Skip to main content

This Wednesday at Concorto begins at 4:30 p.m. with the second day of Concorto Kids, at Galleria Ricci Oddi. The screening of the first part of the Animal House focus will then follow at 6:15 p.m.

Dinner under the stars at Parco Raggio and then the screening of the films in competition, followed by the Supernature and Guilty Pleasures focus in the Greenhouse!

Further and further away – Polen Ly
As seen by Vanessa Mangiavacca

Phal and Neang are an older brother and younger sister belonging to the indigenous Cambodian community of Bunong. They are forced to abandon their village due to the construction of a hydroelectric dam, and they move to Phnom Penh, which is the capital city: the eyes of young director Polen Ly rest on the last 24 hours of this half of the family. Filming is done during the transition from the village to a water basin, and from the fluvial silence there are two opposite attitudes that are shown by the protagonists: the disenchanted hope to escape that reality to find a better future and the painful awareness that the abandonment of the birthplace means breaking every connection with past and a land and a tradition that try to resist to progress and modernity in vain. Money replaces the land, but its grass will never be so green. In the last hug that Neang gives to a centuries-old tree is the attempt to secure her own story forever, before it is destroyed. 

Beware of Trains – Emma Calder
As seen by Anna Vullo

From the creativity of the entertainer Emma Calder comes Beware of trains, a journey through the fears and the anxiety of a lady who lost contact with reality. Did her worst nightmares really occur? Are they dreams? Or do they even come from a past life? These are questions which she cannot answer. The animation itself, characterized by strong and angular traits and by a constant use of red, conveys in the viewer a state of anxiety and disturbance, and the addition of real elements such as the eyes always reddened and tired of the protagonist increase the character’s psychological gravity. Her mind runs fast as a train on the tracks at night, that of 3 in the morning, on which she confesses her desire to escape. 

Tsutsué – Amartei Armar
As seen by Anna Vullo

Three wise men sing a prayer to nature, asking for forgiveness for the destruction caused by people. The artificial world has overpowered the natural one, and has materialized in front of us: we see Okai and his brother Sowah playing on a waste mountain, and ignoring the toxic environment that surrounds them. They grew up in a little town in Ghana, and they don’t know any habitat other than that one: an expense of garbage and the ocean as horizon. But even Okai has a request for nature: to bring back home his brother’s body, lost at sea. Amartei Armar’s short film – official selection of the Cannes festival 2022 – is made powerful by the daily delivery of one of the most serious problems of our time, like the accumulation and the disposal of waste.

Amok – Turai Balázs
As seen by Vanessa Mangiavacca

Try to give substance to your worst inner worries, abandoning every inch of rationality. If you’re unlucky, you could live the same psychodramatic journey as the protagonist of Amok. Winner of the Annecy International Festival of animation 2022, Turai Balázs’ short film digs into the dark side of Clyde, impersonated by an evil dwarf that follows him with the only aim of ruining his life. Pink fluorescent flashbacks show us his never-faced past, between family drama and a tormented childhood. Everything comes back like a big nightmare, to the point that it even destroys Clyde’s future marriage. The entire cartoon and pop culture is poured out on this narration, made anxiety-provoking on purpose: getting married, loving one person forever, being the ideal perfect and smiley family. How much pressure and how many social expectations does this imaginary impose on us? The traversal of this psychotic forest allows Clyde and his fiancée to reveal their true selves, and show to each other their deepest and most tangled parts, without shame or fear, in a fight with equal demons that brings them to accept themselves for who they are, without masks. 

Late Blooming in a lonely summer day – Sein Lyan Tun
Visto da Vanessa Mangiavacca

A strongly patriarchal society like the one of Myanmar certainly leaves little space of emancipation for girls and women. Eroticism and sexuality do not find expression too, especially if to experience certain sensations is a middle aged woman. We always talk too little of their desire, as if it were the highest taboo. The director Sein Lyan Tun decides to draw his own story around the character of Ma starting from the day of her dismissal as a cook assistant in a restaurant: it is 2020 and the Covid-19 pandemic forces her boss to temporarily close the business. Looking to the side, we thus enter into Ma’s everyday life which is simple, popular, human, raw, a reflection of the film photography. Drawing inspiration from Yasujirō Ozu’s cinema, Sein Lyan Tun focuses on image, on silences and on Ma’s expressions: the momentary loneliness is also her strength and through various attempts of acceptance and exploration of desire, clumsy at first, she will come to her bloom, on a lonely summer day.

Leave a Reply