Program Preview September | October 2019

Non si sevizia un paperino, 1972, Lucio Fulci (Foto: Stadtkino Basel)
August 30 to October 24, 2019


When it comes to manifestations of film genre, the Italian giallo is almost as iconic as film noir. The enormously influential wave of giallo crime films made in Italy in the 1960s and 1970s occupied a crossroads of pop culture where art and exploitation cinema overlapped. The revolutionary modernist traits of contemporary cinema were smuggled into mainstream productions and B-movies whose audacious hybrid forms, vacillating between psychological thriller and horror, fantasy and erotic film, give the impression of a thrilling house of mirrors reflecting the entire era. On the whole, giallo resembles a delirious mapping of the unplumbed depths of the collective unconscious combined with a fearless look at the raw base of society. This very first comprehensive giallo retrospective brings the genre's salient examples together with classics and rarities, bloodcurdlers and art works – including grossly neglected early films by luminaries such as Pietro Germi and Riccardo Freda. [...]
A Portrait of Ga, 1952, Margaret Tait (Foto: LUX)
October 9 to 11, 2019

Margaret Tait

Scottish poet filmmaker Margaret Tait (1918–1999) has long been one of the best-kept secrets of British cinema. Of her thirty-two films, twenty-nine were self-financed, and she also self-published three volumes of poetry. Tait's independence and genuine breadth of vision as well as her adamant refusal of preconceived notions and forms is exemplified in her reluctance to define her films as belonging to any established category, be it that of avant-garde, documentary of amateur film, instead choosing to identify them as film poems. [...]
Deklica in drevo (A Girl and a Tree), 2012, Vlado Škafar
October 16 and 17, 2019

Vlado Škafar

Vlado Škafar started his film vocation as a co-founder of Slovenian Cinematheque in Ljubljana, where he was in charge of film programming between 1993 and 1999. An inspired and inspiriting curator, mentor to entire generations of Ljubljana's cinephiles, a voracious cinephile himself, and one of the most distinct local critical voices, Škafar then reinvented himself and spent the next two decades primarily as a filmmaker, until he recently announced his retirement from cinema, to devote himself fully to written word. [...]