Road to

Il Cinema Ritrovato
Il Cinema Ritrovato has taken filmlovers on unforgettable trips through the marvels of the seventh art for 29
years: classics brought back to life with recent restoration, rare movies rediscovered by film archives and cinematheques around the world, moving pictures in black and white and in color, silent movies with live music
accompaniment and works from across the entire age of sound cinema, film which still boasts over half of
our program and digital versions of new restorations. At our 29th edition we are presenting around 400 films,
made between 1895 and today (all original versions with subtitles), that will light up the screens of our five
theaters from morning to evening and will brighten the Bologna night sky with screenings in our extraordinary
Piazza Maggiore (with a giant screen and space for thousands of viewers) and Piazzetta Pier Paolo Pasolini.

Open Air Evenings in Piazza Maggiore

and Cine-concerts

There could not be a better venue than the giant screen in Piazza Maggiore
for experiencing the extravagant cinematic inventions of The Third Man (by
Carol Reed with Orson Welles) and the landmark Italian film Rocco e i suoi
fratelli (Rocco and His Brothers, 1960) by Luchino Visconti in a magical black
and white thanks to a new restoration.
On Wednesday, July 1st, in Piazza Maggiore, the Orchestra of Bolognas Teatro
Comunale will perform music composed and conducted by Timothy Brock for
the first two films restored for the Keaton Project, Sherlock Jr. (1924) and One
Week (1920). On Saturday, July 4th, a once-in-a-lifetime opportunity to watch
(and hear!) Nino Oxilias Rapsodia satanica (1917) in a new digital restoraRocco e i suoi fratelli
tion at the Teatro Comunale. It will be accompanied live by the opera houses
orchestra conducted by Timothy Brock performing the extraordinary score by
Pietro Mascagni, the first major composition for silent film by a world-famous
musician.
On Monday, June 29th, Piazza Maggiore will host a tribute to Peter von Bagh,
our festivals artistic director for fourteen years, from 2001 to 2014. We will
screen his documentary Olavi Virta (1972) about the Finnish tango star and
musician and three Laurel & Hardy shorts with music by Maud Nelissen performed live by the Dutch band The Sprockets.
We are also excited to offer our audience the chance to experience the lost
quality of light of carbon projections during two very special evenings in
Piazzetta Pasolini: Assunta Spina by Francesca Bertini and Gustavo Serena
(1915), with Neapolitan music by Guido Sodo and Franois Laurent, and a
selection of short films celebrating special effects pioneer Gaston Velle.
Liberty
All 150 silent films screened at Il Cinema Ritrovato will be accompanied by
musicians and composers such as Frank Bockius, Neil Brand, Antonio Coppola, Daniele Furlati, Stephen
Horne, Maud Nelissen, Donald Sosin, John Sweeney and Gabriel Thibaudeau.
The last night of our journey, Saturday, July 4th, is dedicated to Stanley Kubrick with a rare and exceptional
70mm version of 2001: A Space Odyssey (1968).
Assunta Spina (1915) by Francesca Bertini and Gustavo Serena Rapsodia satanica (1917) by Nino Oxilia
One Week (1920) and Sherlock Jr. (1924) by Buster Keaton Marius (1931) by Marcel Pagnol The Third Man
(1949) by Carol Reed Ascenseur pour lchafaud (Elevator to the Gallows, 1957) Portrait of Gina Viva Italia
(1958) by Orson Welles Rocco e i suoi fratelli (Rocco and His Brothers, 1960) by Luchino Visconti 2001:
A Space Odyssey (1968) by Stanley Kubrick Olavi Virta (1972) by Peter von Bagh Don Giovanni (1979) by
Joseph Losey The Thin Red Line (1998) by Terrence Malick

