- Carlo Chatrian is the Artistic Director of the Berlin International Film Festival.
Born in 1971, Chatrian studied literature and philosophy and also holds a degree in film studies, with a thesis on the films of Jacques Rivette. While at university, he started attending film festivals as a natural counterpoint to his studies, and soon after began programming for the Alba Film Festival, followed by the Festival dei Popoli and Visions du Réel.
At the end of the 1990s he focused on documentary as a genre, a language and a way to compose and shape reality, and held workshops with filmmakers such as Johan van der Keuken, Frederick Wiseman and Errol Morris. In 2003 he began working for the Locarno Film Festival where he curated retrospectives on Japanese animation, Ernst Lubitsch, Vincente Minnelli and Otto Preminger.
Between 2013 and 2018, Chatrian was Artistic Director of Locarno where he enjoyed programming popular films for the 8,000 viewers in the Piazza Grande as well as auteur films for an even more cinephile audience. He had the pleasure of presenting awards to masters of cinema such as Michael Cimino, Werner Herzog and Agnès Varda. He honoured the French Nouvelle Vague with tributes to Anna Karina, Bulle Ogier and Jean-Pierre Léaud, and German cinema with "Beloved and Rejected", a retrospective of post-war West German films, as well as with special awards to Armin Mueller-Stahl and Mario Adorf. In addition, during his six editions at Locarno, filmmakers from East Asia (Lav Diaz, Hong Sangsoo and Wang Bing) and the American actress Brie Larson were recognised and received prizes.- IMDb Mini Biography By: Berlin Film Festival Official Site Bio
- Artistic director of the Locarno International Film Festival since Nov. 1, 2012.
- Graduated in Literature and Philosophy from Turin University.
- [writing about the films of Bruno Dumont] What has remained constant in his filmmaking is the will to investigate man and his gray areas, be they relational or existential. Thy neighbor viewed as an obstacle, evil as an unavoidable presence, sex as the dark backdrop of mankind are just a few of the challenges his films have accepted. Unlike the lion's share of bourgeois cinema, born in the cities and developed in lounges, Dumont looks directly at the major questions that torment man. Facing an increasingly opaque reality, Dumont offers strong stories without the easy solution of an ending, be it positive or negative. The stories are open because the problems they deal with are open. The characters appear to be dragged by higher powers, they don't think, and they rarely act. Their subservience to reality, destiny and power relationships that rule society is thrown into the viewer's face, and it's up to him to respond. Despite the dominating cold color palette, the colors of the North that gave birth to the director and serves as the setting for most of his stories, Bruno Dumont's films are fiery material. They are as flammable as the reactions they provoke. He sees cinema as a tool with which he removes the hinges of traditional thinking, such as splitting mankind into good and evil. His view of the world is based on the problem-free coexistence of the archaic and the modern. [Locarno Film Festival, 2018]
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