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Since 1965, with his first film, Fists in the Pocket, Marco Bellocchio emerged as a landmark of Italian cinema. Author of a cinema of rupture, fifty years of career and dozen feature films, It has never ceased to push into his entrenchments society, sash always breccias in the certainties that make the ideas and values. Meeting with a young filmmaker still angry.

Marco Bellocchio or cinema of conscience

Family degenerate, incestuous and endotoky desires, his first film was released on the screens as an epileptic seizure. That sudden also violent seizures who was Italian cinema. A direct kick in the soft underbelly of the Italy of Christian democracy. It was in 1965. Marco Bellocchio was born at the cinema with Fists in the Pocket. And unlike the title of his film, he tapped fists on the table and would empty his pockets as empty his bag to clean slate. A rabid. Marco the enraged, named it so it. Marco the enraged, would designate it one now.

It is only after the family, It will address the policy - bourgeois and revolutionary (China is near, 1967), religion (Name of the father, 1972), at the connivance between press and power (Rape in first page, 1972), Army (The triumphal, 1976). In a decade, it aligns the target in the viewfinder of his camera. It will be even a time, at the end of the years 1960, Member of UCI, Maoist-controlled, and held to the militant cinema. Behind Marco the enraged, Marco the committed. What do a political filmmaker, even today, with always in his line of sight the family, institutions and power as critical objects of Italian society.

But reduce Bellocchio film to this one aspect would be to miss one of the most original works of the last fifty years. It would mean forgetting the Fagioli years (the years 1980-90), the name of the famous Italian psychiatrist Massimo Fagioli, destroyer of Freud and follower of collective analysis. Bellocchio will go up to associate it with his films (Devil in the flesh) and they reproached him. Yet, the report to psychoanalysis holds an important place in the cinema of Bellocchio. Cinema- and therapy of cinema. It is in the cinema and psychoanalysis. A quest for consciousness, a tool to get to know and understand the world. A way to free itself by itself. For him : behind Marco the enraged, behind Marco the committed, Marco the encagé ? Maybe, and it looks. But more particularly, and this (those) watching us(NT), for its characters.
Extremely complex characters who are, more than archetypes for social criticism or psychological film, individuals against their conscience and their contradictions. The awareness of being, but also the moral conscience. The contradictions in acts and feelings. Characters alienated by the collective, but that only rage can release. Individuals in prey to doubts or certainties, resignation or action, but above all to themselves. Deeply human characters whose complexity exceeds the poor Manichaeism (for or against) our debates on subjects of companies (see The beautiful sleeping or the smile of my mother). This gives a strange dialogue between conscious and unconscious, often haunted by the spectre of mental health, permanent topic of questioning of the cinema of Bellocchio. A dialogue which eventually settled, especially, between the film and one that looks at him.

This dialogue, Bellocchio has finished putting it up through a film style quite particular. By making his story, his way of telling, the psyche of his characters, even the film itself. This will be first by his master to shoot interiors, often camera, apartments or houses, as if one walked in a mental space. It will pass, more vividly, by using images and sounds like two realities - the reality of action and thought - that meet on the screen. The use of the cinema as a projection of emotions in “Win”. Images of contemporary drama of action and news that fit to the pageant to give, more than a reconstruction, a reconstruction. The use of television in archival footage “Buongiorno, night” that sound like a souvenir while they are supposed to be contemporary action. Until filming guilt as a Japanese Ghost film : the wanderings of Aldo Moro, its mental projection or, in the apartment / spirit of the young Chiara brigadiste. A presence of thought, imagination and memory, filmed at the same level as that of the action (that is stamped conventions such as the flashback introduced by a crossfade), or even in the same plane, that gives time a tinge dreamlike otherwise fantastic.
As these children in Nightgown, in “The jump into the void”, reliving trauma spent in the apartment of Michel Piccoli and Anouk Aimée without that they seem to see them : souvenirs as the apparitions that haunt their 'appartemental '... The imagination is real, tell a key figure in Buongiorno, night. I need to see, to ensure that this is not a dream, says Chiara in the same film. And the dream is a thought by images, looks like Fagioli. Bellocchio, him, filmed. It lends images thinking. It puts the thought in the image. And made the film a true psychic space.

We might then see the film by Marco Bellocchio as emergence in a cinema of conscience three times.
The unconscious of a conscious cinema cinema. A first step, Fists in the Pocket to the jump into the void (1979), where manifests an unconscious in revolt against an established order. Where the form seeks the bottom. A second step, Eyes, the mouth (1982) the dream of butterfly (1994), that of analysis, who sees cinema through transgression - subjects and the form, where disorder is order. Where the bottom seeks its form. And a third step, the Prince of Homburg (1997) to the present day, that of consciousness, where the form and the content merge into a new cinematographic language (more than a style) precise and unique which would have the fluidity, and ruptures, a thought. That of its author. A strange and exciting experience.

First film of the cycle: Thursday 14 April-21 h
“The jump into the void” (Salto nel vuoto) Marco Bellocchio. 1979. Italy / France. 120 min. Colors. 35 mm. UNIVERSALLY.
With Michel Piccoli, Anouk Aimée, Michele Placido, Gisella Burinato.

Madness and the family. Once again, a brother and a sister. Singles both, they have woven ties, sultry. Who is the craziest of the two ? The psychorigide judge or the tall brunette who speaks alone at night ? Say it right away, The jump into the void is a part work, the Matrix movie of upcoming film by Bellocchio. In grand master of ceremony, maestro Orchestra a strange claustrophobic ballet, elegant and abstract. Anouk Aimée caulking and Michel Piccoli listens to the doors. Alienation, harassment, machination and wandering. Past and present which intertwine. And dreamlike flashes and scratches. Bellocchio puts in place a mental labyrinth in which the Viewer is invited to get lost. One emerges destabilized as a boxer to the awakening of a KO.