Four great directors who will turn Fifty in 2020; three movies each from the beginning of their careers to nowadays trying to draw an evolutionary path within the respective filmographies and, in doing so, telling an important piece of cinema between the 90s and 2000s. Starts January/February with Christoper Nolan (Los Angeles, June 26 1970)
Each screening, in original language with Italian subtitles, will be preceded by a critical introduction in 3 steps (in italian).
#1 CHRISTOPHER NOLAN
If there is a contemporary author who has tried, through genres, to tell what Roy Menarini calls the “Great American film” (transposition by images of the Great American Novel told by Faulkner, Steinbeck, Melville etc.) that’s definitely Christopher Nolan. His is an authorial but also deeply commercial cinema, solid in the script and large in the format of the image. These three films are an attempt to map the evolution of his “eye”. Original English Language with Italian Subtitles
TICKETS: 5€ / 3€ reduced with IOinCOMPAGNIA card
MONDAY JANUARY 20, 9 PM
Memento by Christopher Nolan, USA, 2000, 114 min.
There is this strange irony, because actually you find yourself as a filmmaker in the position of the protagonist who must trust these notes that he wrote himself. The strange thing is that you go through these tortuous creative machinations and then look back at the original script and it is pretty, very close to what is on the screen. At some point you stop and say “Thank God, how did it end up like this?”.
MONDAY FEBRUARY 3, 9 PM
The Prestige by Christopher Nolan, USA/UK, 2006, 130 min.
I’m not a big one for research. There’s a lot of information in the novel and my brother did a certain amount of research. But I enjoy not knowing. For me the fun in watching a magic trick is wanting to know but not quite being able to penetrate the secret. As far as what the film reveals, a lot of it is stuff we just made up.
monday february 10, 9 pm
Interstellar by Christopher Nolan, USA/UK/Canada, 2014, 169 min.
The shadow of 2001: A Space Odyssey hangs over anything vaguely in this genre. You’re daunted by it but also inspired by it. This is absolutely my attempt to recreate the feeling of going to see that film with my Dad when I was seven at the Odeon in Leicester Square in London when it was re-released.
