I diari di Angela – Noi due cineasti, 2018, Yervant Gianikian, Angela Ricci Lucchi © Viennale

I diari di Angela – Noi due cineasti (2018)

Regie: Yervant Gianikian, Angela Ricci Lucchi. 125 min
 
Sie haben mit ihrem Werk gegen das Vergessen angekämpft: Auf zahlreichen Reisen haben sie in Archiven Material gesammelt, das sie mittels sorgfältiger Restauration und in handwerklicher Verarbeitung zu historiografischen Kritiken an der Brutalität des 20. Jahrhunderts verdichteten. Damit Angela nach ihrem Tod im Februar ebenso wenig dem Vergessen anheimfällt, macht nun ihr Arbeits- und Lebensgefährte Yervant in diesem anrührenden Film das gemeinsame Privatarchiv zugänglich: ihre Tagebücher, Aquarelle und Fotos – und natürlich all die Filme, die die beiden Cineasten in ihrem Alltag – auch voneinander – gedreht haben. (F. K.)
 
In Anwesenheit von Yervant Gianikian


The death of Angela Ricci Lucchi early this year didn't come out of the blue: She was aware of the fact that her days were numbered, as the last scenes of I diari di Angela show; and as always, she kept her calm in the face of the inevitable, so as to better appreciate things for the last time, like harvesting some fruits she knew she wouldn't get to taste herself. She probably knew that her companion, Yervant Gianikian, would create this cenotaph in memory of the decades they'd shared. The latter being the key word here: I diari di Angela is a film about the two of them, always together since the mid-1970's, thus starting with moments from a short she started and he finished with superimpositions – a perfect image for their symbiotic relationship. Gianikian chose to delve not too deeply into their artistic process – or maybe he does when he shows them walking through ruins in Sarajevo looking at the devastation around, or drinking and singing with Walter Chiari in Armenia. For living, it seems, was the greatest art for Angela Ricci Lucchi and Yervant Gianikian. Their films, drawings, installations and performances were merely traces they chose to leave behind. (Olaf Möller)

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