FILMSKE MUTACIJE: FESTIVAL NEVIDLJIVOG FILMA
PULA FILM FESTIVAL
UDRUGA TONDAK: RADNA SOBA PIONIRSKI DOM – DC ROJC
REZIDENCIJA:
RADNA SOBA PIONIRSKI DOM – DC ROJC
ABEL FERRARA & THE BAND
ABEL FERRARA – JOE DELIA – TONY GARNIER –
KARIN SCUDERI – IGOR DOMIJAN
DHB – DOM HRVATSKIH BRANITELJA PULA
RAZGOVOR
ABEL FERRARA, BRAD STEVENS, TANJA VRVILO
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PROJEKCIJA
ABEL FERRARA
PADRE PIO
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KONCERTABEL FERRARA & THE BAND
FILMSKE MUTACIJE: FESTIVAL NEVIDLJIVOG FILMA, JAVNA USTANOVA PULA FILM FESTIVAL i UDRUGA TONDAK pozivaju vas 8. rujna 2022. u 19:30 u DHB – Dom hrvatskih branitelja PULA, na filmsko-muzičku atrakciju KINO FERRARA s hrvatskom premijerom filma PADRE PIO i koncertom benda ABELA FERRARE! Uvodni razgovor sa slavnim filmašem vode istaknuti filmski kritičar Brad Stevens, autor briljantne studije ABEL FERRARA: MORALNA VIZIJA i kustosica programa, filmologinja Tanja Vrvilo.
Kultni filmaš Abel Ferrara i njegovi glazbenici Joe Delia, Tony Garnier, Karin Scuderi dolaze u Pulu izravno s Venecijanskog filmskog festivala, dva dana nakon svjetske premijere Ferrarinog filma PADRE PIO, na filmsko-muzičku REZIDENCIJU koju suorganiziraju Filmske mutacije: festival nevidljivog filma, Javna ustanova Pula Film Festival i udruga Tondak: Radna soba Pionirski dom – DC Rojc od 4. do 8. rujna 2022. Ferrarinom bendu pridružit će se ponovno bubnjar Igor Domijan, kao i prije dvije godine na koncertu u riječkom Art-kinu i na snimanju u tonskom studiju Edija Cukerića u pulskom Rojcu. Bend će 8. rujna 2022. u DHB-u u Puli poslije projekcije filma PADRE PIO izvesti 11 songova iz Ferrarinih filmova, među kojima su ZLI PORUČNIK, 444 – POSLJEDNJI DAN NA ZEMLJI, DJEVOJKA IZ KINESKE ČETVRTI, PADRE PIO – obrada fokstrot balade Midnight with the stars and you koju izvodi Karin Scuderi.
Film PADRE PIO fikcijska je razrada Ferrarinog višegodišnjeg dokumentarističkog istraživanja zapisa, svjedočanstava i krajolika talijanskog Juga, slijedeći planinske staze Gargana u Apuliji kojima je prolazio i prostore u kojima je boravio Padre Pio – Francesco Forgione iz Pietralcine, istodobno s revolucionarnim događajima nakon Prvog svjetskog rata koji su 14. listopada 1920. kulminirali masakrom u gradu San Giovanni Rotondo nakon pobjede socijalista na prvim slobodnim izborima. Nakon dvije crvene godine (Biennio Rosso) 1919. i 1920. uslijedile su Dvije crne godine (Biennio Nero) 1921. i 1922., krvoproliće je najavilo doba fašizma. Ferrara poistovjećuje apokaliptični događaj talijanskog naroda s preuzimanjem smrtne patnje i rastrojstvom mladog kapucinskog svećenika kojeg će zaštititi, izolirati i posvetiti pojava stigma na njegovom tijelu i rukama.
