CINÉMA SALA PEGASUS PER SPOLETO60



in collaboration with
Cineteca di Bologna
Lab 80 film
Perugia Social Film Festival
Premio Solinas



THE FRAGILE DIVA
Gene Tierney in the masterpieces of four great directors
Review in collaboration with Lab 80 film

HEAVEN CAN WAIT
a film by Ernst Lubitsch
(Usa 1943, 112´)
As soon as he dies, Van Cleve enters the reception area of Hell where he begins to tell the devil the story of his life: he had always been spoiled by his parents, his initiation to the pleasures of the flesh occurred at an early age by a young waitress, he loved women immensely but he always remained faithful to his beautiful wife. Masterpiece of elegance and exquisite transgression.
A comedy that summarizes the sixty years of a man´s life in flashback, which encapsulates the many "exemplary" motives and figures that have obsessed Lubitsch since the beginning of his career.

LAURA
a film by Otto Preminger
(Usa 1944, 88´)
The police detective Mark McPherson is investigating the murder of Laura Hunt, a stunning advertising executive apparently killed by a shotgun blast to her face inside her apartment. Through the testimony of her friends, and the reading of her letters and diary, McPherson gets to know Laura and slowly falls in love with the dead woman. 
Absolute masterpiece of film noir, the fire of the most inconceivable passion, which only ghosts can arouse, flows under its supreme elegance. Gene Tierney is gorgeous, as usual.

LEAVE HER TO HEAVEN
by John M. Stahl
(Usa 1945, 110´)
Ellen and Richard, Harlan a love at first sight and a quick wedding. But then her mind is perturbed by her devastating jealousy that leads her to suppress all those who she pathologically identifies as "rivals" in her relationship with her husband. Amazing, powerful melodrama, which time has not blurred or weakened. Perverse, fascinating, excessive in everything, even in the scenery. A breathtaking Gene Tierney and wonderful photography by Leon Shamroy, are awarded with an Oscar.

THE GHOST AND MRS. MUIR
a film by Joseph L. Mankiewicz
(Usa 1947, 104´)
Lucy Muir, a young widow, moves to a seaside home inhabited by the ghost of a navy captain. The woman is afflicted with anguish and wants to flee, but the ghost is a gentleman and the two become good friends in a short time. Without the captain, Lucy is now at a loss and he lovingly guides her in her most difficult choices. A great, heart breaking melodrama with surreal tones and touches of typical Anglo-Saxon comedy. The script is also very well-served by a high class director and performers.


HOMAGE
Review in collaboration with Lab 80 film and Cineteca di Bologna

Tribute to Woody Allen
MANHATTAN
a film by Woody Allen
Newly restored version 
(Usa 1979, 96’)
Postmodern symphony of a large city, a lovely embroidery of quotes entrusted to a dizzying black-and-white beauty, while New York extends its panoramic view: paradoxically, only a widescreen sees full justice done to this story of fragile love stories consumed among fashionable restaurants, confidential diners, twilight apartments, museum or planetarium halls, but ready to open up on the wonders of the skyline, on Central Park during a summer storm, on a Fifth Avenue filmed at a running pace and in a crescendo of Rhapsody in Blue that ends blending with the melancholy notes of But not for Me. They are thirty-forty year olds, they are intellectuals, they fall in love and lose interest, they are carried away by Gershwin’s music and pierced by the slightly bitter irony of Woody Allen-Ike Davis’ jokes, a tragicomic conscience of the world. "All these people in Manhattan who speak, are stressed and create non-existent problems so as not to think about the real universal problems." A key work in Woody Allen´s filmography. A movie of in-depth analysis and maturation, treated with disdain by those who wanted to see in Allen a lunatic fool for life. Manhattan is a movie with a striking visual appeal, and has brought back, like few, the sweet neurotic taste of living in a certain place of the western world, in a certain season (the end of the Seventies) that now seems so far away.

