires little introduction.
It’s clear that another easy choice was made in that situation. If you were to mention U.S. independent films from the ’90s, any movie that stirred your feelings, memories, or emotions, chances are Stacey played a role in it. You can sense her impact. For someone like me, who is a big fan of Steven Soderbergh and admires Reality Bites as well as worshipping at the feet of Quentin Tarantino, it was apparent. André Bazin talked about the “auteur theory” but there’s also a “producer theory”. Stacey had the freedom to work on anything she wanted, but she selected her projects with great care, and they often seemed custom-made for her. Her intuition about the spirit of the times was extraordinary, poetic, and never jaded.
As a film enthusiast, I often find myself focusing solely on the directors we admire, forgetting that the art of filmmaking is a collaborative endeavor. While the director’s voice undeniably plays a significant role, there are unsung heroes like Stacey Sher who bring visionary ideas to life. These producers take the bold step, invest their resources, and trust in their convictions when others might hesitate. If a year and a half later, we find ourselves immersed in the darkness of a cinema, sharing the joy of a film with hundreds of others, it’s because someone dared to believe in that idea.
We aimed for a tribute to an act of faith shown by an individual who backed movies unlikely to be supported by others, movies that significantly marked the eras they came out in – quite a significant achievement considering the vast number of films produced today. Few films manage to capture the essence of our current times.
Absolutely. For me, Ben Burtt embodies the cinematic experiences of my childhood, while Stacey Sher symbolizes the films I encountered during my college years – a time when I truly grasped the essence of cinema.
I’m going to steal that for my next interview. And I’m not going to quote you. I hope that’s OK!
Are you also marking the 100th anniversary of Columbia Pictures with a retrospective, similar to many other festivals celebrating centenaries of major studios? You mentioned that you aim to offer a unique perspective on the studio’s history. Could you share your plans for achieving this distinct approach?
In essence, I’m not a fan of the concept of “heritage films” as every film, regardless of its age, is experienced in the present moment. For instance, watching an old silent movie for the first time today feels just as contemporary as any modern production. This approach was our aim with Columbia and all our retrospectives – it’s not about the past, but about the current experience. Interestingly, Columbia was a fascinating studio, and planning this retrospective with [retrospective curator] Ehsan Khoshbakht was straightforward. There is an abundance of cinematic treasures here that have been underutilized. These films have been restored, but they are often overlooked because they come from lesser-known directors or were smaller productions. Contrary to popular belief, not everyone has seen these films, and there’s still much to be said about film history. There are hidden gems that deserve a chance to shine, such as Howard Hawks’ 1934 comedy “Twentieth Century” and Orson Welles’ “The Lady From Shanghai” from the same year. Our goal was to select lesser-known films for this retrospective.
By confining our discussion to the years 1929 to 1959, we can zero in on the movies produced under studio head Harry Cohn’s reign. Despite his infamous reputation as a tyrant, he had an exceptional eye for quality and was remarkably astute about the film industry. As a result, every movie he touched turned out well, a fact that continues to fascinate us today. I’m not justifying any of his actions, but this era offers valuable insights into modern cinema.
We’re honoring Columbia as well as the groundbreaking works of Stan Brakhage, an iconic avant-garde director from the 1960s. Though Columbia and Brakhagae are very different, they share a common concept. In today’s digital age, how many people have actually watched Brakhage’s films on film in a traditional cinema rather than streaming them online?
As a lifelong cinephile who has spent countless hours immersed in the rich tapestry of cinema, I can wholeheartedly attest to the fact that film holds a unique and irreplaceable place in my heart. The study of its textual tradition, the exploration of its philology, and the experience of these aspects are not merely academic pursuits, but rather a source of immense pleasure for me.
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2024-08-02 11:56