Kako poistovjetiti slike svetosti, misticizma i čudotvorstva kršćanskog imaginarija i politke samožrtvovanja s revolucionarnom političkom gestom? – pitanje je koje se opetovano nameće u Ferrarinim filmovima. Odgovor je u dubokoj ukorijenjenosti Ferrarinih etičkih slika, kao što je iskazala Nicole Brenez u filmsko-filozofskoj studiji o njegovim filmovima: “Zato što je ultimativni revolucionarni čin, sjedinjen s najvišom moralnošću, samožrtvovanje. Kršćanska figura omogućuje sintezu svih suvremenih revolucionara... Fanon, Guevara, Martin Luther King, Malcolm X – dodajmo i Amílcara Cabrala, ubijenog osloboditelja Gvineje Bisau i Zelenortskog otočja.” Revolucionarno srce Ferrarina filma pulsira tragom Antonija Gramscija.
Ferrarin istraživački dokumentarac iz 2015. pod naslovom U TRAGANJU ZA PADRE PIOM (SEARCHING FOR PADRE PIO) potraga je za misterijom čudesnog slijedeći kretanja tog spiritualno-revolucionarnog koncepta, koji se kao i uvijek u njegovom autorskom radu preobražava u autofikcijsko. Dokumentarističko, autoreferencijalno istraživanje pokreće memorija autorova krajolika, u tom je kraju u gotovo isto vrijeme rođen njegov djed koji je početkom prošlog stoljeća emigrirao u Ameriku i s kojim je autor odrastao u njujorškom Bronxu. “Otac mi je rekao za Padre Pia”, Ferrara je kao dječak u njujorškoj crkvi vidio njegov kip sa stigmama. Sedam godina poslije dokumentarca, Ferrara u filmu PADRE PIO stvara spone radikalne samoanalize u začudnoj kompoziciji dokumentarističke i psihodramske metode koja se prelijeva i na prisvajanje i podražavanje glavnog lika, poput udvajanja glumačko-redateljskog alter-ega u njegovim ranijim filmovima (posebno filmovi u kojima dvojnika utjelovljuje Willem Dafoe). Ferrarine katarzične slike u liku Padre Pia isprepleću mitske ispovijesti povijesne figure, vlastite biografske legende i turbulentnog američkog sna protagoniste Shije Lebeufa, od siromaštva i zanemarivanja do holivudske zvjezdane prašine. Metafizičko poniranje eksplodira u ekspresionizmu filmskog tijela: “Da bi se zlo materijaliziralo, potrebno je tijelo.” Izvanprizorni, bestjelesni glas na engleskom jeziku, kao i “migrantski engleski” naglašavaju efekt začudnosti za ovo višestruko udvajanje i prisvajanje, mentalnu mapu egzilskog traganja za čudesnim, u iščekivanju Padre Pia u zajedničkom krajoliku. Natpis na odjavnoj špici filma PADRE PIO Abela Ferrare ukazuje: film je posvećen žrtvama masakra San Giovanni Rotondo 14. listopada 1920. i narodu Ukrajine.
U sklopu KINO REZIDENCIJE koja završava 8. rujna projekcijom filma i koncertom u DHB-u u Puli, Abel Ferrara i glazbenici koje okuplja njegov stalni kompozitor Joe Delia, napokon, nakon dvogodišnjeg zaustavljanja, nastavljaju snimanje završnih songova za ploču u Radnoj sobi Pionirski dom u Rojcu s glazbenim producentom Edijem Cukerićem. Prvi dio snimanja odvijao se u veljači 2020., uoči pandemije, u sklopu programa koje su FILMSKE MUTACIJE radile u suorganizaciji s riječkim Art-kinom i projektom Rijeka EPK 2020., nakon filmskog programa i koncerta Ferrarinog benda u Art-kinu s glazbom iz njegovih filmova. Video snimke koncerta i snimanja u Rijeci i Puli 2020. godine Ferrara je koristio u svome prvom pandemijskom filmu SPORTIN’ LIFE, koji je premijerno prikazan na festivalu u Veneciji iste godine.
