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SI VA DIRITTI AL CUORE DEI DIRITTI, A TODI. Un corsa, pacata, Todi è già Umbria e in Umbria ci si arriva così, camminando. Sconfinando lo sguardo sino a giungere poi a camminare tra archi, scaline, scalini, scalette, ascendenti discendenti, vie di fuga di vento freddo in viso l’inverno, che aprono a valle sino a nuovo orizzonte collinare, spostato, più in là -poi certo artigianato di pregio, formaggi, vino e musiche di tradizione italiana nel dopofestival più understated del continente, a SPAZIO UNU.

La II. Edizione di Human Rights International Film Festival cinema e corti documentaristici la cui premiazione va ex aequo a due autrici : raffinate, composte, coraggiosissime e generose.
La curda e la turca.
Husniye Vural, e Zayne Akyol.
Quest’ultima, bellissima, ha potuto venire personalmente dal Canada -dove è residente nel suo nuovo Paese di adozione ( grazie, merci, thank you Trudeau ), a testimoniare la propria storia di cineasta documentarista.

Linguaggi differenti i loro, significato e significante diritti al petto.

Un asso pigliatutto sopratutto, quello di Gulistan Land of Roses, che dopo esser passato per Official Selection hotDOCS e Vision du Reel Cannes 2016,
ha fatto impallidire e retrocedere dai vari premi i seppur saldi o temerari.
Boko Haram di Xavier Muntz, documentario che alterna footage sul territorio a due spanne dai Boko Haram a interviste e già usufruito dal largo pubblico su ARTE FRANCE, vedibile anche online.
Non vanno trascurati per ragione alcuna i 55′ di The Digital Leader di Adrian V. Eagle, documentario eccelso che prospetta un capovolgimento culturale assoluto del sincretico subcontinente India, a breve, e pochi di noi lo sanno.

E Refugee Era con regia e produzione di Husniye Vural nata nel 1972 ad Antalya, dal 1999 lavora come regista alla TRT -Radio e Televisione statale della Turchia.
Dopo aver lavorato per 11 anni come produttrice per trasmissioni radiofoniche, a partire dal 2010 lavora nella preparazione dei documentari presso la sede della TRT di Ankara.
Un montaggio molto delicato sostiene il contenuto che accompagna, per mano di Muhammet Kırkıncı.
Difatti loro, i Rifugiati, non sanno davvero nulla, niente, di quanto e cosa accadrà loro in un’ora. Credono sempre a ciò che verrà loro detto : dagli Stati, dai media, dagli informatori,..dagli scafisti.
Spesso non hanno documenti, e non solo non hanno documenti, ma sono pure infreddoliti. Il mare, il blu, diviene la tomba delle madri che piangeranno mariti e figli.
per la prima volta nella storia dell’umanità nei tramonti non c’è più poesis, non rappresenta altro più che il momento cruciale, quello del loro attraversamento. Notti senza luna ma di paura, che diviene la condizione, lo stato abituale, sebbene coi loro cari parlino ancora sempre con amore.

E alle spalle del tramonto cosa c’è ?

Tutto ciò che hanno lasciato : identità, il posto dove tornare a sera, il luogo dove crescere i propri figli, dove essere in famiglia. In quel luogo non hanno più una casa, ed hanno dovuto vendere tutto. Lasciare tutto dietro. La disperazione ha insegnato loro a fidarsi di chiunque, degli sconosciuti di cui non conoscono le facce, delle lingue che non parlano.
Speriamo davvero presto in tanti possiate vederlo.

Tornando a Gulistan, la voce delle voci delle guerrigliere PKK che ci porta sotto al naso chi sta facendo cosa mentre io qui sto scegliendo che colore di smalto mettere.
Che proprio da un’altra parte non puoi più girarti mentre le ascolti, sul campo, in trincea, alla frontiera tra Irak e Siria, a 1km a piedi da ISIS, mentre si lucidano sorridenti, pacate, intime e vere, i loro kalashnikov.
Un battaglione di donne affronta lo stato islamico. Un film documentario che va dritto, più ancora che all’azione delle combattenti al diritto del loro stato d’animo.

Il loro charme è pari solo alla loro stessa determinazione e, a quella della regista Zayne Akyol.


Ché merita ogni sospiro, riflessione, e direzione di pensiero, il quale non può divenire altro che…

“…, che le donne siano politicizzate, che abbiano sempre a disposizione gli strumenti per riconoscere il loro nemico, e non esserne mai sopraffatte. Piuttosto combatterlo. Abbattere l’avversario con gli ideali di democrazia, di difesa dell’identità curda, e della causa femminista “. Una dimostrazione assoluta di solidarietà e dovere, a costo di perire. La confederazione di valori, scopi e guerriglia sono cruciali, per non retrocedere mai “ sull’asse della dignità propria, del genere, e dell’umanità di cui siamo portavoce, anche quando nessuno ci sente “.

La consapevole colta e generosa organizzazione del festival ha voluto Daniele Vicari ( DIAZ – Non pulire questo sangue, del 2012 ) in giuria,

e la proiezione della sua La Nave Dolce in chiusura, a portarci in porto di consapevolezza, e maestria.
Il connubio della regia, dei soggetti di Daniele, e il talento di Gherardo Gossi DoP : quando questi due sono assieme, sono un orgoglio della nostra generazione, di questo Paese ammare.

Persone tutte queste che gli Human Rights li fanno, non ne parlano.
E quindi, ora, attendiamo la prossima selezione di corti e lunghi documentaristici su i diritti umani, date e luoghi della prossima III. Edizione dello Human Rights Film Festival.

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By Cristiana Di Bartolomeo

Worked in cinema Industry as main field of work activity since graduation till maternity, both in Rome than Budapest. Overall positions covered: production secretary, production assistant, stylist, production coordinator, director's assistant, producer assistant, personal assistant to dearest Virna Lisi. Begun in Rome at Mario Mazzarotto's Intelfilm with Director Marco Puccioni; then several years in Budapest, first at Strawberry Films as Italian Market Developer; Aron Sipos, Focus Film, where also Producer Assistant, she mainly realized some of her working life strongest dreams and intentions; back in Rome Executive Secretary to Dott. Angelo Rizzoli at Rizzoli Audiovisivi Ltd. Cristiana is inclined to elegance of substance and form, to mystic law and irony.

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