The Cinephiles Heaven

Recovered & Restored

Every year we present a selection of the best film restorations from around
the world. In the midst of the transition from film to digital media, this classic
section of Il Cinema Ritrovato offers a privileged point of view on both ways of
restoring and viewing films.
Variet (Variety, 1925) by Ewald A. Dupont The Man and the Moment (1929)
by George Fitzmaurice La Belle quipe (1936) and La Fin du Jour (The End
of the Day, 1939) by Julien Duvivier Cover Girl (1944) by Charles Vidor
German Concentration Camps Factual Survey (1945) On the Town (1949) by
Stanley Donen and Gene Kelly Woman on the Run (1950) by Norman Foster
Kiss Me Kate 3D (1953) by Georges Sidney Pather Panchali (1955) by
Kiss Me Kate
Satyajit Ray LEau la bouche (A Game for Six Lovers, 1959) by Jacques
Doniol-Valcroze Bunny Lake Is Missing (1965) by Otto Preminger Xia N (Touch of Zen, 1971) by King Hu
12 dicembre (1972) by Giovanni Bonfanti and Pier Paolo Pasolini Jeanne Dielman, 23 Quai du Commerce,
1080 Bruxelles (1975) by Chantal Akerman The Memory of Justice (1975) by Marcel Ophls Visita ou
Memrias e Confisses (Memories and Confessions, 1982) by Manoel de Oliveira

Ingrid Bergman, the Early Years

2015 marks the centenary of the birth of Ingrid Bergman, which we celebrate
with a program focusing on her early career in Sweden, before she became
a Hollywood star. Making her debut in the mid 1930s, Bergman immediately
revealed a remarkable natural presence on the screen, bringing character
and depth to the roles she portrayed. The program also includes the newly
restored versions of Europa 51 and The Bells of St. Marys, and the documentary Ingrid Bergman In Her Own Words, presented by its director Stig
Bjrkman. Guest of honor Isabella Rossellini, Ingrid and Roberto Rosselinis
daughter. The program, curated by Jon Wengstrm of the Swedish Film Institute, also includes some rare shorts.
En kvinnas ansikte

Munkbrogreven (The Count of the Monks Bridge, 1935) by Edvin Adolphson

and Sigurd Walln Intermezzo (Interlude, 1936) by Gustaf Molander En kvinnas ansikte (A Womans Face,
1938) by Gustaf Molander Die vier Gesellen (The Four Companions, 1938) by Carl Froehlich Juninatten
(A Night in June, 1940) by Per Lindberg Europa 51 (Europe 51, 1952) by Roberto Rossellini Jag r Ingrid
(Ingrid Bergman In Her Own Words, 2015) by Stig Bjrkman

Seriously Funny: The Films of Leo McCarey

Starting with his movie apprenticeship at the Hal Roach Studios in the 1920s
working with Laurel & Hardy and Charley Chase, Leo McCarey always focused on people and what he told Peter Bogdanovich was the ineluctability
of incidents. Mole hills became mountains as the quirks, foibles, and piccadilloes of McCareys all too human characters bounced off each other and
created an escalating chain of events. Over a career of thirty years, McCarey straddled silent slapstick, screwball comedy, light romance, sentimental
melodrama, and even religious instruction, and managed to derail each genre
in his own individual way. Program curated by Steve Massa, in collaboration
with Lobster Films.
The Awful Truth

His Wooden Wedding (1925) Crazy Like a Fox (1926) Dont Tell Everything
(1927) Should Men Walk Home? (1927) Wrong Again (1929) Liberty (1929) Part Time Wife (1930)
Duck Soup (1933) Ruggles of Red Gap (1935) The Milky Way (1936) Make Way for Tomorrow (1937)
The Awful Truth (1937) Love Affair (1939) Going My Way (1944) The Bells of St. Marys (1945) Good
Sam (1948)

The Keaton Project

Sherlock Jr.

After devoting many years to restoring Charlie Chaplins films, Cineteca di

Bologna and LImmagine Ritrovata are glad to announce a new, multi-year
project to restore the works of another great master of the silent era: Buster
Keaton. The Keaton Project, carried out in partnership with Cohen Film Collection, will be officially launched at this years festival with two brand new
restorations: 1920 short One Week a perfect representation (and sublimation) of the all-American ready-made house and Sherlock Jr. (1924), an
early example of film within a film and an impeccable silent comedy showcasing all of Buster Keaton virtues: his deadpan humor, his innovative technical
accomplishments, his outstanding stunts and a great wealth of perfect gags.
Program curated by Cecilia Cenciarelli.