Ovim, trećim dolaskom Abela Ferrare na FILMSKE MUTACIJE počinjemo šesnaesto izdanje našeg festivala. Ferrarina vizionarska misao mističnog realizma u maksimalističkoj formi siromašnog filma više od pet desetljeća afektivno povezuje misterije žanrovskog i avangardnog, eksploatacijskog i psihodramskog, političkog i spiritualnog filma. Spomenimo neke od najpoznatijih i najuzbudljivijih, riječima filozofa Stevena Shavira “nedokučivih i neprovidnih... emocionalno upečatljivih i cjelokupno veličanstvenih” filmova: THE DRILLER KILLER (1979.), MS. 45 a.k.a. ANGEL OF VENGEANCE (Ms. 45 A.K.A. Anđeo osvete, 1981.), KING OF NEW YORK (Kralj New Yorka, 1989.), BAD LIEUTENANT (Zli poručnik, 1992.), BODY SNATCHERS (Kradljivci tijela, 1993.), DANGEROUS GAME a.k.a. SNAKE EYES (Opasna igra A.K.A. Zmijske oči, 1993.), THE ADDICTION (Ovisnost, 1995.), THE BLACKOUT (Pomračenje,1997.), NEW ROSE HOTEL (1998.), ’R XMAS (2001.), MARY (2005.), GO GO TALES (2007.), 4:44 LAST DAY ON EARTH (4:44 Posljednji dan na Zemlji, 2011.), WELCOME TO NEW YORK (Dobro došli u New York, 2014.), PASOLINI (2014.), TOMMASO (2019.), SIBERIA (2019.), ZEROS AND ONES (Nule i jedinice, 2021.)
U fokusu FILMSKIH MUTACIJA XVI su programi o politikama filmskog intervala za različite dispozitive, suradnike i publike pokretnih slika. Od rujna do prosinca 2022. odvijat će se nekoliko intenzivnih događaja koji uključuju filmsku rezidenciju u Puli, filmski, galerijski i edukativni program u Zagrebu, Rijeci i Splitu. Sve programe razvijamo s lokalnim i svjetskim kustosima i teoretičarima te studentima umjetničkih akademija. Program se promišlja pod egidom glazbene slike ČUVAJ SE VUČJEG INTERVALA vijetnamske filmske i novomedijske umjetnice, post-kolonijalne teoretičarke i kompozitorice Trinh T. Minh-ha: “vrijeme kada mjesec sja kroz dovratak ukazuje i na prostor i na interval.” Rascjep intervala kroz koje ulazi svjetlo u tkanje filmskog aparata esencijalna je odrednica povijesti filma.
Zahvaljujemo na novom filmu i glazbi autoru Abelu Ferrari, svim njegovim muzičarima, suradnicima i producentima.
Tanja Vrvilo
FILMSKE MUTACIJE: FESTIVAL NEVIDLJIVOG FILMA su umjetničko-teorijski filmski festival o politikama filmskog kustostva koji potiče vizionarske pristupe pri/povijestima dispozitiva kina i pokretnih slika svijeta. Festival je pokrenula izvedbena umjetnica i filmologinja Tanja Vrvilo u Zagrebu 2007. godine s autorima filmološke korespondencije, epistolarnih eseja objavljenih 1997. u francuskom časopisu Trafic #24 Sergea Daneyja pod naslovom Filmske mutacije: pisma neke djece / nekoj djeci 1960-ih: Jonathan Rosenbaum, Adrian Martin, Kent Jones, Alexander Horwath, Nicole Brenez i Raymond Bellour.
Program suorganiziraju Filmske mutacije: festivala nevidljivog filma (umjetnička organizacija Film-protufilm), Javna ustanova Pula Film Festival i udruga Tondak (Radna soba Pionirski dom – DC Rojc).
Programska podrška: Hrvatski audiovizualni centar, Ministarstvo kulture i medija Republike Hrvatske, Grad Zagreb – Gradski ured za kulturu, međugradsku i međunarodnu suradnju i civilno društvo, Language Barrier Productions, Inc., Grad Pula
FILM MUTATIONS: FESTIVAL OF INVISIBLE CINEMA, PULA FILM FESTIVAL and TONDAK ASSOCIATION invite you on September 8, 2022 at 20:00 to the Veteran Community Centre (DHB) in Pula, to the film-concert attraction KINO FERRARA along with the Croatian premiere of the film PADRE PIO and a concert by ABEL FERRARA & HIS BAND! The introductory conversation with the legendary filmmaker will be held by the acclaimed film critic Brad Stevens, the author of the brilliant study ABEL FERRARA: MORAL VISION and a filmologist Tanja Vrvilo, a curator of the program.
