Two recognised and recognisable styles, and another two with singular projection and exploratory capacity were shown on the second last day of the Seville Festival. So, in the morning we had the presence of the two greatest living filmmakers in their own countries.
This is the case with Amos Gitai, who makes a brave denunciation of radical Zionism in Rabin, the last day, a fast-paced political thriller with which he investigates the causes of the encystment of hate in a large part of Israeli society. Gitai told the press conference about the strong reactions after the screening of the film in his country, with a public divided between detractors and admirers. His position is made clear in Rabin: "Culture is not always the most efficient way to change reality, but the cinema must take a position civilly”. A commitment in which the Israeli filmmaker wants to see a degree of hope: "The world isn’t only moved by money or arms, ideas move it too ".
The SEFF has also been the setting for the premiere in Spain of the latest film by Sharunas Bartas, Peace to us in our dreams. The Lithuanian filmmaker plays the father in the story in a film where his daughter in real life, Ina Marija Bartaite, also appears, as does the woman who was his wife (and Ina Marija’s mother), Katia Golubeva, who died in 2011. Father and daughter appeared before the media to talk about this film with a strong autobiographical component and something of a family catharsis: “If you feel it, you’re free to see the film without worries, and you can understand it”, said Sharunas about the elements in the film that are more open to interpretation, adding that his objective was to “leave the film in the hands of the spectator, so that he can find the path. ".
In the evening it was time for two of the most stimulating viewpoints on the European film scene, both filmmakers in competition in The New Waves section. From the same production company as Miguel Gomes, John From is the most recent film by João Nicolau, another of the exponents of the new Portuguese cinema, who presented his film along with the young leads, Júlia Palha and Clara Riedenstein, in this sensual, dreamy tale. "The most important thing in the film is the female perspective of juvenile passion”, said Júlia. For his part, Nicolau gave some clues about the main theme of this refreshing film: “In one of my films (A espada e a rosa, 2010) you hear The end of the summer is the end of the world, and I really believe that, because of the light, the colour..."
Another imaginative look is that of Pierre Léon in Deux Rémi, Deux, a free adaptation of the novel The Double, by Fyodor Dostoevsky. A story that the French director uses as an excuse to reflect on “that other I that we all see in front of the mirror every day”. Nevertheless, it is a “de-dramatized variation without the tragic component” of the plot created by the Russian writer, and updated to the context of our society: “I don’t want anyone to commit suicide because of this reflection, but we are not the same on Facebook and in real life, in some way we split our personality in two”, said León in an aperitif with the press.During these days we too have split ourselves in two to attend the screenings and take in all the activities contained in the festival. Today we arrive at the close, but European cinema continues all year in cinemas and in our lives, both real and fictitious.