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BRIFF 2024

Forte presenza di registe al 7mo Brussels International Film Festival

di 

- La nuova edizione del festival si terrà dal 25 giugno al 3 luglio, con una quarantina di lungometraggi in programma

Forte presenza di registe al 7mo Brussels International Film Festival
Le Procès du chien di Laetitia Dosch

Questo articolo è disponibile in inglese.

In these early days of summer, the Brussels International Film Festival (BRIFF) is inviting Belgian film lovers to discover unmissable brand-new and classic films, shining a light on international arthouse cinema. The festival is notably organising three competitions, which achieve near gender parity overall, a feat rare enough to be mentioned here. In fact, this 7th edition of the event, unspooling between 25 June and 3 July, is set to open with the screening of Swiss filmmaker and actress Laetitia Dosch’s first feature film, Dog on Trial [+leggi anche:
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intervista: Laetitia Dosch
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, which was presented in Cannes’ Un Certain Regard section.

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First up, the International Competition will take us from Argentina to Denmark by way of Corsica, and conceals several high-calibre filmmakers within its ranks, such as Yorgos Lanthimos who’ll be sharing Kinds of Kindness [+leggi anche:
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, the Larrieu brothers with their latest movie Jim’s Story [+leggi anche:
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intervista: Arnaud e Jean-Marie Larrieu
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- both of which were discovered in Cannes - and Michel Franco with Memory, which was presented in Venice last year. We’ll also see confirmed talent along the lines of Claire Burger, with her third feature film Foreign Tongue [+leggi anche:
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intervista: Claire Burger
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, and Gustav Möller with Sons [+leggi anche:
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- two titles unveiled in competition in Berlin. Two directorial duos are also in on the action: Zar Amir Ebrahimi and Guy Nattiv who’ll be putting forth Tatami [+leggi anche:
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, and Maria Alché and Benjamin Naishtat presenting Puan [+leggi anche:
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intervista: Benjamín Naishtat e María …
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. The final film competing in this section is In His Own Image [+leggi anche:
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intervista: Thierry de Peretti
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by Thierry de Peretti, which screened in Cannes’ Directors’ Fortnight.

As for Director’s Week, a selection dedicated to European cinema which looks to shine a light on emerging talent, seven films are in the offing. Firstly, there’s the Danish documentary The Mountains [+leggi anche:
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by Christian Einshøj, which revisits the director’s family’s trauma following the death of his brother 25 years earlier. Another family documentary comes in the form of Keeping Mum [+leggi anche:
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intervista: Emilie Brisavoine
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by Emilie Brisavoine, exploring wounds which time has failed to heal. Fiction films likewise jostle on the agenda, namely The Permanent Picture [+leggi anche:
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intervista: Laura Ferrés
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by Spanish director Laura Ferrés, and family forms the focus once again in Je’vida [+leggi anche:
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by Finland’s Katia Gauriloff, homing in on the coming together of an aunt and niece. There’s also the Hispanic-Italian co-production Animal/Humano [+leggi anche:
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intervista: Alessandro Pugno
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by Alessandro Pugno, and a third documentary entitled Riverboom by Swiss director Claude Baechtold, which looks back on the filmmaker’s experience as a young journalist who landed in Afghanistan the day after 11 September. A different tone is struck by the last film on the agenda of this particular line-up, Plastic Guns [+leggi anche:
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intervista: Jean-Christophe Meurisse
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by iconic French filmmaker Jean-Christophe Meurisse, which recently closed the Directors’ Fortnight.

The festival is also hosting a National Competition gathering together 8 feature films. We have to remark upon the presence of three female-led documentaries in the first person in this line-up, all exploring the questions which three young women and children of exile ask themselves, in the form of D’Abdul à Leïla [+leggi anche:
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intervista: Leila Albayaty
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by Leïla Albayaty, (Y)Our Mother [+leggi anche:
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intervista: Samira El Mouzghibati
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by Samira El Mouzghibati and Yalla, Baba! [+leggi anche:
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intervista: Angie Obeid
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 by Angie Obeid. A family of vampires is at the heart of Céline Rouzet’s fiction film, For Night Will Come [+leggi anche:
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intervista: Céline Rouzet
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, meanwhile, whereas a group of siblings seek out the roots of evil in Michèle Jacob’s Lost Children [+leggi anche:
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intervista: Michèle Jacob
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, the documentary Stolen Life sees Daniel Lambo following the journey of adopted children torn from their parents in their birth country, and Who Cares? [+leggi anche:
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intervista: Alexe Poukine
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sees Alexe Poukine examining public hospitals and asking how nurses can themselves be kind when they’re crushed by a hostile institution. Last but not least, in Katika Bluu [+leggi anche:
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, Stéphane Vuillet and Stéphane Xhroüet follow in the footsteps of Baraka, a former child-soldier who has just been extracted from an armed group and who tries to return to his childhood, his family and his place in Goma society in the Congo.

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