Cult filmmaker Abel Ferrara and his musicians Joe Delia, Tony Garnier, Karin Scuderi are coming to Pula directly from the Venice Film Festival, two days after the world premiere of Ferrara’s new film PADRE PIO, for a KINO RESIDENCY, co-organized by FILM MUTATIONS: FESTIVAL OF INVISIBLE CINEMA, PUBLIC INSTITUTION PULA FILM FESTIVAL and TONDAK ASSOCIATION from September 4 to 8, 2022. Ferrara’s band will be joined again by drummer Igor Domijan, as he did two years ago at the concert at Art-cinema in Rijeka and for the recording in the sound studio of Edi Cukerić at Rojc in Pula. On September 8, 2022, at the Veteran Community Centre (DHB) in Pula, after the screening of PADRE PIO, the band will perform 11 songs from Ferrara’s films, including BAD LIEUTENANT, 4:44 LAST DAY ON EARTH, CHINA GIRL and PADRE PIO – a cover of the foxtrot ballad Midnight with the stars and you performed by Karin Scuderi.
PADRE PIO is a fictional elaboration of Ferrara’s long documentaristic interrogation of records, testimonies and landscapes of the Italian South, following the mountain paths of the Gargano in Apulia where Padre Pio – Francesco Forgione of Pietralcina – travelled and the places he inhabited and, in parallel montage, coinciding with the revolutionary events after the First World War that culminated in a massacre in the town of San Giovanni Rotondo on October 14, 1920, after the victory of the socialists in the first free elections. After two red years 1919 – 1920 (Biennio Rosso), two black years 1921 – 1922 (Biennio Nero) followed; the massacre announced the era of fascism. Ferrara is drawing a parallel between the apocalyptic event of the Italian people and the mortal pain and derangement embodied by a young Capuchin priest, “the great tormented” who is becoming protected, isolated and sanctified by the appearance of stigmata on his body and hands.
How to fuse the images of sacredness, mysticism and miracles from the Christian imaginary with the politics of self-sacrifice and revolutionary political gestures? – that question repeatedly imposes itself in Ferrara’s films. The answer lies inscribed and firmly rooted in Ferrara’s ethical images. According to Nicole Brenez in a film-philosophical study of his films: “This is why the ultimate revolutionary act, fused with the high road morality, is self-sacrifice. The Christian figure allows a synthesis of all the contemporary revolutionaries... Fanon, Guevara, Martin Luther King, Malcolm X – and we can add Amílcar Cabral, murdered liberator of Guinea-Bissau and the Cape Verde Islands.” The revolutionary heart of Ferrara’s film pulsates in the footsteps of Antonio Gramsci.
Ferrara’s investigative documentary from 2015 entitled SEARCHING FOR PADRE PIO is a quest for the mysteries of the miraculous, following the trajectory of this spiritual-revolutionary concept, which, as always in his work, transforms into autofiction. Documentaristic, self-referential research is driven by the memory of the author’s landscape, on that land at almost the same time his grandfather, who emigrated to America at the beginning of the last century and with whom he grew up in New York’s Bronx, was born. “My father told me about Padre Pio”, Ferrara remembers seeing his statue with stigmata as a boy in a New York church. Seven years after the documentary, Ferrara creates in the film PADRE PIO knots of radical self-analysis in an estranging composition of documentaristic and psychodramatic methods that bleed into the appropriation and “the mimetic induction” of the main character, much like the bifurcation of the actor-director’s alter-ego in his earlier films (especially those films in which the double is embodied by Willem Dafoe).
Ferrara’s cathartic images interweave with the character of Padre Pio the mythical confessions of a historical figure, his own biographical legend and the turbulent American dream of protagonist Shia Lebeuf; from poverty and neglect to Hollywood stardust. Metaphysical immersion explodes in the expressionism of the cinematic body: “In order for evil to be materialized a body is necessary.” From outside the frame, a disembodied voice in English, and “migrants English” at that, emphasizes the estranging effect of this multiple doubling and appropriation, a mental map of the exilic search for the miraculous, waiting for Padre Pio in this shared landscape. As the inscription on the closing credits of Ferrara’s PADRE PIO indicates: “dedicated to the victims of the massacre of San Giovanni Rotondo, October 14. 1920 and the people of Ukraine”.
