Stefania Sandrelli will inaugurate the 36th edition of the Il Cinema Ritrovato festival on Saturday 25 June at 9.45 pm in Piazza Maggiore in Bologna: the new restoration of Bernardo Bertolucci’s film is scheduled.
Sara Stefania Sandrelli to inaugurate Saturday 25 June in Piazza Maggiore in Bologna there 36th edition of the Il Cinema Ritrovato festival: the new restoration (made by the Cineteca di Bologna in collaboration with Minerva Pictures and RaroVideo Channel) of the Conformist from Bernardo Bertolucciwho in 1970 wanted Sandrelli, together with Dominique Sanda And Jean-Louis Trintignant in one of his most visually beautiful films.
The magic of that screen in Piazza Maggiore is the one most awaited by an entire community: the community of cinephiles from all over the world, those who come to Bologna every year for a festival full of masterpieces, Il Cinema Ritrovato, which once again us will open the doors of the cinephiles’ Paradise with its 500 films screened from sunrise to sunset in 7 city cinemas, up to the highly anticipated evening screenings in Piazza Maggiore.
A 36th edition for the festival promoted by the Cineteca di Bologna that will take place from 25 June to 3 Julymarking a return, after two years in any case lived in presence, to the traditional dates between June and July.
The complete program of Cinema Ritrovato 2022 can be found at this link.
Thus Bernardo Bertolucci spoke of the Conformist in Enzo Ungari’s book “Mother scenes by Bernardo Bertolucci”, published in 1982 by Ubulibri:
“Spider strategy and The Conformist have in common the theme of betrayal, the presence of the returning past and the weight of the father figure, with the difference that in the Conformist the son, Trintignant, betrays Professor Quadri (the father figure), while in Strategia del ragno it is Athos father who betrayed. In any case they are two parricides who suppose a past and a memory. In the Conformist the memory is that of the French and American cinema of the thirties while Strategia del ragno real childhood.
I shot The Conformist, leaving open the possibility of telling it chronologically, as in Moravia’s novel. From the beginning of the shooting, however, I was fascinated by the possibility of using the car journey as the ‘present’ of the film, the container of the story. In short, the protagonist also travels in memory. That is why I had shot a lot of material on Trintignant’s journey. With a great editor like Kim Arcalli, it happens to be able to see, little by little, the structure of the film that materializes. The structure of a film is only announced by the script and begins to exist and manifest itself during the shooting, but it is during the editing that it definitively takes shape “.
