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Home arrow CINEMA arrow [VENEZIA74] Alireza Khatami presents his first feature-length film in Orizzonti section (interview)
[VENEZIA74] Alireza Khatami presents his first feature-length film in Orizzonti section (interview)
di Andrea Falco   

35558-los_versos_del_olvido_-_director_alireza_khatami_1.jpgBorn in Iran in 1980, Alireza Khatami lived in several countries. He believes that in each we can find dark years, damned years that, with no need for a common or even intelligible language, that can make anyone see themselves in them. Khatami works in Chile, the USA, and Europe. Educated in Malaysia and in the USA, after five shorts and the direction of a segment of Taipei Factory (2013), Los versos del olvido is his first feature-length film.


In your movie, we are led to believe that fantasies can pop up unexpectedly and force themselves into our perception of the real. What is fantasy to you?


Fantasy is all that we have. Our relationship to reality is imaginary. Reality is fantasmatic through and through. There is a naïve obsession with reality as if we could capture it or even have any access to it. Fantasy for me is the only way to understand and coordinate our so-called reality. Mainstream cinema understands the power of fantasy and can afford it. It’s about the time that arthouse cinema embraces it too. 


After we die, we live on in the memories of the ones who mourn us. How well does film preserve those memories? How close is cinema to the real thing?

Cinema by nature is a machine that mourns the absence. It projects which that once was in front of the camera. That is where the nostalgic quality of cinema comes from. Cinema constantly mourns the event. Just like the repetition compulsion of the person who remembers the traumatic events. Cinema is the closest thing to the act of remembering and might be the best medium to speak of politics of memory.


Can one expatriate within one’s own country? How do you feel about voluntary isolation?

Any artist must live like an immigrant in order to see the world anew. Defamiliarization of the mundane is all they do. The goal however is not to get in the shoes of the other but to become theother. That is the only way to maintain a critical perspective. 


HINTS


 

SONG Lament for Ignacio Sanchez Mejias


 

BOOK The Divan of Hafiz (the collected poems of Hafiz of Shiraz, Persian poet of XIV century, n.d.r.)

 


ART Malevich's Black Square

 

sinossi

35562-los_versos_del_olvido__4_.jpgMORTE, RIVOLUZIONE E FANTASIA

Il custode dell’obitorio è un uomo ritiratosi dalla vita, un uomo che non cerca ciò che ha perduto, ma un modo per dimenticarlo del tutto. Nonostante una memoria infallibile, non riesce mai a ricordare il nome delle persone decedute che giorno dopo giorno gli vengono consegnate. Le loro storie però meritano di essere ricordate. Quando fra i cadaveri scopre il corpo di una giovane sconosciuta, che nessuno è ancora venuto a reclamare, decide di darle una degna sepoltura. La Storia, quella delle molte vittime civili del Cile di Pinochet, entra nella sua storia personale, facendo riafforare ricordi che fino ad allora avrebbe voluto consegnare all’oblio. (Marisa Santin)./ The morgue caretaker is an elderly man who retired from life, a man that doesn’t look for what he lost, rather, for a way to forget it altogether. However endowed with phenomenal memory, the names of the departed he takes care of just don’t stick in his mind. Their stories, though, deserve to be remembered. One day, one of the several corpses is that of a young unidentified woman. He decides to give her a proper burial. History, or rather the story of the many civilian victims of Pinochet’s regime, enters his personal story and brings to surface memories he would, up to that moment, rather have left in oblivion.a clinic and compensate the father, who in turns refuses both. Nariman is shocked when, the next morning, he finds out that the same child has been brought to the hospital for an autopsy.

 

 

:agenda cinema