As part of the KINO RESIDENCY, which concludes on September 8 with a screening of the film and a concert at the Veteran Community Centre (DHB) in Pula, Abel Ferrara and the musicians, brought together by his permanent composer Joe Delia, will finally, after a two-year suspension, continue recording songs for the album at the studio Pionirski dom in Rojc with music producer Edi Cukerić. The first part of the recording took place in February 2020, at the dawn of the pandemic, as part of the program that FILM MUTATIONS: FESTIVAL OF INVISIBLE CINEMA made in partnership with the Art-cinema in Rijeka and the project Rijeka ECoC 2020, after the film screening and the band’s concert, featuring music from his films. Ferrara worked with the video documentation of those events for his first pandemic film SPORTIN’ LIFE, which premiered at the Venice Film Festival the same year.
With Abel Ferrara’s third participation at FILM MUTATIONS, we begin the sixteenth edition of our festival. For more than five decades, Ferrara’s visionary thought of mystical realism in the maximalist form of a poor cinema has been affectively connecting the mysteries of genre cinema and the avant-garde, exploitation and psychodrama, political and spiritual cinema. Let’s mention some of his most famous and exciting – in the words of philosopher Steven Shaviro – “incomprehensible and opaque... emotionally compelling and utterly gorgeous” films: THE DRILLER KILLER (1979.), MS 45 a.k.a. ANGEL OF VENGEANCE (1981.), KING OF NEW YORK (1989.), BAD LIEUTENANT (1992.), BODY SNATCHERS (1993.), DANGEROUS GAME a.k.a. SNAKE EYES (1993.), THE ADDICTION (1995.), THE BLACKOUT (1997.), NEW ROSE HOTEL (1998.), ’R XMAS (2001.), MARY (2005.), GO GO TALES (2007.), 4:44 LAST DAY ON EARTH (2011.), WELCOME TO NEW YORK (2014.), PASOLINI (2014.), TOMMASO (2019.), SIBERIA (2019.), ZEROS AND ONES (2021.)
At the core of FILM MUTATIONS XVI are programs on the politics of the FILM INTERVAL for different dispositifs, collaborators and spectators of moving images. From September to December 2022, several intense events will take place, connecting the KINO RESIDENCY in Pula with a film, gallery and educational program in Zagreb, Rijeka and Split. We develop all programs in close collaboration with local and international filmmakers, artists, curators, theorists and students of art academies. The program is conceived under the aegis of image-music concept BEWARE OF THE WOLF’S INTERVAL by Vietnamese film and new media artist, post-colonial theorist and composer Trinh T. Minh-ha: “the time when a moon shines through a doorway indicates both the space and the interval.” The fissure of the interval through which light enters the weave of the film apparatus is an essential determinant of the histories of cinema.
We would like to thank the author Abel Ferrara for his film and music and all his musicians, collaborators and producers.
Tanja Vrvilo
FILM MUTATIONS: FESTIVAL OF INVISIBLE CINEMA is an art & theory film festival dealing with the politics of film curatoriship that encourages visionary approaches to the (hi)stories of image, knowledge and memory transmission through the cinematic dispositif in the digital age. The project was launched in 2007 in Zagreb by Tanja Vrvilo, a filmologist and performance artist, and was based on an essay correspondence conceived by Serge Daney and published in the film magazine Trafic #24 (1997) under the title Movie Mutations: Letters from (and to) Some Children of 1960 – the letters were written by Jonathan Rosenbaum, Adrian Martin, Kent Jones, Alexander Horwath, Nicole Brenez and Raymond Bellour.
The programme has been co-organized by Film Mutation: Festival of Invisible Cinema (art organisation Film-protufilm), The Public Institution Pula Film Festival and Tondak Association (Radna soba Pionirski dom – DC Rojc).
Supported by the Croatian Audiovisual Centre, the Ministry of Culture and Media of the Republic of Croatia, Zagreb City Office for Culture, International Relations and Civil Society, Language Barrier Productions, Inc., City of Pula.
