"La pivellina", de Tizza Covi y Rainer Frimmel (Clarín)

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Otra crítica/comentario de "La pivellina", posteado aquí poco antes del Bafici 2010, aquí.

"Daddy Longlegs" (AKA "Go Get Some Rosemary"), de Josh & Benny Safdie, ganadora de IndieLisboa

By MARTIN DALE/Variety

LISBON -- Helmers Ben and Josh Safdie's Gotham-set autobiographical comedy "Daddy Longlegs" (formerly known as "Go Get Some Rosemary") won the $20,000 grand prize at the seventh IndieLisboa, which wrapped Sunday.

With 40,000 ticket sales this year -- by far the biggest of any Portuguese film fest -- IndieLisboa represents an impressive 1% of the country's total forecast paid admissions for April-June, generating vital screening fees and media buzz for local distributors.

The distribution prize, offering $13,300 in local P&A support, went to Italian drama "La Pivellina" by helmers Tizza Covi and Rainer Frimmel, which world bowed at the fest.

The three-day Lisbon Screenings, held April 23-25, screened 19 Portuguese films (including finished features and works-in-progress) to 30 fest programmers and sales agents.

Coordinator Ana Isabel Strindberg revealed that Pedro Caldas' coming-of-age tale, "Civil War," was selected by Austria's Viennale Film Festival during the screenings. Movie won honors for Portuguese film in the fest's main prizes.

The Locarno Film Festival also provisionally gave the nod to "If I Was a Thief, I'd Steal" by veteran director Paulo Rocha, currently in roughcut stage.

Next year, fest organizers are mulling spinning off the Lisbon Screenings into a separate event as part of a strategy to launch a Portuguese film promotion agency.

Nota: el premio Fipresci fue para CASTRO, de Alejo Moguillansky (Argentina)

Recomendaciones del BAFICI: "La pivellina", de Tizza Covi y Rainer Frimmel

Pocas son las veces que una película me conmueve tanto como para tener la necesidad de salir a recomendarla a quien quiera oirlo a los cinco minutos. Y eso, literalmente, me acaba de pasar con "La pivellina", una de esas películas que contienen un mundo, entienden al mundo y se presentan ante ese mundo de la manera en la que yo entiendo que las películas deberían relacionarse con "la realidad": es una ficción que bordea el documental, es un filme sobre una familia de artistas de circo que recogen una niña abandonada de dos años, es una película sobre momentos en la vida de todos ellos. Pero la trama es secundaria, sólo sirve para conocer a este pequeño grupo de personajes.

La risa de "Aia", sus juegos y sus llantos, el pequeño grupo que la contiene (la colorada Patty, su marido, el adolescente que vive con ambos), sus pequeños momentos cotidianos. Comer, salir, tratar de hacer dormir a la nena, las pequeñas "lecciones" (a pelearse en el colegio, a manejar, a saber qué pasó en la Segunda Guerra), una serie de cosas que, dichas, pueden no aparentar nada demasiado interesante. Sin embargo, esa gente se convierte en la familia del espectador, primos y tíos y hermanos y parientes que uno tiene, tuvo, podría o quisiera haber tenido.

Alguien la definió como una mezcla entre los Dardenne y el Fellini de "La Strada". Algo de eso hay, pero no es del todo correcto. A mí me hizo recordar más a "Mundo grúa", por ejemplo, o hasta "Aquel querido mes de agosto". Tiene el estilo documentalista de los Dardenne y la naturalidad de las actuaciones. Y tiene el mundo "circense" de "La strada" pero sólo como fondo, como marco. Para mí es más "chaplinesca", en el sentido general de la palabra, la película más humana, divertida, conmovedora y sensible que vi en mucho tiempo (mucho de verdad) y me da pena no haber ido a verla en cine cuando pude hacerlo en Toronto (tenía entradas para el último día, pero ya estaba agotado).

