In an era in which the image is increasingly central, despite having lost its thickness, its depth, its ability to make history, a Bologna every year cinema returns to the main screens of the city. Indeed, perhaps we should say that it is the belief in the collective vision that resists, grows and becomes an indomitable epiphany, thanks to an event with a cryptic name Il Cinema Ritrovato.
The Cinema Ritrovato festival in Bologna
A hall and square festival, promoted by Cineteca di Bolognadedicated to the masterpieces of the past, as well as to experimental works, which have emerged from the visual vocabulary of contemporaneity or are simply forgotten. From 22 to 30 June 2024 the thirty-eighth edition will take place, between square Greater and the Very modernonce again shining, and all the other halls and arenas included in the program (Cinema Lumière, DAMSLab, Cervi, Cinema Europa, Arlecchino, Jolly, Arena Puccini and Piazzetta Pasolini). There will be no shortage of meetings and moments of in-depth analysis, which demonstrate the desire to bring speeches and conversations about cinema out of university classrooms and give them to an international audience of cinephiles as well as curious people.
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The Cinema Ritrovato 2024 billboard
With 480 titlesbetween long, short and scopitones, coming from 35 countriesthe four artistic directors Cecilia Cenciarelli, Gian Luca Farinelli, Ehsan Khoshbakht, Mariann Lewinsky can say they are satisfied at the start of the 2024 edition. In fact, we are talking about a festival that is starting to acquire important dimensions, exclusively for its screenings, for the great work behind the programming, for the restorations and for the ability to transform a city, already a crossroads of travel and tourism, in the temple of the art week. Especially this year where ample space has been given to classic cinema. Don’t miss the 70mm projections Wild trails Of John Ford And International intrigue Of Alfred Hitchcockand in the Ritrovati e restaurati section, the Italian preview of Napoleon Of Abel Hooks and tributes to Anatole Litvak, Marlene Dietrich, Pietro Germi, Sergej Paradžanov, Delphine Seyrig, Kozaburo Yoshimura, Gustaf Molander.
The value of the theater during film festivals
After these previews, a digression on the reasons for the vitality of the room in the context of festivals. Unlike everyday life, during festivals the theater regains its eventful aura, thanks to the first viewings, the unique ones and that particular marathon that indulges our human propensity for greed, capable of filling the whole day. The repercussions on the territory are significant. Not only for the so-called cultural tourism but also for the extra-ordinary dimension that the locals experience. Marlene Dietrich’s transformism then becomes emblematic to talk about an entire city that rethinks itself based on images, conceived as rarities outside the anesthesia of everyday life. Such are the three short films shot by a young Stanley Kubrick at the dawn of the fifties, such as the aforementioned first part of Napoléon by Abel Gance, the result of a decade’s work by the Cinémathèque française, or the restorations of the two cult films by Wim Wenders: Paris, Texas and Buena Vista Social Club.
Carlotta Petracci
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