Beautiful Youth: Renato Castellani

Renato Castellani debuted at a very young age with perhaps the most radical
works of what was known in Italy as the scuola calligrafica. In the postwar
period Castellanis polished style turned to contemporary and working-class
contexts, and he became the voice of a new youth and of an innocence
almost beyond good and evil. Too often associated with cinema calligrafista
or pink neorealism, Castellani is one of the most intriguing directors from the
1940s and 1950s, and also one who has aged the best. Program curated by
Emiliano Morreale (Cineteca Nazionale).
Un colpo di pistola (A Pistol Shot, 1942) Sotto il sole di Roma (Under the
Sun of Rome, 1948) Due soldi di speranza (Two Cents Worth of Hope,
1952) I sogni nel cassetto (Dreams in a Drawer, 1957) Nella citta
linferno (directors cut, 1959)
I sogni nel cassetto

Post War Italian Rarities

I piaceri proibiti

Rarity is a word loaded with potential meanings. This section will explore
the term in four ways. Works by big film names (Zurlini, Blasetti, Maselli,
Manfredi) that have not been seen for years. Movies previously released
but screened here in versions that audiences have never seen before (the
reconstruction of Raffaele Andreassis magnificent Lamore povero, butchered and released in 1963 with the title I piaceri proibiti). Unique films you
will not find in any film history book (the astonishing Super8 footage shot
in a mental hospital in Turin by Professor Gustavo Gamma in the 1960s).
Screenings of original prints of spectacular experiments (1950s documentaries filmed in CinemaScope and Ferraniacolor as well as four magnetic
tracks by Gian Luigi Polidoro). Program curated by Andrea Meneghelli.

Jazz Goes to the Movies

A lively jam session between reality and fiction, this program explores the
jazz life in cinema, both for its participants and for its audience, in both documentaries and fiction films. Along with major documentaries such as Jammin
the Blues and Jazz on a Summers Day, the program features fiction films in
which famous jazz musicians play themselves (Charles Mingus and Dave Brubeck in All Night Long) and in which listening to jazz plays a significant role
(Howard Hawks Ball of Fire and Charles Burnetts When It Rains). Well present new restorations of early sound jazz films (Dudley Murphys Black and
Tan Fantasy), as well as rarely screened Soundies (short musical films from
the 40s). Program curated by Ehsan Khoshbakht and Jonathan Rosenbaum.
Jazz on a Summers Day

Cab Calloways Hi-De-Ho (1934) by Fred Waller Ball of Fire (1941) by Howard Hawks Jammin the Blues (1944) by Gjon Mili Begone Dull Care (1949) by Norman McLaren and Evelyn
Lambert Jazz on a Summers Day (1959) by Bert Stern and Aram Avakian All Night Long (1962) by Basil
Dearden Noi insistiamo! Suite per la libert subito (We Insist! Freedom Now Suite, 1964) and Appunti per
un film sul jazz (1965) by Gianni Amico Big Ben: Ben Webster In Europe (1967) by Johan van der Keuken

Peter Forever, Homage to Peter von Bagh

Olavi Virta

Very few people had any idea about the enormous size and the exact nature
of Peter von Baghs cinema. In all, he made some sixty works varying from
less than a minute long to a dozen hours. Peter von Bagh was obsessed by
the idea of montage of juxtapositions creating meaning. And he was enchanted by the notion of cinema as a time machine as an art that preserves
memories, resurrects the dead, offers second chances we may not deserve
yet nevertheless are granted. Images and sounds were his world, his mind.
From them, he created his home, a place where he belonged: his Finland.
The selection we made is a Cinema Ritrovato Special, one that might give its
audience a deeper appreciation of the Festivals long-time artistic mind and
heart. Program curated by Olaf Mller.

Pockpicket eli katkelmia helsinkilisen porvarisnuoren elmst (Pockpicket Recollections of a Helsinki Bourgeois Youth, 1968) Kreivi (The Count, 1971) Sinitaivas matka muistojen maisemaan (Blue Sky Journey
into the Land of Memories, 1978) Piv Karl Marxin haudalla (A Day at Karl Marxs Grave, 1983) Faaraoiden
maa (Land of the Pharaohs, 1988) Kohtaaminen (1992) Viimeinen kes 1944 (The Last Summer, 1944,
1992) Mies varjossa (Man in the Shadows, 1994) Edwin Laine (2006) Muisteja Pieni Elokuva 50-Luvun
Oulusta (Remembrance A Small Movie about Oulu in the 1950s, 2013) Sosialismi (Socialisms, 2014)

Searching for Color in Films

Technicolor & Co.