Tribute to Jean Luc Godard
CONTEMPT
a film by Jean Luc Godard
Newly restored Director’s cut version
(France, Italy 1963, 105´)
For the first time on screen, the director´s cut of a classic of the nouvelle vague, at the time revolutionized by the production (for the Italian edition, Carlo Ponti shortened it by about twenty minutes). Moravia’s novel becomes the pretext for one of Godard´s most linear and narrative films, where the Mediterranean and marine landscape offers a sumptuous contrast with the vulgarity of the movie milieu and the bitterness of a couple breaking up. Set between Cinecittà and an irresistibly pop-looking Capri, Michel Piccoli works on the set of an unlikely adaptation of the Odyssey (the aristocratic director is Fritz Lang who interprets himself), while his wife Brigitte Bardot is courted by the producer.

Tribute to Andrej Tarkovskij
THE STEAMROLLER AND THE VIOLIN
a film by Andrej Tarkovskij
(Ussr 1960, 55´)
Sasha, a seven-year-old violinist, is defended by Sergey, the operator of a steamroller, during the bullying from a group of children. Thanks to his friendship with the man, Sasha will learn how to deal with the difficulties in life. Film made by Tarkovskj at twenty-eight as a diploma film for his directing course.

Tribute to Andrej Tarkovskij
MIRROR
a film by Andrej Tarkovskij
(Ussr 1974, 105´)
Bedridden with a mysterious illness, Aleksei is thinking about his own life, interweaving the past with the present, reality with imagination. He remembers his father who left his mother and this immediately brings him back to his current condition. In fact, the man is living a situation similar to that experienced by his parents: he lives separated from his wife Natalija and he has a teenage son, Ignat, who refuses to see him. The same actress plays the role of his mother and wife, and the same boy is Aleksei as a child and his son Ingat. Tarkovskij said, "Repetition is a law, because experience is not transmitted and each person has to live it".


THE NEW EUROPEAN CINEMA
Review in collaboration with Lab 80 film

THE RED SPIDER
a film by Marcin Koszalka
(Poland, Slovakia, Czech Republic 2015, 95´)
The first fiction of the great Polish documentarist. Krakow in the 1960s. Young Karol is an accomplished diver and a source of pride for his family. One night at the amusement park, he accidentally discovers the body of a young boy, a victim of the serial killer known as "The Red Spider". Karol notices a mysterious stranger near the corpse, but decides not to tell the authorities. He tracks the man, a disturbing, seemingly innocuous veterinarian. The two meet, they analyze each other, the tension grows ...
Koszalka, known as director of photography and documentarist, in the film The Red Spider, his debut as director of fiction, once again demonstrates a remarkable authorial talent, re-creating the oppressive atmosphere of communist Poland precisely, and subtly outlining the psychology of his characters. 

THE SWEDISH THEORY OF LOVE
by Erik Gandini
(Sweden 2015, 76´)
From a cult author, a movie that is already a classic.
Erik Gandini, a director born in Italy from an Italian father and Swedish mother, tells (in Italian) a story that begins in Sweden and ends with Zygmunt Bauman, passing through Ethiopia.
Erik Gandini, Swedish-Italian director, leaves from Sweden on a journey through movies that takes him all the way to Ethiopia. The film was conceived from a reflection on the manifesto proposed by the Swedish Parliament in 1972, "The Family of the Future". The concept is that every authentic human relationship is based on independence: a woman from her husband, adolescents from their parents, the elderly from their children. However, independence limits contacts and interactions: so half the population lives alone, more and more women become single mothers with artificial insemination. Why can a safe and secure life reveal to be so unsatisfactory? A possible answer is given by the well-known Polish sociologist Zygmunt Bauman, who demonstrates why a life without problems is not necessarily a happy life.

SONG OF MY MOTHER
a film by Erol Mintaş
(Turkey, France, Germany 2014, 103’)
Ali, a young schoolteacher, lives with his elderly mother Nigar in the far outskirts of Istanbul, "home" of numerous Kurdish refugees forced to leave their remote villages in the 1990s. Nigar is convinced that all the others have returned to the country of origin: tormented, she repeatedly prepares her luggage to go back and then roams around the city, getting lost The woman insists on finding an old traditional song, which no one seems to know. Ali watches over her, takes care of her, and does everything possible to retrieve the unknown song while he tries to find the time to work and write his books and he cannot fully return the dedication his girlfriend shows him. When she becomes pregnant, he is torn between the tie with his homeland and the desire to integrate into Turkish reality which seems incompatible. 

