WE HAVE MANY NAMES
O.V. in Swedish subtitled in Spanish and English
The Swedish Mai Zetterling began her career as an actress, but tired of the flabby nature of women's roles, she turned to directing. She arrived at Cannes in 1964 with her controversial debut, Loving Couples, a film condemned for its sexual (and homosexual) content, its poster was banned, and Zetterling was alleged to "direct like a man". A controversy that accompanied her in successive films in which she reinforced her stance on issues such as women's independence, reproductive rights and sexuality. Thus it is seen in this heartbreaking film about love, marriage, identity and feminism, regarding which Zetterling herself states: "the most important thing to learn is how to grow and evolve, not only through a man but all women together with their own abilities". A Swedish Film Institute restoration premiered at Cinema Ritrovato 2021.
Direction: Mai Zetterling
Script: Mai Zetterling
Cinematography: Rune Ericson
Editing: Wic' Kjellin
Production Design: Lena Nilsson
Cast: Mai Zetterling, Gunnar Furumo, Ewa Fröling, Gun Jönsson
Production: Bo Jonsson
INTO ANOTHER HISTORY OF EUROPEAN CINEMA
History, we know, is neither neutral nor incontestable: depending on who tells it and how. When it comes to the history of European cinema, it is increasingly necessary to re-evaluate the dominant canon that guides it, bringing to the forefront works both remarkable and often undervalued. For this reason, a new space has been launched to offer a new way of contemplating the continent's film legacy each year, entitled "Into Another History of European Cinema". The section is set up as a forum for reflection and (re)discovery, paying significant attention to pioneering works of feminism, class consciousness and the new types of cinema that have shaken the world since the sixties (some of them censored or attacked by the establishment), as well as to little-known works by key filmmakers. Eight films that illuminate and reveal another narrative of history will be shown for the first time in Spain in their recently restored copies, opening the debate on archiving works, and the role of festivals and film libraries in the reconsideration of the past.