The Wizard of Oz

Il Cinema Ritrovato is on the road again to rediscovering the original color

of film with a special celebration of Technicolor, which in 2015 turns onehundred (although the process became successful in the 1930s when its
saturated hues became the face of Hollywood fantasy). Technicolors evolution
is inextricably linked to film, which is why to bring its magic back to life we
are screening vintage 35mm Technicolor prints from BFI, Cinmathque franaise, Cinmathque Royale de Belgique and Fox. All the way to the last film
made in Technicolor, The Thin Red Line (1998) by Terrence Malick. We have a
special event planned with the digital restoration of Victor Flemings The Wizard of Oz 3D (1939), an impossible restoration of a film that was not originally conceived in three dimensions. Program curated by Gian Luca Farinelli.

The Wizard of Oz 3D (1939) by Victor Fleming The Thief of Bagdad (1941) by Ludwig Berger, Michael Powell
and Tim Whelan All That Heaven Allows (1955) by Douglas Sirk The Man from Laramie (1955) by Anthony
Mann Great Day in the Morning (1956) by Jacques Tourneur Vertigo (1958) by Alfred Hitchcock The
Heroes of Telemark (1965) by Anthony Mann

Colors of Japan

When Jigokumon (Gate of Hell) reached the US in 1954, New York Times
critic Bosley Crowther hailed it as having color of a richness and harmony
that matches that of any film weve ever seen, displaying subtleties that
rendered it comparable to the best in Japanese art. The films success at
Cannes and in Hollywood owed much to its visually splendid use of the imported Eastmancolor process. But Japanese cinemas embrace of color was
a varied and multi-faceted experience. After silent-era tinting and pre-war
experimentation, Japan produced its first successful color feature, Karumen
kokyo ni kaeru (Carmen Comes Home) at Shochiku in the domestic FujiColor
process. Through the first half of the 1950s, all Japans major studios began
to investigate the rich possibilities of the new medium, both for bringing to
Jigokumon
life Japans historical past, and for recording the rapidly changing present.
Program curated by Alexander Jacoby and Johan Nordstrm, in collaboration
with the National Film Center of Tokyo.

Furusato no uta (The Song of Home, 1925) by Kenji Mizoguchi Jigokumon (Gate of Hell, 1953) by Teinosuke
Kinugasa Hana no naka no musumetachi (Girls in the Orchard, 1953) by Kajiro Yamamoto Konjiki yasha
(The Golden Demon, 1954) by Koji Shima Janken musume (So Young, So Bright, 1955) by Toshio Sugie
Ejima Ikushima (Ekima and Ikushima, 1955) by Hideo Oba Shin heike monogatari (New Tales of the Taira
Clan, 1955) by Kenji Mizoguchi

The Time Machine

1915: Cinema of A Hundred Years Ago
Divas, Actors, Genres. The heyday of the most dazzling Italian divas, like Francesca Bertini, Lyda Borelli and Pina Menichelli, but also of ballet star Anna Pavlova, actress Betty Nansen and the charming and versatile Valentina Frascaroli.
It was also the year when leading actors like Valdemar Psilander and Gustavo
Serena (Assunta Spina, Rapsodia satanica, Lemigrante) became wildly popular,
and tragic melodramas went hand in hand with short comedies (Danish actor
and director Lau Lauritzen, USA Keystone).

Des grecs dAsie mineure, pourchasss

par les turcs

Il fuoco (The Fire, 1915) by Giovanni Pastrone Ceux de chez nous (1915)
by Sacha Guitry Goumiers algriens en Belqique (1915) by Alfred Machin
Revolutionsbryllup (1915) by August Blom The Dumb Girl of Portici (19151916) by Lois Weber The Despoiler (1915-1917) by Reginald Barker

