An event sponsored by
Azienda Speciale Palaexpo & La Farfalla sul Mirino

Promoted by
Assessorato alla Cultura di Roma Capitale & Azienda Speciale Palaexpo

In collaboration with
SNCCI - Sindacato Nazionale Critici Cinematografici Italiani – Gruppo Regione Lazio

Many thanks to
Fondazione Cineteca di Bologna, Danish Film Institute (Copenhagen), Park Circus (Londra), Cinédoc Paris Films Coop (Parigi), Lab80 Film (Bergamo)

 

Some Like It Classic reaches its fifteenth edition and once again stands as one of the most beloved events not only for enthusiasts, but also for those who simply want to get in touch with a kind of cinema and a world that no longer exist and that, precisely for this reason, can perhaps help us put today's reality (and films) into perspective. This year's program features a special focus on noir, starting with the opening and closing films: John Stahl's Leave Her to Heaven, the first film of its kind to be shot in Technicolor, and Thief by Michael Mann, one of the filmmakers who worked hardest on a modern redefinition of noir. And if "noir" is a term that comes from France, a tribute to cinema from across the Alps could not be missing, with Chabrol's 1980s film Masks, a rare gem presented here on 35mm film.

Due to certain atmospheres and a profound sense of fatalism, even a film like Carol Reed's Odd Man Out can easily be classified as noir, despite in this case being based on the political theme of the Northern Irish question, and the same could be said of Arthur Penn's gem The Chase, in which we find a man hunted down in a heated social context. Politics also touches on the totalitarian world imagined in Logan's Run and, of course, Hawks' To Have and Have Not, shot during World War II, although it is Bogart and Bacall who steal the show: together on screen for the first time, they were destined in real life to have one of the most solid and admired marriages in Hollywood history.

As every year, one evening will be dedicated to silent cinema accompanied by live music with Dreyer's Master of the House, a lesser-known and rediscovered title by the Danish master, who, ahead of his time, reflects on patriarchy and couple dynamics. Another abusive male figure is the protagonist of Él, Luis Buñuel's famous film, one of his most successful and corrosive films from his Mexican period. Finally, remaining in the jagged archipelago of Surrealism, Man Ray will be at the center of the usual program on avant-garde cinema: on the fiftieth anniversary of his death, a necessary tribute to one of the most influential artists of the twentieth century, who was also the first to demonstrate that, incredibly, it is possible to make a film even without a camera.