Locarno Festival: “Lex Netflix” at the center of all discussions – rts.ch

It is never better to look back than to pay homage to the so-called small filmmakers. This is because the “little masters” are often the ones who understand their time well, are simple and have a taste for the public.

Alberto Lattuwada is one of them. Also, he says it himself:

It has always been difficult for me to adhere to my time “successfully”. I want to understand only with some delay and as a result I anticipate some themes, some ways.

Despite his lack of Rosellini’s pride, Fellini’s separate universe, Viscondi’s ambition or Antonioni’s meditative elegance, Latvada has traversed almost 50 years of Italian cinema history, approaching all genres, agility and sharpness, but without the desire to work. He is also known as the best director for actors and especially actresses.

After participating in the neorealist movement, he signed a few Italian comedy notes, was inspired by literary texts, especially borrowed from Russian literature, branched out into melodrama, and headed for the anti-military pamphlet.

But a decade after the Italian, famous for his efforts to elevate the beauty of young liberated women who cause corruption, his taste for Lolita did not escape a certain viroism (“The Girl”, 1978; “La Cicala”, 1980; “A Thorn in the Heart”, 1986).

Ugo Tognasi in “Come With Us and Have Coffee” (1970) by Alberto Lattuda. [MARS FILM / PHOTO12 VIA AFP – MARS FILM / PHOTO12 VIA AFP]

Suffice it to feed the debate surrounding the famous “male view”, the way audiovisual culture portrays women in the view of men, often as objects of desire and pleasure.

>> Watch the trailer for “Quentelina”:

In a select and permanent update, Latuda has changed the cast and writers in each of his films. However, his work is consistent with a series of themes: the loneliness of many characters, the mystery of youth, the critique of well-meaning capitalism, the denunciation of Catholic hypocrisy, in a bitter style. .

There is a secret in Lattuwada. He tells the gentle, bitter and humorous paths of loneliness in every possible way. He is the invisible vile king, he is always down, not beyond that.

In the 80s, Alberto Lattuda devoted himself primarily to television, creating the large portrait “Cristoforo Colombo” in 1985, starring Gabriel Byron in the title role and a mini-series entitled “Fradelli” in 1988.

Locarno presents 41 of the filmmaker’s works in small and large formats, including television productions. The review will take place at the Cinematheque de Lawson from August 25 to September 14.