Serial Les Vampires. Feuillades greatest serial, restored by Gaumont the year of its 120th anniversary. A serial
that is playful and anarchic, punctuated by comic touches, unbelievable tricks and the sensual sidelong glances
of Musidora, a.k.a. Irma Vep. A great film shot in a surreal, deserted Paris meant to distract and entertain audiences while the war raged on implacably.
War and Armenian Genocide. The war ripped apart the Austro-Hungarian and Ottoman Empires, devastated
Europe and brought the film industry and its international markets to ruin. Filmmakers like Alfred Machin and
the Tunisian pioneer Albert Samama Chikly became war cinematographers for the French Army, producing
a wealth of documentary footage, of which we will be screening a selection. A special separate section is
dedicated to the 1915 Armenian Genocide with rare documentary footage from the 1915-1918 period and a
tribute to the first Armenian filmmakers with silent films from the dawn of the Soviet age (Namus with original
Armenian music, Kikos). Programs curated by Mariann Lewinsky.
Etchmiadzine, Caucase: Entre du nouveau Patriarche Armenien Gregoire V (1912) Koutais, Caucase: Fte Juive
du Koutch (1914) Le Front Turc (1914) Rfugis Armniens (1915) American Military Mission to Turkey and
Armenia (1919) Armenia, Cradle of Humanity (1923?) Namus (1925) by Hamo Beknazarian Kikos (1931)
by Patvakan Barkhudaryan Kurdy-Ezidy (1933) by Amassi Martirosyan Naapet (1977) by Guenrikh Malian

The Velle Connection 1900-1930: Gaston,

Maurice and Mary Murillo

Gaston Velle, son of a magician and a magician himself who became producer of feries and trick films for Path, is a celebrated name in early cinema,
though he still needs to be brought from out of the shadow of his contemporaries, Mlis and de Chomn. His son, Maurice Velle, was a talented
but hitherto overlooked cinematographer, working on French feature films in
the 1920s, before unsuccessfully pursuing his fortune through his development of the Francita color film process (also known as Opticolor). Velles
partner was Mary Murillo (real name Mary OConnor), was one of the leading
scenarists in American film in the 1910s. The Velle/OConnor story covers
filmmaking in France, Italy, Britain and America, across three decades. This
La Peine du talion
short selection of films brings together their diverse work. Program curated
by Mariann Lewinsky and Luke McKernan.
Vues fantasmagoriques (1902), La Valise de Barnum (1904), La Rose dor (1910) by Gaston Velle The Heart of
Wetona (1919) by Sidney Franklin La Princesse aux clowns (1924) by Andr Hugon Lle enchante (1927) by
Henry Roussel Mon gosse de pre (1930) by Jean de Limur My Old Dutch (1934) by Sinclair Hill

Valentina Frascaroli, Leading Lady

Valentina Frascaroli (1890-1955) was signed up by Itala in 1909 and subsequently appears in numerous comic scenes by Cretinetti. Effervescent, cunning and catty, wise, clever, acerbic and coquettish, she was, nonetheless,
better than him, and more versatile. She had a dual career, not only as comic
actress alongside Deed, and alone in the Gribouillette series produced by
Path, but also as a jeune ingnue in dramatic titles such Sacrificata! (1910),
a very early and remarkable film which has miraculously survived. Little remains of her filmography (over 100 titles) but the meagre residue is noteworthy. Program curated by Mariann Lewinsky.
Sacrificata! (Sacrificed, 1910) by Oreste Mentasti Le due innamorate di Cretinetti (Two Girls in Love with Foolshead, 1911) by Andr Deed Boireau
et Gribouillette samusent (1912) by Andr Deed Lemigrante (1915) by Febo Mari Tigre Reale (1916) by
Giovanni Pastrone Le memorie di una istitutrice (1917) by Riccardo Tolentino Il delitto della piccina (1920)
by Adelardo Fernndez Arias Luomo meccanico (The Mechanical Man, 1921) by Andr Deed
Lemigrante

