SATURDAY 24 MARCH 2018
STRADA PROVINCIALE DELLE ANIME
by Gianni Celati, Italia, 1991, 58’
Introduction by Ermanno Cavazzoni
In 1991 Angelo Guglielmi, the former director of TV channel Rai3, asked writer Gianni Celati to shoot a film on the Po Delta, a work halfway between a travel journal and a reportage, in the area that was the background of one of his last book, Verso la foce (Towards the river mouth). Celati then invited all his Ferrara relatives and friends on a bus and led them on a journey through the Po Valley, la Bassa, to the Delta of the river. The bus was followed by a car with the crew and Luigi Ghirri, who had been appointed set photographer. The result is a documentary, but also the story of a story, a travel chronicle, a collection of visual notes owing much to Luigi Ghirri’s photography and to the previous wanderings of the Emilian writer. Strada provinciale delle anime (Provincial road of the souls) is a film that escapes any label, a concentrate of the spirit of Celati’s books written along the Po Valley, but also of his favourite filmmakers’ visions, from Rossellini to Antonioni, an impure work that year after year has become an example of a new narrative. Celati is the director and the guide embarking his friends (and ourselves) on a trip to the places he loves, while composing little stories made of images and words.
GENTE DEL PO
by Michelangelo Antonioni, Italy, 1943/1947, 9'
The first documentary by Michelangelo Antonioni, Gente del Po (People of the Po Valley) focuses on the hard life of the people of Porto Tolle, a small village on the Po River. Fishermen, peasants, women and men are captured during their daily tasks, with great attention for their environment. And this is indeed the film’s centre: the environment and its dynamics are crucial for the characters’ evolution. The work sheds a new light on Italian cinema in the 1940s, anticipating some stylistic features of Neo-realism and of the entire vision of the Ferrara filmmaker. The film started in 1943 and was completed in 1947 after the war-lenght interruption. “As soon as I was permitted, I went back to those places with a camera and I shot Gente del Po. Everything that I made afterwards, either good or bad, starts from there,” the director once said.
In collaboration with:
In collaboraboration with the Cineteca di Bologna
Free admission upon reservation
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