Dal 27 al 29 ottobre, Massa Marittima – nella splendida cornice della Sala dell’Abbondanza – ospiterà la quinta edizione di DocuDonna, il festival internazionale che ogni anno fa della cittadina maremmana la capitale del documentario a regia femminile. Otto i film in concorso quest’anno, provenienti da Spagna, Italia, Olanda, Inghilterra, Stati Uniti, Svezia e Iran. La direzione artistica è affidata a Cristina Berlini, affiancata da Sandra Innamorato, responsabile della comunicazione, e da Elisabetta Galgani, che quest’anno modererà gli interventi degli ospiti e i Q&A con gli artisti presenti in sala. La giuria di questa edizione sarà composta da Aline Hervè, editor, e Nadia Pizzuti, regista e giornalista. Anche quest’anno DocuDonna si propone di dare spazio alle tante registe di talento: da Chiara Avesani di Erasmus in Gaza a Nahid Persson di Be my Voice, da Tatiana Scheltema di ESTHER & THE LAW, the case against Shell a Erika Segni Alice Rotiroti di Fuck Feminists, voci femministe nel mondo della street art.
L’edizione 2023 raccoglie sguardi autoriali eterogenei ma porta avanti anche una grande vocazione al femminile come oggetto di discussione. I film in concorso (in lingua originale con sottotitoli in italiano e inglese) riflettono lo spirito militante del Festival, uno spazio di libera espressione ma anche un laboratorio per raccontare esperienze inedite e discutere di cosa significhi essere donne libere oggi.
disegno: Concetta Gentile
THE JURY
Aline Hervé
Aline Hervé was born in Paris in 1972 where she lived until 1994, the year in which Italy hosted her for a doctorate which concluded her exciting cycle of studies in mathematics.
In Florence, however, she meets her destiny on the wooden chairs of a cinema thanks to the film Man with a Movie Camera by Vertov. From that moment on she determines her new path. And her destiny is fulfilled in the fortunate encounter with Italian directors who try to look at reality to develop a story, a thought, and allow themselves freedom and risks in language. In this journey she meets Pietro Marcello for whom she edited Il passazione della linea: a new poetic language that touches a very wide audience. In the belief of persisting in the world of documentaries, she shares the path of Giovanni Cioni, and the related awards in various festivals, but also that of Federica di Giacomo who won Orizzonti in Venice with Liberami.
The transition to fiction cinema occurred through a meeting with a then very young documentary director, Irene Dionisio, who proposed that they tackle her first film together, The Last Things, presented at the Critics’ Week in Venice. She meets Pietro Marcello on the occasion of Martin Eden, a film that allows her to work on the synthesis between documentary and fiction, on the idea of opening up stories with real poetic access and finally crowning the happy marriage between the two languages.
Nadia Pizzuti
Born in Rome to a French mother and an Italian father, Nadia Pizzuti is an independent journalist, writer and director.
She worked at the Italian news agency ANSA and wrote two books about your experience as a correspondent in Tehran, one of which (The Garden of Shahrzad) was published in France and also in Spain.
She organized a season of films by pioneering women, “Cinepioniere, da Alice Guy a Dorothy Arzner” at the Casa Internazionale delle Donne in Rome and at the Casa delle Donne in Barcelona. In 2012 you shot Amica nostra Angela, a portrait of the Neapolitan feminist philosopher Angela Putino. The documentary was screened in several cities, in Italy and abroad, and was selected at the “Some prefer cake” festival in Bologna.
Her second documentary, Lina Mangiacapre. Artist of feminism (2015), is a portrait of another extraordinary figure of Neapolitan and Italian feminism. Her third documentary, Alba Meloni. Star in my rooms, is about a member of the Italian resistance movement.