The Space Machine

A Window to World Cinema

An ongoing program exploring the unique yet universal voices of international

filmmakers through new restorations by the World Cinema Project, a special
program created by Martin Scorsese within The Film Foundation dedicated
to preserving and restoring marginalized cinema worldwide. While the works
presented this year inevitably reflect the distinctive artistic visions of their
filmmakers, their aesthetic choices and narrative style, they seem to share
the same need to reinvent their own brand of cinema through the portrayal
of outcasts and their quest for survival. Ousmane Sembnes harsh reflection
on neocolonialism and cultural subordination in his seminal debut La Noire
de (1966), Ahmed El Maanounis restrained depiction of the grueling rural
world of Morocco in Alyam Alyam (1978) and Lino Brockas exposure of the
La Noire de...
living conditions of the Manila slums in Insiang (1976) all speak of the same
annihilation of the human being and loss of human dignity.
Il Cinema Ritrovato will also pay tribute to Albert Samama Chikly (1872-1934), forgotten pioneer of Tunisian
cinema, war photographer, inventor, nomad and brilliant commentator of a changing society.
Tunis (1907), Concours de motoculture Tunis (1914), Zohra (1922), Ain-El-Ghazal (1924) by Albert Samama
Chikly La Noire de... (Black Girl, 1966) by Ousman Sembne Insiang (1976) by Lino Brocka Alyam, Alyam
(On the Days, 1978) by Ahmed El Maanouni

A Simple Event: the Birth of Iranian New Wave

Cinema

Kamran Shirdel

At the end of the Iranian Revolution of 1979 the country found itself, somewhat unexpectedly, marginalized. The upheaval also forced into obscurity
and inaccessibility many Iranian films from the 1960s and 1970s. Now,
thanks to certain shifts in the cultural climate, the doors of The National Film
Archive of Iran are open. We have grabbed this opportunity to review four
key films made between 1965 and 1973 a period later dubbed the Iranian
New Wave. This selection not only reveals some of the early signposts of an
Iranian cinematic revolution, it also hints at those social and political changes
that were to reshape the country a decade later.. Program curated by Ehsan
Khoshbakht, in collaboration with the Iranian Film Archive.

Shab-e Ghuzi (Night of the Hunchback, 1965) by Farrokh Ghaffari Oon shab ke baroon oomad ya hemase-ye
roosta zade-ye gorgani (The Night It Rained or the Epic of the Gorgan Village Boy, 1967) by Kamran Shirdel
Gaav (The Cow, 1969) by Dariush Mehrjui Yek ettefagh-e sadeh (A Simple Event, 1973) by Sohrab Shahid
Saless

Late Spring Looking anew at the Cinema of the

Thaw Part One: Dawn

The Thaw (Ottepel) is a period in Soviet cinema that is often evoked but rarely
looked at too closely. The five, six years immediately after the demise of Stalin
promised a cautiously breezy new beginning for the USSR the realization,
actually, of all those hopes and dreams rooted in the traumatic/liberating collective experience of the Great Patriotic War, its victorious end. The films
connected commonly with the Thaw are prime examples of a New Orthodoxy
for which few names stand as proudly as those of Michail Kalatozov and Grigorij uchraj a cinema of bold formal gestures, romantic, positive. Program
curated by Peter Bagrov and Olaf Mller, in collaboration with Gosfilmofond.
vedskaja Spika

Vozvraenie Vasilija Bortnikova (The Return of Vasilij Bortnikov, 1953) by

Vsevolod Pudovkin vedskaja Spika (The Safety Match, 1953) by Konstantin Judin Lurda Magdany (Magdanas Donkey, 1953) by Tengiz Abuladze & Rezo cheidze Kortik (The Seamans Dirk, 1954) by Michail
vejcer & Vladimir Vengerov Bolaja semja (The Big Family, 1954) by Iosif Hejfic More studenoe (The Cold,
Cold Sea, 1954) by Jurij Egorov Zemlja i ljudi (Land and People, 1955) by Stanislav Rostockij Syn (A Son,
1955) by Jurij Ozerov Sudba barabanika (Fate of a Drummerboy, 1955) by Viktor jsymont Karnavalnaja
no (Carnival Night, 1956) by Eldar Rjazanov

Documentaries

Film as a crossroads of cultural and social history of the past and the present. Portraits/investigations of great figures of filmmaking like Orson Welles,
Ousmane Sembne, Serge Daney and Jean-Luc Godard. The history of Italian
film of the postwar period retold by Giulio Andreotti and images of Afghanistan and India at the end of the 1930s shot by one of the greatest explorers
of the 20th century, Ella Maillart.

