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Portrait 2 - Alina Marazzi

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Alina Marazzi carries on her shoulders a filmography of around ten documentaries, but it is almost impossible not to identify her with one film in particular - Un’ora sola ti vorrei - which, after its Torino Film Festival premiere in 2002, launched her path to success, obtaining a more than well-deserved first Prize and making her a reputed filmmaker in Italy and abroad.

The film, the fruit of a very personal research project of the director, was the exploration of the figure of her own mother, using a rich family archive (Super8, diaries, letters and photos). However Alina began her cinematographic career well before this personal and public watershed by directing various television and socially-orientated documentaries.
Her professional experience is not limited to documentary, including stints as an assistant for various directors of Italian cinema (principally Giuseppe Piccioni), and other work linked to experimental cinema and video art in the years of collaboration with the Studio Azzurro and Fabrica under the direction of Godfrey Reggio.

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Five years have passed since the award in Torino and Alina is returning with Vogliamo anche le rose [+see also:
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in the ‘out of competition’ section, in the company of Fabrizio Bentivoglio, Wilma Labate, Francesca Comencini and Peter Del Monte. It will be the film’s Italian premiere. Vogliamo anche le rose was presented last August at the Locarno festival, which offered a screening in the Piazza Grande, one of the biggest open-air cinema in the world.
A sign of great recognition from the press and the public, this was a great achievement, not only for documentary film, but for Italian cinema in general. After all the position reached allows rather unique distribution opportunities within the panorama of Italian documentaries.

Vogliamo anche le rose is a return to the stylistic code which represents her best: the authorial elaboration of archive material (her films have the merit of having reawakened interest in Super8 in Italy). Its content continues her exploration of the female world begun in 2002, in which to all effects one can define the second phase of her career.
After the moving portrait of her own mother (Un’ora sola ti vorrei) and the difficult photography of life in a convent (Per sempre), Alina confronts herself with a work of more historical scope in order to recount the emancipation of Italian women in the 60s and 70s, continuing however to entrust herself to the guidance of diaries, letters and stories which compose the central thread of the film.

In 2005 with Per sempre (which also competed in the documentary competition at the TFF), she challenged the expectations and demands of the public and press by dealing with an almost impenetrable subject. The film hasn’t left its mark as much as Un’ora…, but it represents an example of documentary honesty. The impossibility of creating a true in-depth account of the life of the nuns and the overwhelming distance between them and the director has in itself reinstated subjectivity as a real value of documentary cinema.

Women, and their complex mixture of courage, fragility and pride, continue to be at the centre of her most recent investigation, which although distancing itself gradually from her own personal life (and it could not be otherwise, Un’ora sola ti vorrei is a stand-alone film) still reveals something of herself and provides us with a form of portrait. Her contemporary narration of the crises and celebrations of women in the diverse yet interwoven frames of her films (the Italian bourgeoisie, the welfare and hypocrisy of a changing nation, the catholic tradition) seems to hiddenly position itself within the heritage of the Antonionian atmosphere. A sort of trilogy of emotions in documentary form.

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