{"id":40436,"global_id":"colosseo.it\/en\/?id=40436","global_id_lineage":["colosseo.it\/en\/?id=40436"],"author":"16","status":"publish","date":"2023-07-04 09:30:26","date_utc":"2023-07-04 07:30:26","modified":"2023-07-04 09:30:57","modified_utc":"2023-07-04 07:30:57","url":"https:\/\/colosseo.it\/en\/event\/quo-vadis-al-cinema-nel-cuore-di-roma-2023\/","rest_url":"https:\/\/colosseo.it\/en\/wp-json\/tribe\/events\/v1\/events\/40436","title":"Quo Vadis? Al cinema nel cuore di Roma | 2023","description":"

Magical, buried, naked, lost, submerged, sorrowful, merciless, bitter, enchanted.<\/em>
\nIn over a century of cinema (and of Italian titles, not always faithful to the originals…) the city<\/strong> has been all this, and much more: the place of dreams and nightmares, of frenzy and boredom, of success and anonymity, of sociality and alienation. Filmed from life or reconstructed in the studio, imagined or real, it has often stolen the scene from stories, performers, authors: not just a simple set, therefore, but a precipitate of situations and feelings, possibilities and frustrations. To celebrate this extraordinary protagonist of the history of cinema, the second edition of “Quo vadis? Al cinema nel cuore di Roma”, promoted by the CSC – Cineteca Nazionale and the Parco archeologico del Colosseo<\/strong>, proposes this year, once again in the Temple of Venus and Roma<\/strong>, an authentic world tour between film and city<\/em>.<\/p>\n

A tour that touches nine decades<\/strong> (from the 1921 of Manhatta<\/strong> <\/em>by Paul Strand and Charles Sheeler, the first avant-garde film of American cinema, to the Tokyo<\/strong> of Lost in Translation<\/em><\/strong> by Sofia Coppola, dated 2003) and four continents. There are two Italian stops: the visionary and rambling Roma<\/em> <\/strong>of Federico Fellini, to which we entrusted the opening, and the Naples<\/strong> scarred by lawlessness of Le mani sulla citt\u00e0<\/strong><\/em> by Francesco Rosi. The obligatory capitals of cinema are (almost) all there: Paris<\/strong> (before the classic Cl\u00e9o de 5 \u00e0 7<\/strong><\/em> by Agn\u00e9s Varda, the reckless sequence plan of C’\u00e9tait un rendez-vous<\/em>, a Claude Lelouch in purity), New York<\/strong> (the aforementioned Manhatta<\/em> is joined by Woody Allen’s declaration of love for his Manhattan<\/em><\/strong>), L.A.<\/strong> (William Friedkin’s To Live and Die in L.A.<\/em><\/strong>, reminding us that without the city there would be no detective story, nor noir), London<\/strong> (captured in the midst of the ‘swinging era’ by Michelangelo Antonioni in Blow-Up<\/strong><\/em>), Berlin<\/strong> (with the Wall bursting onto the set of One, Two, Three!<\/strong><\/em> but not even History can sabotage a Billy Wilder comedy). The appointment with the silent film is entrusted to the projection (with live piano accompaniment) of Sunrise: A Song of Two Humans<\/strong>\u00a0<\/em>by F. W. Murnau, the timeless challenge between the temptations of the metropolis and the cathartic value of nature. Three bets we cherish: Edward Yang’s Taipei Story<\/strong><\/em>, a masterpiece of Taiwanese cinema restored by Martin Scorsese’s The Film Foundation’s World Cinema Project, Jules Dassin’s adventurous Istanbul<\/strong> of Topkapi<\/em><\/strong>, a divertissement with a stellar cast to be rediscovered in its original version, and the homage to two great African filmmakers, between Dakar<\/strong> (Borom Sarret<\/em><\/strong>, on the centenary of the birth of the Senegalese Ousmane Semb\u00e8ne) and Cairo<\/strong> (Central Station<\/strong><\/em>, by the Egyptian Yusuf Shahin). Finally, with Mariupolis<\/strong><\/em>, the memory of Mantas Kvedaravi\u010dius, the filmmaker killed in 2022 in Mariupol, one of the martyred cities of the war in Ukraine.<\/p>\n

<\/h3>\n

THE PROGRAMME<\/h3>\n

 <\/p>\n

4th July – ROME<\/strong><\/p>\n

Roma<\/em> – Federico Fellini, 1972, 119\u2019<\/p>\n

 <\/p>\n

5th July – NEW YORK <\/strong><\/p>\n

Manhatta<\/em> – Paul Strand and Charles Sheeler, 1921, 10\u2019<\/p>\n

Manhattan<\/em> – Woody Allen, 1979, 97\u2019<\/p>\n

 <\/p>\n

6th July – TAIPEI <\/strong><\/p>\n

Taipei Story<\/em> – Edward Yang, 1985, 119\u2019<\/p>\n

 <\/p>\n

7th July – BERLIN<\/strong><\/p>\n

One, Two, Three<\/em>\u00a0– Billy Wilder, 1961, 110\u2019<\/p>\n

 <\/p>\n

8th July – TOKYO <\/strong><\/p>\n

Lost in Translation<\/em> – Sofia Coppola, 2003, 104\u2019<\/p>\n

 <\/p>\n

9th July – ISTANBUL <\/strong><\/p>\n

Topkapi<\/em> – Jules Dassin, 1964, 120\u2019<\/p>\n

 <\/p>\n

10th July – NAPLES<\/strong><\/p>\n

Le mani sulla citt\u00e0<\/em> – Francesco Rosi, 1963, 107\u2019<\/p>\n

 <\/p>\n

11th July – SILENT CITY <\/strong><\/p>\n

Sunrise: A Song of Two Humans<\/em>\u00a0Friedrich Wilhelm Murnau, 1927, 94\u2019<\/p>\n

Live musical accompaniment by Maestro Antonio Coppola<\/p>\n

 <\/p>\n

12th July – DAKAR\/CAIRO<\/strong><\/p>\n

Borom Sarret<\/em> – Ousmane Semb\u00e8ne, 1963, 22\u2019<\/p>\n

Cairo Station<\/em> (B\u0101b al-Had\u012bd<\/em>) – Youssef Chahine, 1958, 74\u2019<\/p>\n

 <\/p>\n

13th July – MARIUPOL\u00a0 <\/strong><\/p>\n

\u00a0Mariupolis<\/em> – Mantas Kvedaravi\u010dius, 2016, 96\u2019<\/p>\n

 <\/p>\n

14th July – PARIGI<\/strong><\/p>\n

C\u2019\u00e9tait un rendez-vous<\/em> – Claude Lelouch, 1976, 9\u2019<\/p>\n

Cl\u00e9o de 5 \u00e0 7<\/em>\u00a0– Agn\u00e8s Varda, 1962, 90\u2019<\/p>\n

 <\/p>\n

15th July – LOS ANGELES\u00a0 <\/strong><\/p>\n

To Live and Die in L.A. – <\/em>William Friedkin, 1985, 116\u2019<\/p>\n

 <\/p>\n

16 luglio – LONDON<\/strong><\/p>\n

Blow-up<\/em> – Michelangelo Antonioni, 1966, 112\u2019<\/p>\n

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