Magician: the Astonishing Life and

Work of Orson Welles

Entretien entre Serge Daney et Jean-Luc Godard (1988) by Jean-Luc Godard

Magician: the Astonishing Life and Work of Orson Welles (2014) by Chuck
Workman Giulio Andreotti. La politica del cinema (2015) by Tatti Sanguineti
Ella Maillart Double Journey (2015) by Antonio Bigini and Mariann Lewinsky Sembne! (2015) by Samba Gadjigo and Jason Silverman

Not Only Films

Il Cinema Ritrovato shares film culture not only with daily screenings but also with a rich offering of lectures and
talks with directors, historians and critics. Unique opportunities to explore and discuss film aesthetics, culture,
technique and technology. Internationally recognized restoration experts will discuss the challenges behind
the new restorations presented at the festival in a series of events organized by LImmagine Ritrovata. The
Renzo Renzi Library will again be home to the film publishing fair with DVD box sets and book presentations.
On schedule also are Europe Cinemas international seminar for film exhibitors, the ACEs general assembly, Il
Cinema Ritrovato DVD Awards and much more...

Il Cinema Ritrovato Young

Il Cinema Ritrovato Young 2015 is dedicated to kids twelve and up. The line-up includes Giovani
Filmmaker, a workshop on how films are made by experimenting with each phase of production, and
Musica per immagini, a workshop open to young musicians and composers who will redo the music
for a classic short film along with maestro Daniele Furlati. Fans of film criticism will enjoy participating
in Parole e voci dal festival: an editorial team coordinated by Roy Menarini doing daily coverage of
the festival with the blog CinefiliaRitrovata.it and recommending festival films for a younger audience.

Il Cinema Ritrovato Kids

Schermi e Lavagne and Associazione Paper Moon have created a special program at the Cinetecas
Sala Cervi for the festivals littlest cinephiles. From June 24th to July 4th, every afternoon kids are invited
to view a series of screenings organized by theme: from film pioneers to travelling, from dreams to the
magic of fairy-tales, discovering films from the past and present, from all over Europe and beyond. The
fun continues afterwards with workshops and games inspired by the films screened.

The Golden Age of Italian Film.

Emilia-Romagna, the Land
of Filmmakers

Why are some of the greatest Italian filmmakers from

Emilia-Romagna? Why have many of Italian films most
innovative moments happened here in this region? In
honor of Expo 2015, the Cineteca di Bologna, in collaboration with Regione Emilia-Romagna, has organized
a large exhibition illustrating the regions extraordinary
cinematic fertility.
On view in the historic halls of Palazzo dAccursio in the
heart of Bologna, the exhibition is an open ended conversation with films, documents, pictures and testimonies. Visitors will have the opportunity to experience or
re-experience films by directors like Federico Fellini, MiThe crew of Novecento (Bernardo Bertolucci, 1976)
chelangelo Antonioni, Pier Paolo Pasolini, Valerio Zurlini,
Florestano Vancini, Bernardo Bertolucci, Marco Bellocchio, Liliana Cavani, Pupi Avati and Giorgio Diritti and
reinterpret them in the context of the unique cultural, geographic and social background that made EmiliaRomagna such fertile terrain for filmmaking.

120 Gaumont

This year marks the 120th anniversary of Gaumont, a production company with extraordinary longevity. Gaumont is featured across the various sections of Il Cinema Ritrovato, from silent film to sound.
In Piazza Maggiore on the pre-opening and inaugural evenings of our festival, Friday, June 26th, and
Saturday, June 27th, we are celebrating Gaumont with Joseph Loseys Don Giovanni (1979), the first
Gaumont Italia production, and Louis Malles masterpiece Ascenseur pour lchafaud (Elevator to the
Gallows, 1957) with a legendary soundtrack by Miles Davis and a mesmerizing Jeanne Moreau. We
are also paying tribute to Gaumont with the entire serial of Louis Feuillades Les Vampires, a sequel to
last years screenings of Fantmas, one of the festivals most successful events.

Il Cinema Ritrovato
Fondazione Cineteca di Bologna and Mostra Internazionale del Cinema Libero
Via Riva di Reno, 72 40122 Bologna +39 051 2194814 Fax +39 051 2194821
www.ilcinemaritrovato.it
ilcinemaritrovato@cineteca.bologna.it
facebook.com/CinetecaBologna
twitter.com/cinetecabologna
The program may be subject to change
Cover: Jeanne Moreau in Ascenseur pour lchafaud (Louis Malle, 1957) Gaumont