Archivio Aperto is the yearly programme concerning the rediscovery of private and unpublished film heritage: amateur, experimental, independent films and documentaries. An original archive exhibition which hosts the comeback of small gauge films (Super8, 8mm, 9,5mm and 16mm).
The festival was born in Bologna, and it revolves around Home Movies’ activities, association known to have founded the Archivio Nazionale del Film di Famiglia (“Family Film National Archive”). Home Movies role to preserve and valorize Italian audiovisual private heritage has been long and widely acknowledged, even beyond the Italian border, thanks to promotional actions in Archivio Aperto.
The yearly festival of Home Movies – Archivio Nazionale del Film di Famiglia, which since 2002 preserves the Italian private film heritage in Bologna, is held online for the first time. Previously unknown images of Gianni Rodari in a kindergarten, and those of David Perlov’s Diary, monumental documentary work about Israel history in between 1973 and 1983.
And in addition to that, the terrific kids’ films from New York suburbs, shot in the 60s and retrieved by Home Movies, and Mauro Mingardi’s ones from Bologna, the artisan of film pursued by Rossellini,
A monumental work by David Perlov (1930-2003) that tells, in intimate form, Israel complex history from 1973 to 1983, through the eyes of a great documentary filmmaker who faces the tragedies of his time, the wars and the issues (and the joy) in living of his family, Diary opens with shots from the house windows in Tel Aviv and with these words: “May 1973, I buy a camera. I want to start filming by myself and for myself. Professional cinema does no longer attract me. To look for something else. I want to approach the everyday. Above all, anonymity. It takes time to learn how to do it.”
The shots from the windows with the 16mm camera will be recurring in the 6-part film, one hour each, co-produced and broadcast for the first time by Channel 4, one chapter a day for a week. A river-like film, intimate and universal (which, as a paradox, can nowadays be experienced via the web just as a captivating tv-series), where the tragedies of history cross the personal events of his wife Mira and their two daughters, Yael and Naomi, who grow up in front of the camera, loves, betrayals, existential dilemmas, recurring voyages (to Brazil, where Perlov was born, to Paris, where he was artistically educated and where he became a filmmaker), meetings with artists, intellectuals, mythical filmmakers (like Klaus Kinski, Joris Ivens, Claude Lanzmann) and friends from all over the world. The daughter Yael, today a militant filmmaker, will tell during Archivio Aperto the unique human and productive experience of Diary, a passionate work and rich with grandeur, much loved throughout the world by cinema students due to its non-stop thoughts about the act of filming. To Archivio Aperto, Diary represents another leg in the exploration of the diaristic form within international cinema, after the past years’ tributes to Jonas Mekas, Boris Lehman and other filmmakers who experimented the diaristic form.
This section is dedicated to the made-by-kid films, and specifically terrific kids. The films come indeed from an Italian-American archive found by Home Movies on the other side of the Atlantic Ocean, in New York suburbs. Rob Niosi and his friends are not even teenagers when they start filming as a game with the home cameras stolen from the family, experimenting hand over fist cinema genres – horror, splatter, science fiction – and animation techniques, tricks, low-angle shots and visual effects. Growing up, the game becomes more serious and their style irreverent, if not rebellious. Later on, some of the young men become artists.
On the 100th anniversary of Gianni Rodari’s birth, Archivio Aperto 2020 pays the writer its tribute, through previously unknown Super8 material, direct witnesses filmed with Incontri della Fantastica (“Fantastica Meetings” Reggio Emilia, 1972) and an in-depth analysis focus.
Gianni Rodari visits “Diana” kindergarten in 1972 for the Incontri della Fantastica, organized by by Loris Malaguzzi and the Reggio Emilia Municipality as a moment of thought and education for the teachers. From these meetings, unique in the kindergarten teaching scenario, it was born a worldwide renowned book: Grammatica della fantasia (“Fantasty Grammar”).
A new section dedicated to independent filmmakers who cared to separate themselves from the amateur crowd, making films whose only flaw was the lack of a distribution, mainly due to film format, hardly printable in vast amount of copies. Mauro Mingardi’s example is among the most evident. A man from Bologna who always wanted to keep a distance from the cinema industry, despite the calls from Rome (and Roberto Rossellini’s invitation who valued him), he is an inventor-filmmaker, a true 8mm and Super8 artisan. Mingardi never wanted to move from his Bologna and not by mistake the only appearance within professional cinema was because of a film shot in Bologna itself. After that Mingardi’s life was told by the documentary Un western senza cavalli (“a horseless western”), we will finally watch some of his films restored by Home Movies with MiBACT contribution. The slant chosen in the programme aims to investigate the genre-interpreter Mingardi (horror, thriller, but silent cinema as well), often in an ironic and grotesque tone, above all for his, and our, fun. It leaks from the selected films, in fact, (Vita d’artista, Il tempo nel muro, Raptus, Alla ricerca dell’impossibile, Gli usignoli di Rellstab) the taste for cinema as a continuous, a pleasure for the eyes. It’s just as if Mingardi had taken up the challenge and wanted to tell us, in every shot, without being pedantic: you see, I can make great cinema as well with minimal means and gauges, with great fantasy, without any boundary, in total autonomy and freedom.
The usual, by now, section about Italian art and experimental cinema in the 60s and the 70s introduces the newest edition of Arnaldo Pomodoro, Ugo Mulas and Francesco Leonetti’s Shaping Negation, in collaboration with “Arnaldo Pomodoro Foundation” and “Mulas Foundation”, and restored with MiBACT contribution, and a selection from Massimo Bacigalupo, Valentina Berardinone, Gianni Castagnoli, Fernando De Filippi and Andrea Granchi’s work, screened in film over the past years, now in a digital edition.
Section dedicated to films made with images from private archives, in between documentary and experimental film.
Section dedicated to a series of contemporary Italian films which make large use of private archives.
A section which will host a sequence of meetings about film and amateur video history and archival film documents of peculiar historical allure.
Realized by Paolo Simoni (direction), Lucia Tralli (coordination), Mirco Santi, Ilaria Ferretti con Michele Manzolini, Claudio Giapponesi, Giulia Simi and with the collaboration of Giuseppe Fara, Tommaso Querin, Davide Bianchi, Vanessa Mangiavacca, with the participation of Chiara Petrucci, Jennifer Malvezzi, Diego Cavallotti, Andrea Mariani, Lino Greco and contribution from Alessandro Conte, Guido Lingiardi, Giulia Dickmans, Alessandro Zuliani.
Graphics and website: K2
Press Office: Luciana Apicella
With the support from:
Comune di Bologna
In collaboration with Istituto Storico Parri and Kinè
And with Cineteca di Bologna, Premio Zavattini, CUBO – coordinamento territoriale di festival, Xing, Fondazione Pomodoro, Fondazione Mulas, Cinémathèque suisse, Re:Voir, Ginko Film, Lab80, Sixpack, Tucker.