SPARROWS
a film by Rúnar Rúnarsson
(Iceland, Denmark, Croatia 2015, 99´)
Becoming an adult in Iceland. A marvellous location for an award-winning movie.
When his mother decides to depart for a mission to Uganda with her new companion, the sixteen-year-old Ari is forced to move from Reykjavik to the desolate and lost fishing village where he had lived as a child. There he finds a loving, ever-present grandmother, an estranged father, who is unemployed and often engaged in drinking, and a community where violence and squalor are often linked to alcohol. Friends from the past, who have now become adolescents, do not recognize him anymore and Ari struggles to integrate into the group. During the Icelandic summer, with the midnight sun, the teen will have to grow up and make a choice: to grasp the small signs of beauty, thanks also to the sweet presence of the young lady Làra, or to let himself be swallowed by the reality surrounding him. 

AFTERLIFE
a film by Virág Zomborácz
(Hungary 2014, 95´)
Mozes is an insecure young man who has just completed his studies in theology. After a brief period of time in a psychiatric structure, he returns home to live with his family in a remote village on the Hungarian plains. The relationship with his father is rather complicated. In fact, he is an authoritarian Protestant pastor who intimidates the entire family: a submissive mother, a shy, introverted, adopted daughter, a much too intrusive aunt. One day his father drops dead unexpectedly, but the paternal Hamletic phantom appears and follows Mózes, visible only to him. Mozes unsuccessfully tries to free himself from the troublesome presence, on the advice of a mechanic interested in spiritism. However, the strange practices suggested by his friend are of no use. The young man understands that he must complete the unfinished work left by the pastor before he finds eternal rest. Mózes takes things firmly into his own two hands, supported by the perplexed Angela, a young ex-addict who works for the Parish in a social recovery project.
The path of liberation is for Mózes the opportunity to solve - in a very bizarre way - his problems of relationship with the deceased, and finally find confidence in himself.

ENCLAVE
a film by Goran Radovanović
(Serbia, Germany 2015, 92´)
Nenad is a Serbian child living in an Albanian village of post-war Kosovo: he lives in an isolated quarter with his father and severely ill grandfather, that the child is very fond of. Every morning he goes to school in an armored UN vehicle, which protects him from assaults, and takes him to his school where he is the sole student in the class. The other children in the village are Albanians and one of them, Bashkim, bears a grudge against all Serbs. One day, while the Albanian community celebrates a wedding, his grandfather dies and Nenad crosses enemy lines in order to notify the priest. While the wedding and funeral intersect on the streets of the village like two parallel universes incapable of having a conversation, Nenad suddenly finds himself face to face with Bashkim: in the hands of the two children lies the opportunity to reproduce hate and division or to give a small, new change to the course of history .

THE GLASS CHILD
a film by Federico Cruciani
(Italy 2015, 85´)
The relationship between a father and a ten-year-old son is undermined by the truth that the man hides from his family. An unconditional bond in a reality where relationships break down. Palermo today. Giovanni, a ten-year-old child, bitterly discovers that evil can lurk in the word "family". With a slow, gradual awareness, the child will irreparably crush the unconditional bond with his father Vincenzo, opening his eyes to a reality where "criminal families" can be more than one kind and where his own "natural family" hides a secret capable of striking the heart.


PERUGIA SOCIAL FILM FESTIVAL / PREMIO SOLINAS

Perugia Social Film Festival
VIVIAN, VIVIAN
a film by Ingrid Kamerling (Holland 2016, 54’)

Perugia Social Film Festival
A FAMILY AFFAIR
a film by Tom Fassaert
(Netherlands, Denmark 2015, 110’)

Premio Solinas
LIBERAMI
a film by Federica Di Giacomo (Italy 2016, 90’)

Premio Solinas
CASTRO
a film by Paolo Civati (Italy 2016, 82’)


