Upwelling - Deep Waters Rising to the Surface
We are in Messina, a city that has been totally rebuilt after one of the most devastating natural disasters in the twentieth century. In Upwelling, there is constant search for a connection between the concept of catastrophe and the notion of ascending. A whole party of characters represent the attempts to resist against and revitalize the historical traditions of a deteriorated and static city.
Silvia JOP / Pietro PASQUETTI
She received her degree in Cultural Anthropology and Ethnology at the University of Siena with a thesis on European Ethnology on the Right to Asylum in Italy. She is the Editorial Coordinator of the blog, lavorocul- turale.org. She conceived and edits, Com’è bella l’imprudenza , a book dedicated to brief autobiographies of theatres in Italy occupied by squat- ters and the project #imprudenze 2013. He received his degree in Documen- tary Film Direction from the Acca- demia del cinema e della televisione di Roma a Cinecittà. He directed his first documentary Roma Residence that was in competition at the Torino Film Festival in 2007 and other film festivals. His second documentary, Il Vangelo secondo Maria was pre- sented at the Torino Film Festival in 2009.
Schedule 용어 안내
- E영어 대사
- NES비영어 대사 + 영어자막
- GV감독과의 대화
- ST스페셜 토크
- Class / Caption / EventGuide
- EEnglish Dialogue
- NESNon-English Dialogue+English Subtitles
- GVGuest Visit
- STSpecial Talk
- EBS 1TV 2017-08-23 | 25시 05분 15
Upwelling - Deep Waters Rising to the Surface portrays the city of Messina, which exposed to frequent natural disasters, including the worst earthquake of the 20th century. The film begins with the voice of an old man who recites about Messina that disappeared into the memory like a dream. I would like you to not to assume quickly about this film with the feeling of the reconstruc- tion, mourning, or meditation. The film repeatedly links images in unfamiliar ways, and the language that unfolds the story does not always match the picture. Is the image describing the imagination of someone? Then the topo- graphical map gradually gets to be completed. While a truck causes a heavy traffic on one side, the quiet and foggy mountain on the other side calmly breathes. The woman, who is in front of the crypt crying holds a new- born baby, smiling happily in the next scene. When a group of citizens has a religious ceremony, a huge cruise ship carries insouciant tourists. An old man talks about his life, "I met a pretty girl when I was seven after the war, and she became my wife later. We got married, and she gave birth to a son after three years. Then she died of cancer." A middle-aged son eating spaghetti by the side seems unimpressed. Indeed, life goes on, and the will and color of life are stronger than the gloomy violence of death and destiny. Carlo Levi left his autobiography Christ Stopped at Eboli based on the memory of the exile in the desolate land. Men would live at a place, where even Jesus refused to step on. Discussing, sing- ing, dancing, swimming, applying sunscreens, learning a foreign language, and tuning a piano, all of those are what we call ‘living’. The film seems like describing the spaces at first, but it records the people in their daily life at the spaces. The film is like a stunning poetry work, so watching the film with all your concentration would be good. Or it also would be good to watch it as if watch- ing pictures at a gallery. Watching it when turning your eyes from the book, or watching it after leaving the table during the meal, it would always be great to fall for the beauty of the film whenever you see the film. (LEE Youngcheol)