L 'Youth Cultural Association EYE! presents
THE CLASS WORKER IS NOT IN HEAVEN
The Cinema of Struggle and Protest
Saturday, March 19, 2010
17.oo hours Borinage of the region. In the foreground a strike of 1932. For the rawness and truth of the document he was prevented from movement. hours 17.3o Friday, March 11
The Working Class Goes to Heaven
E. Petri (Italy, 1971) Lulu Massa is a sample of the piece with which it maintains two families, until an accident makes him lose a finger. From ultracottimista ultracontestatore passes, he loses his job and his lover, finds himself alone. With a victory for the union, is summarized and returned to the assembly. With a little taste of failure, over a stretch of allegory and dangerous surges in the sky, is a sharp and satirical portrait of the workers and their alienation. Written by Petri Ugo Pirro, is 1 Italian film that enters the factory, and analyzed the system, setting it ablaze with furious frenzy various aspects, including the relationship between man and machine, between the union and the New Left, including student protests and workers' struggle, repression and master technological progress. A memorable Volonte, a bizarre Melato, an incisive Randone. Aroused much controversy, not least on the left. Palme d'Or at Cannes ex aequo with The case Mattei. Friday, March 18
Metropolis F. Lang (Germany, 1927)
In a megalopolis of the twenty-first century, Metropolis fact, the son of the powerful "controller" of society, Fredersen is struck by the appearance of a woman (Mary) surrounded by several children of workers. From the moment he decides to get involved in that underground world that does not belong to socially. It replaces a worker and so takes part in a clandestine meetings that take place underground, where it sees the same Mary who harangue the people of the exploited. But hidden in these meetings is to know his father, John Fredersen, which, with the complicity of the scientist Rotwang, Maria decides to replace its identical counterpart with a female robot in order to punish the workers flooding their homes always located underground. Of course, the son, now in love with Mary, will do everything to foil the evil plans of his father.
Metropolis is considered the masterpiece of the Austrian director Fritz Lang is a symbol of the works of expressionist cinema and is universally recognized as a model for much of modern science fiction cinema, having inspired films such as Blade Runner
andBrazil . Friday, March 25
Riff-Raff K. Loach (Britain, 1991)
A good film, yet simple. Between irony and tragedy Loach shows a realistic vision of Britain under Mrs Thatcher through the metaphor of a construction site. The protagonist is Steve che, uscito di galera, va a lavorare a Londra. Gli altri operai lo accolgono bene e lo aiutano a trovare alloggio in una casa popolare. Conosce una ragazza. I problemi di cantiere sono molti: dalla mancanza di igiene all'assenza di sicurezza. Ci sono un arresto e un licenziamento entrambi ingiusti e quando un'impalcatura cede e muore un operaio, la vendetta sarà pesante. Ottima la colonna sonora di Stewart Copeland, autore già di Rusty il selvaggio di Coppola ed ex batterista dei Police.
Venerdì 01 Aprile
I Compagni di M. Monicelli (Italia, 1963)
L’azione è ambientata in una fabbrica tessile di Torino, sulla fine dell'Ottocento. Guidati da un professore socialista, gli operai si battono per ridurre da 14 a 13 ore l'orario giornaliero di lavoro che, tra l'altro, arrivava talvolta anche a 16 ore. In bilico tra Marx e De Amicis, il film pencola spesso e volentieri verso Edmondo de' Languori. Parti deboli dove è evidente l'intenzione di creare un'atmosfera nazional-popolare e parti valide piene di verità. Splendida fotografia “antica” di G. Rotunno e un finissimo Mastroianni. Nastro d'argento per F. Lulli e una candidatura all'Oscar per la sceneggiatura. Venerdì 08 Aprile
Signorinaeffe
di W. Labate (Italia, 2007)Torino, 1980. Against the backdrop of trade union action against the corporate reorganization in FIAT - which was supposed to make the price of the sacrifice of thousands of jobs among the workers - Emma and Sergio meet and fall in love, in the short span of 35 days of protests that were closed by the march of 40 000 white collar workers. In this piece of Italian history, the two protagonists are the parties that the property would put against each other: Emma is to graduate in mathematics, working on administrative plans for FIAT and is an engineer. Sergio is a worker, a hothead in the forefront of the struggle. You will compromise everything for him; Sergio lets her go to a better future and that perhaps, as we will discover in the end, it has been disappointing as the fact that they live. Despite the praise obtained at the Turin Film Festival, Signorinaeffe is a movie without rhythm, shot with a TV-style shades and unable to record that evokes more of a fiction that a large section of civil cinema: Sergio embarrassed jacket in a chic restaurant to impress Emma, \u200b\u200bthe workers' friend - barricadero - addict who finds the will to live in the arms of a young teacher in a field of asylum and confesses to want dozens of children. Other than Ken Loach! Unfortunately, the acting often reminds styles suitable for television audiences, obviously didactic, with eyes too explicit between the protagonists, with long discussions about the now classic glass of wine in which no reasons for a changing world but throw lapidary phrases now worn by time. The only time "live" are those assigned to period films that reconstruct an Italy at a crossroads and on the barricades and give us the measure of the social drama that we went through. However, Valeria Solarino, in the role of Emma, \u200b\u200bis too good for those dark years.
Friday, April 15
Occupations occasional a slave of A. Kluge (Germany, 1973)
Performed by his sister and collaborator of the director, standard bearer of the rebirth of German cinema the '60s and '70s, the housewife Roswitha practice illegal abortions to keep her husband and children, risk arrest, and moves on to social work in a factory from which the wife will be fired. Inspired by the lesson of Brecht and Adorno (and, more distantly, to Marx and Benjamin), a cinema critic Kluge pursuing rational and cold, but spiced with irony. In telling the awareness of a key bourgeois in a highly politicized feminism, offers a "glimpse" of an industrial metropolis in which he analyzes the laws that govern the capitalist system, the contradictions, the issues of alienation and transience. Less impervious of his earlier films, writing, directing assembles material heterogeneous, quotes, legends, songs, poetry, voice-overs.