No entiendo cómo esta película no tuvo, post-Cannes, la misma repercusión que tuvieron otras. Tendría que ponerme a revisar la lista, pero siento que está a la altura de "Police, Adjective", filme que sí salió de allí con mucha prensa y reputación. De "La pivellina", en general, se comentaba que era simpática y no mucho más. Y puede ser que, en principio, parezca eso, con las monigotadas de Aia y sus juegos infantiles, con las desventuras en tono menor de la familia. Pero tengo, ahora, la sensanción de que "el mundo de Aia" se expande más allá. Es una mirada sobre el mundo -el resguardo, el cuidado, el cariño, el preocuparse por el otro, el saber que no todo es perfecto pero dejar el morbo fuera de campo- que es mucho más que ver a Aia quedarse dormida. Si bien eso solo vale la película.

Si a alguien allí afuera le interesa saber lo que yo creo que debería ser el cine, o lo que yo creo que es gran cine, que vea esta película y no tengo mucho más que explicarles. Es el anti "White Ribbon", literalmente. Aún partiendo de una situación con puntos en común (el posible maltrato a los niños), Tizza Covi y Rainer Frimmel se ubican en las antípodas de la mirada infernal y severa del "maestro" austríaco (y eso que esta peli es austríaca también, aunque más italiana que otra cosa). "La pivellina" es neorrealismo cotidiano, una película accesible, amable, liviana, divertida y a la vez emocionante, triste, que acaba dejándote con un terrible nudo en la garganta -mezcla de risa y llanto- y con estúpidas ganas de escribir incontinentes posts como éste.

PD. Está el trailer en internet, pero la película no tiene nada que ver con eso (salvo el final). Para lo demás buscaron las escenas más "dramáticas" del filme para tratar de hacerlo vendible, intenso, impactante (policías, la niña perdida, etc). Pero eso son apenas detalles de un filme que no tiene, para nada, el tono del trailer.

Viennale 2009: Opening and Closing Film

La Pivellina by Tizza Covi and Rainer Frimmel

The opening film of the Viennale 2009 is La Pivellina by Tizza Covi and Rainer Frimmel. Thus, the Vienna film festival will be opened for the first time in its history with an Austrian production. The film had its much acclaimed international premiere at this year’s Cannes Film Festival.

Following their documentary Babooska, in which they followed a family of circus artists throughout Italy, La Pivellina is the first feature film by Tizza Covi and Rainer Frimmel, realized with amateur actors. The center of the story is an abandoned little girl called “La Pivellina,” who is found and taken in by a family of circus artists. La Pivellina is an unsentimental film about moral courage and solidarity on the fringes of society.

The directors and actors will be present at the gala screening of the film on October 22 in Vienna’s Gartenbaukino. In addition to a number of other festival guests, we are also happy to welcome the actress Tilda Swinton, to whom the Viennale dedicates a tribute this year, on the opening evening of the festival.

A Serious Man by Ethan and Joel Coen

As closing film of the festival on November 4, the Viennale will present the Austrian premiere of the latest work by the brothers Ethan and Joel Coen, A Serious Man. Cast with largely unknown actors, it ranks among one of the best films by the Coen brothers in years. Set in 1967, in a small town in the American Midwest, A Serious Man is a comedy about a Jewish middle-class family, filmed in the absurd, tragicomical style characteristic of earlier works by the Coen brothers.

"La pivellina", de Tizza Covi & Rainer Frimmel, gana el Premio Europa Cinemas Label

Tizza Covi and Rainer Frimmel’s LA PIVELLINA, an Austrian/Italian co-production, has been awarded the Europa Cinemas Label as Best European Film in the Directors’ Fortnight section of the Cannes Film Festival, it was announced today by a jury of four Europa Cinemas exhibitors – the seventh year the Label has been awarded in the section.

LA PIVELLINA will now receive the support of the Europa Cinemas exhibitors who commit themselves to extend the length of its run on screen and additional promotion across the network.

