Troix deux a. Countdown to the start of the games (without borders) of Italian cinema in Cannes. It is a squad, for the Palme d’Or. In order of appearance: Marco Bellocchio with “Rapito” (tonight), Nanni Moretti with “Il sol dell’avvenire” (tomorrow), Alice Rohrwacher brings “La chimera” to Thursday’s race.
Cinema, art, should not have borders. But a bit of cheering is natural. The first prize has not been won since 2001, with “La estrofa del figli” by Moretti.
At the head of the team he is a brilliant coach. Paolo Del Brocco is CEO of Rai Cinema, which co-produces the three Italian titles. In the same days that chaos reigns on the small screen, the public service film division faces “a world championship. It is a busy week for us, but one in which Italian cinema will be in the newspapers all over the world”, says Del Brocco. Still in casual clothes, before putting on his formal tuxedo. So as not to take it off (almost) anymore, between now and the final stages of the festival. Be careful not to stain it.
How are you feeling, Dr. Del Brocco?
“I am happy. At Rai Cinema, which co-produced the three films in competition and distributed them in Italian cinemas, we have reached our highest level. Before this year, there had never been three own titles in main competition. Also, let me add… ».
Please …
«There is a lot of pride, also for our role as a cultural industry. The three films are very distant from each other and bear the signature of important authors, belonging to different generations. It is yet another confirmation of the goodness of the work of Rai Cinema, for the choices made and for the support we have decided to give these great artists”.
Bellocchio addresses the Edgardo Mortara case, which Spielberg also wanted to tell. Moretti reflects on what he believes in, or no longer believes in, including cinema. Rohrwacher sets his work in the 1980s, between Italian grave robbers and a mysterious English archaeologist.
«Bellocchio always remains Bellocchio. In recent years, however, “The traitor” is an example, it is moving towards a more popular cinema. I use this term, “popular,” certainly not in a derogatory sense. The intention is to tell great stories, always with the signature of the great author, to reach the widest possible audience. Moretti himself wanted to expand his borders and “Il sol dell’avvenire” is doing very well (at the moment, he is aiming for 4 million box office receipts ed.). Alice Rohrwacher maintains a particular and delicate figure. Today she is one of the best-known directors in the world ».
The competition jury, chaired by the Swedish director Ruben Östlund, has been defined “unexpected and surprising”. He is certainly very young. Only one of the nine members of the jury is over fifty years old (the Afghan writer and filmmaker Atiq Rahimi). Do you have an idea how our films will be received?
«I don’t know the tastes of the juries and how their approach to a more classic cinema – let’s put it that way – like ours can be. In particular, this vare for the works of Bellocchio and Moretti. On paper yes, we could be affected. But who can say? Juries remain inscrutable.”
Isn’t winning an obsession?
“Festival victories are nice, of course. However, they are the result of many factors. The real success is being in Cannes with three films, all competing for the Palme d’Or. In other editions, Rai Cinema has reached 6-7 titles, divided into various sections. I would sign for life to have even two competing, every year ».
By Federico Fumagalli straight from cannes
