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PROGRAM OF THE VIENNALE 2013 State of Grace Filmmaking, François Truffaut once said, is an alchemistic art, an art of blending and enchanting. It’s a matter of creating a connection between the individual cinematic elements and, according to Truffaut, putting them into a “state of vibration.” This refers to the merging of actors, locations, light and dark, sound and silence as well as to the blending of languages, expressions and emotions. We’d like to borrow this definition of filmmaking for our festival. Our work, too, is a bit like alchemy: a connection of forms, styles, genres, the old and the new, the familiar and the experimental, the small and the large format, “the raw and the boiled” (as one of the festival programs is called), the many different elements of cinematography. It’s not so much about the overwhelming, the plenty, the special, the so-called event. Much rather, our idea is to create a kind of “state of grace” of cinema, a state of vibration, as Truffaut called it, a moment, which will, perhaps, go beyond the scope of our festival. About the Festival Hans Hurch International film festivals like the Viennale are increasingly turning into important forums, in which new, topical cinema is being discussed. Beyond commercial events and productions determined by box offices, festivals have meanwhile become one of the few establishments committed to the multi-faceted and vivid idea of cinema. And, above all, devote themselves to putting this idea into practice. This may sound trivial, but actually means that certain film festivals – and there is a world-wide family of festivals, which are partly connected through friendly relations and solidarity – are the last and crucial bridge and connection between filmmakers and audiences. This certainly doesn’t apply to all the films of this year’s Viennale program, yet to the large majority. In addition to some works, which can hope for relative economic success and have a local distributor, it is the large number of little known, partly hidden works, which haven’t been fed into the vast culture and media network, that film festivals need to give the attention they deserve – even if it’s just temporarily and to a limited extent. The development of progressive monopolization, an economy that defines all life and work situations and the resulting marginalization L’Inconnu du lac of alternative ways of production and existence has its cultural counterpart in cinema. Film festivals, which don’t primarily concentrate their attention on the market, red-carpet shows and widespread event hysteria, are able to open small niches of freedom, acting as an intermediary between individual works, filmmakers, curious media and possible audiences. The Viennale has set itself the task of being such a go-between, and sometimes, perhaps, to play the role of a smuggler or black marketeer. In the process, we have made, and are making, wonderful discoveries Manakamana of which we are proud. For example, the Viennale was the first festival to direct special attention to little-known filmmakers, including Miguel Gomes, Denis Coté, Gianfranco Rosi, Shinji Aoyama and Alain Guiraudie, to name but a few. Their new, much-noticed and internationally acclaimed films will be presented at this year’s festival. Yet our work isn’t dominated by the patronizing and paternalistic attitude of “discovering,”; rather by the idea that a festival can be an accomplice for the work of others. The attitude that the Viennale has assumed towards young filmmakers is also valid for older, forgotten or underestimated directors. Thus our festival was the first to re-introduce the work of significant artists such as Lino Brocka, Emil de Antonio, Peter Nestler, Stephanie Rothman or Alberto Grifi and, in 2013, of the truly exceptional,
adical Spanish director Gonzalo García Pelayo, long presumed lost. The counterpart to the Viennale’s joy of discovery is its long-standing loyalty and closeness to filmmakers, whose works we have been carefully and attentively supporting over the years. In the meantime, there is now a large number of them and we are honored and pleased that they entrust us with the premieres of their new films, as we don’t take it for granted. In 2013, these include well-known and internationally renowned filmmakers such as the Argentinean Edgardo Cozarinsky, the Portuguese Sandro Aguilar, the Spaniard Gonzalo García Pelayo and the old mavericks Jean-Marie Straub and Klaus Lemke. In 2013, the festival will once again be a place for discoveries and surprises, encounters and reunions. From big cinema productions like BLUE JASMINE, FADING GIGOLO or NEBRASKA, and truly crucial films of this year, such as L’INCONNU DU LAC, L’IMAGE MANQUANTE, MANAKAMANA or E AGORA? LEMBRA-ME, to largely unknown, unique discoveries like DIE ZEIT VERGEHT WIE EIN BRÜLLENDER LÖWE, MILLE SOLEILS and P3ND3JO5 – the Viennale 2013 program is as rich and varied as cinema itself, provided it isn’t subject to restrictions by the market and cultural censorship. And, finally, Viennale guests will be meeting one another here in Vienna, including Klaus Lemke and Claude Lanzmann, Jean-Pierre Léaud and Jackie Stewart, Jean-Marie Straub and Will Ferrell. Yes, Will Ferrell, but that’s another story. The Viennale is the first festival to dedicate an individual, comprehensive tribute to this great, wonderful star comedian. In return, he’ll be bringing along a T-shirt with the words … Gala Screenings Similar to last year’s festival, the arc spanning the opening and closing films of the Viennale 2013 is extremely wide-reaching. The opening film on October 24 is the bigger, ambitious work INSIDE LLEWYN DAVIS by the Coen Brothers; the smaller, European debut film LOCKE by Steven Knight we’ll be presenting as the festival’s closing film 13 days later, on November 6. A highlight of the festival is the Austrian premiere of Claude Lanzmann’s LE DERNIER DES INJUSTES (THE LAST OF THE UNJUST), a three-and-a-half-hour documentary on the Viennese rabbi and last president of the Jewish Council in Theresienstadt, Benjamin Murmelstein. On October 27, in the presence of the director. A completely different evening is dedicated to the legendary racing driver Jackie Stewart on October 28. In the presence of Sir Jackie, the Viennale will present the documentary WEEKEND OF A CHAMPION, filmed in 1972 and reshown at this year’s Cannes film festival, by and Inside Llewyn Davis with Jackie Stewart and Roman Polanski. The ten-film tribute devoted to the American star comedian Will Ferrell will see its crowning finale on November 6 with a gala screening of the legendary film ANCHORMAN: THE LEGEND OF RON BUR- GUNDY, presented by Will Ferrell and followed by a podium discussion with the Viennale guest. Le Dernier des injustes
Page 1 and 2: PROGRAMPRESENTATION OCTOBER 24-NOVE
Page 3: VIENNALE 2013 OCTOBER 24 TO NOVEMBE
Page 7 and 8: to systematic gambling. Casino Vien
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