The Europa Cinemas jury for this year’s Cannes Festival consisted of Nina Pece (Slovenia) - head of film distribution and director of Otok (Institute for the Development of Film Culture); Nicolas Bruyelle (Belgium) - Programmer at the Cinema Plaza Art à Mons; Rickard Gramfors (Sweden) - Project Manager, Digital Houses, Folkets Hus och Parker and Jean-Marie Virginie (France) – Programmer at the Cinema Jacques Tati à Orsay.

The jury issued the following statement: “Our decision was unanimous. LA PIVELLINA is a film with a big heart – a generous, unpretentious and optimistic look at society’s outcasts and makes no moral judgments. The filmmakers’ background in documentaries gives the film a real naturalistic credibility, drawing the audience in and engaging them. The acting is superb. We feel the universal themes and the warmth of the cross-generational relationships in the film can have a real impact across Europe with audiences.”

Sold internationally by Films Distribution, LA PIVELLINA is directed by Tizza Covi and Rainer Frimmel, with the screenplay by Covi and Frimmel as Producer. The cast is Patrizia Gerardi, Asia Crippa, Tairo Caroli and Walter Saabel. Vento Films is the production company.

Abandoned in a park, the two-year-old girl Asia is found by Patti, a circus woman living with her husband Walter in a trailer park in San Basilio on the outskirts of Rome. With the help of Tairo, a teenager who lives with his grandma in an adjacent container, Patti starts to search for the girl's mother and gives the girl a new home for an uncertain period of time

This marks the seventh year that the Europa Cinemas Label has been awarded at Cannes, and complements the Labels awarded at the Panorama section in Berlin, the Giornate degli Autori section in Venice, and Karlovy Vary.

The success of recent winning films is eloquent testament to the impact that the Label has on a film’s profile and its circulation around Europe. Last year’s Berlin winner, Götz Spielmann’s Academy Award nominated REVANCHE has had successful releases in ten territories. The Cannes winner from 2008, Bouli Lanners’ ELDORADO enjoyed great success in Belgium, France and Italy with Germany and the Netherlands to follow this year. Venice 2008 winner Uberto Pasolini’s MACHAN had a solid opening in Italy, with releases set for France, Switzerland, Austria and Germany. Looking further back, Anton Corbijn’s CONTROL, the Cannes winner from 2007, has been released in 20 countries around Europe, and Andrzej Jakimowski’s TRICKS (Venice 2007) has won prizes at 6 international Festivals and has been sold in more than 20 countries.

Founded in 1992, the Europa Cinemas network now consists of a remarkable 1945 screens in 758 cinemas in 439 cities in 43 countries. Europa Cinemas’ aim is to support the programming and visibility of European films outside their country of origin, and to foster initiatives aimed at encouraging younger audiences to develop their interest in European films and cultural diversity. Since 2004, Europa Cinemas has been extending its film theatre network outside Europe, particularly in Asia, South America and around the Mediterranean.

Previous winners of the Europa Cinemas Label are:

Cannes/Directors’ Fortnight

2003: The Mother (Roger Michell, UK)

Kitchen Stories (Bent Hamer, Norway/Sweden)

2004: In the Battlefields / Dans les champs de bataille (Danielle Arbid, France / Belgium / Lebanon)

2005: La Moustache (Emmanuel Carrère, France)

2006: 12:08 East of Bucharest/A Fost sau n-a fost ? (Corneliu Porumboiu, Romania)

2007: Control (Anton Corbijn, UK)

2008: Eldorado (Bouli Lanners, Belgium)

"La pivellina", de Tizza Covi & Rainer Frimmel (Promedio: 6,75)

Quincena de Realizadores

Christoph Hüber (Die Presse, Austria) - 4
Luciano Monteagudo (Página/12, Argentina) - 8
Violeta Kovacsics (Lumiere, España) - 7

Diego Batlle (La Nación, Otroscines, Argentina) - 8

Promedio: 6,75