PROGRAM

Sunday 2 July
at 17:30
MANHATTAN
a film by Woody Allen (USA 1979, 96’)
at 20:00
THE RED SPIDER
a film by Marcin Koszalka (Poland, Slovakia, Czech Republic 2015, 95´)
at 22:30
THE SWEDISH THEORY OF LOVE
by Erik Gandini (Sweden 2015, 76´)

Monday 3 July
at 17:30
HEAVEN CAN WAIT
a film by Ernst Lubitsch (Usa 1943, 112´)
at 20:00
CONTEMPT
a film by Jean Luc Godard (France, Italy1963, 105´)
at 22:30
LAURA
a film by Otto Preminger (Usa 1944, 88´)

Tuesday 4 July
at 17:30
SONG OF MY MOTHER
a film by Erol Mintaş (Turkey, France, Germany 2014, 103’)
at 20:00
SPARROWS
a film by Rúnar Rúnarsson (Iceland, Denmark, Croatia 2015, 99´)
at 22:30
AFTERLIFE
a film by Virág Zomborácz (Hungary 2014, 95´)

Wednesday 5 July
at 17:30
THE SWEDISH THEORY OF LOVE
by Erik Gandini (Sweden 2015, 76´)
at 20:00
ENCLAVE
a film by Goran Radovanović (Serbia, Germany 2015, 92´)
at 22:30
LEAVE HER TO HEAVEN
by John M. Stahl (Usa 1945, 110´)

Thursday 6 July
at 17:30
VIVIAN, VIVIAN
a film by Ingrid Kamerling (Holland 2016, 54’)
at 20:00
A FAMILY AFFAIR
a film by Tom Fassaert (Netherlands, Denmark 2015, 110’)
at 22:30
THE STEAMROLLER AND THE VIOLIN
a film by Andrej Tarkovskij (Ussr 1960, 55´)

Friday 7 July
at 22:30
MIRROR
a film by Andrej Tarkovskij (Ussr 1974, 105´)

Sunday 9 July
at 17:30
CONTEMPT
a film by Jean Luc Godard (France, Italy 1963, 105´)
at 20:00
THE GHOST AND MRS. MUIR
a film by Joseph L. Mankiewicz (Usa 1947, 104´)
at 22:30
HEAVEN CAN WAIT
a film by Ernst Lubitsch (Usa 1943, 112´)

Monday 10 July
at 17:30
LEAVE HER TO HEAVEN
by John M. Stahl (Usa 1945, 110´)
at 20:00
MANHATTAN
a film by Woody Allen (USA 1979, 96’)
at 22:30
THE RED SPIDER
a film by Marcin Koszalka (Poland, Slovakia, Czech Republic 2015, 95´)

Tuesday 11 July
at 17:30
THE GLASS CHILD
a film by Federico Cruciani (Italy 2015, 85´)
at 20:00
THE SWEDISH THEORY OF LOVE
by Erik Gandini (Sweden 2015, 76´)
at 22:30
SPARROWS
a film by Rúnar Rúnarsson (Iceland, Denmark, Croatia 2015, 99´)

Wednesday 12 July
at 17:30
LAURA
a film by Otto Preminger (Usa 1944, 88´)
at 20.00
SONG OF MY MOTHER
a film by Erol Mintaş (Turkey, France, Germany 2014, 103’)
at 22:30
ENCLAVE
a film by Goran Radovanović (Serbia, Germany 2015, 92´)

Thursday 13 July
at 17:30
FREE ME
a film by Federica Di Giacomo (Italy 2016, 90’)
at 20:00
CASTRO
a film by Paolo Civati (Italy 2016, 82’)
at 22:30
MANHATTAN
a film by Woody Allen (USA 1979, 96’)

Friday 14 July
at 17:30
AFTERLIFE
a film by Virág Zomborácz (Hungary 2014, 95´)
at 20:00
THE GHOST AND MRS. MUIR
a film by Joseph L. Mankiewicz (Usa 1947, 104´)
at 22:30
THE GLASS CHILD
a film by Federico Cruciani (Italy 2015, 85´)



Sala Pegasus
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BIGLIETTI
admission fee €5,00

PERUGIA SOCIAL FILM FESTIVAL / PREMIO SOLINAS   
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