8.6.10

'A DOG'S LIFE' + Afterscreening Drinks!




Mondo Cane is an inspiring, shocking and for sure surprising Italian film that PROVES how we are living a dog's life in a dog's world.

Come and find out the most unexpected things about our planet. Or stay home and continue living a dog's life without knowing it...

MONDO CANE, by Gualtiero Jacopetti, Paolo Cavara & Franco Prosperi (2007)

June 9, 5 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

With this 'shockumentary', BLACK&WHITE says goodbye to Amsterdam and its followers. Is there a better way to do it than with some laughter and a few drinks?? Feel free to bring your own stuff to the screening tomorrow, although afterscreening refreshments are guaranteed!
See you (there)!!

1.6.10

WAKE UP, STUPID!



Is it possible that half of the world wealth is in the hands of only 400 families? Is it possible that only a 10% of the money in circulation in the world is real? Is it possible that the real banking benefits are of a 16.500%? Tell me, do you believe such a thing is possible?



A silly question: what are the account maintenance costs? Does the bank keep your account in the basement? Does it polish it? Does it feed it? Does someone renew from time to time your account decoration? It doesn't matter if I lie to you, because you don't listen.



Do you know that with all the money you pay for your mortgage, the bank can buy two houses? Do you know that that is exactly what it does?



Robin Hood stole money from the rich to give it to the poor. If he had invested it to five years and a half to a half-yearly convertible compound interest of a 8% and then give it to the poor, he could have bought a cottage too.



Do you want to be a millionaire? Three essential rules. Buy yourself a sunbed. Pay only with big notes. Smile, so that the whole world believe you are having fun. There is a fourth rule. Never ever, under any circumstance, win the great prize in a television contest.

CONCURSANTE, by Rodrigo Cortés (2007)

June 2, 5 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

25.5.10

'BA WANG BIE JI' or THE EPIC


Here comes the only Chinese-spoken film that has ever won Cannes' Palme d'Or. A story often put on the same level of 'epicness' as Gone With The Wind and with the attraction of being the first Chinese movie BLACK&WHITE has offered so far. It is all oriental appeal... Will you miss it?


BA WANG BIE JI, by Chen Kaige (1993)

May 26, 5 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

'FAREWELL MY CONCUBINE' (1993). REVIEW by Diao Ying


Physically we are always located somewhere, but our mind, body and soul are often dislocated. In the Chinese Farewell My Concubine, a top prize winner at the Cannes International Film Festival, the hero -or heroine-, Dieyi, had a dislocated life.

This is an epic movie. The time runs from 1925 to 1977. The setting is Beijing. The film's title comes from a classic Peking opera, where a concubine cut her throat with the sword of the king on the night of his defeat.


The movie is mainly about the love triangle among two famous actors of the opera and a woman. They met as small boys at opera school. In those days women were not allowed to play on stage. Dieyi, a gentle, pretty and fragile boy, was chosen to play the concubine. Xiaolou, the stronger one, played the king.

Dieyi, who devoted to his role as an actress as a kid, was mentally trained as a woman. Throughout his life he was loyal to his first and only love, Xiaolou, the king on the stage, and his fellow boy in real life. Xiaolou, however, was straight. He fell in love with a beautiful prostitute and married her. He treated Dieyi as his brother, unware of his love for him.

But dislocation here is not only personal. Nation, country and the world are often in a state of dislocation. In this movie, the love story also interweaves with the history of China. From the Japanese invasion of China in the 1930's, the surrender of the Japanese at the end of World War II, the rule of the Nationalist Government, the Chinese Civil War, the victory of the communists in 1949 and, finally, the Cultural Revolution (1966-1976).

The movie is extremely subtle in showing the love, life, and arts related in the story. One is amazed at the pretty costumes, the Peking opera scene and all the fantastic dialogues. But it is also grand in that it displays the long and complex history in two hours in such a clear way.

The movie is full of memorable scenes. The Peking opera performance is beautiful. The training of the boys to be actors and actresses reminds one of the British boys in the fiction of Dickens. In the scenes describing the Cultural Revolution, decent people furiously denounce their friends and loved ones. It shows how dislocation in a society can go extreme, and makes one wonder how fragile people's souls are.

I find the review from New York Times a classic description: "It's a narrative of suicides, miscarriages, betrayals, drug addiction and sorrowful paradoxes: good intentions inevitably go wrong, which could be an observation about the Communist revolution". The last point might explain why, despite its success overseas, the movie was never publicly showed in its home country, China. That is another example of dislocation, isn’t it?

17.5.10

"SHE IS WHITE. SHE IS RACIST. SHE'S GOING TO TURN BLACK!": 'AGATHE CLÉRY' TEASER




AGATHE CLÉRY, by Étienne Chatiliez (2008)

May 19, 5 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

'AGATHE CLÉRY' (2008). REVIEW, by Naouel Abbadi


Agathe Cléry
is a hard-working and modern marketing director from a cosmetics company, specialized in clear skin. Her colleagues find her snob, strict, and they know she is a racist.

But what would be the height of absurdity for a racist? To become as black as those whom she hates. It is what happens one beautiful day to Agathe.

We will witness how she's affected by the Addison's disease, an extremely rare condition which is going to darken her. The racist marketing director of a special cosmetics line for pale skin wakes up one morning - totally black.

Fired by her boss, dumped by her fiancé, turned away in all her job interviews, Agathe finds herself on the other side.
Faced with the reality of becoming a black person, dealing with the same vicious discrimination and taunts she used to dish out so frequently, she struggles to accept her new paradigm in life.

Agathe Cléry is one of those amazingly rare filmmaking achievements that works on nearly every conceivable level. It’s an eccentric musical, acid satire and euphoric comedy all mixed together into a capricious spicy delight.

© Produire à Paris

The film is directed by Étienne Chatiliez, a man who has been acclaimed numerous times in France for his satirical and acid comedies. With co-writer Laurent Chouchan, he manages the handling of the racism issue in a sour way: their character embraces popular French stereotypes of blacks as the only viable solution to her mess. Valerie Lemercier (Agathe Cléry) pulls off the oddball comic and dance sequences with rigor and finesse.

With Chatiliez the caricature does not avoid the reality that it denounces; it is, on the contrary, the fairest expression of it. With a cocktail of music, singing, dancing, humour, but also some truths, Agathe Cléry will make you laugh more than once...




9.5.10

DREAM IS DESTINY


"The worst mistake that you can make is to think that you are alive"



WAKING LIFE, by Richard Linklater (2001)

May 12, 5 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

Don't forget that with this movie we will have our SPECIAL GEZELLIG EDITION: bring your pillow(s), blanket and/or cover and let's lay back together for extra cosiness!!

And don't miss out Kian's comments on the film below!

'DISLOCATION' CYCLE CALENDAR (at last!)


Click to enlarge!!!

'WAKING LIFE' (2001). REVIEW, by Kian Mintz-Woo


Waking Life
is one of the essential movies for anyone who went to college. It is essentially a collection of philosophical ideas - Kierkegaard and Satre are namechecked - meant for what we philosophers (bizarrely) call 'the folk'. Some of the characters are intriguing, some are mysterious, but all are meant to provoke fundamental questions. By considering levels of dreaming, and what it means to lucid dream, the central filmic metaphor suggests the Allegory of the Cave, Vedanta beliefs and Descartes' dream scenario. Don't think that this makes the film pretentious and dull; it is all done in an engaging and stirring manner.

© Fox Searchlight Pictures

Furthermore, it is a beautiful film - the technique of rotoscoping, which I will explain in my introduction before the film - is unique to Linklater's work and this was the first full-length rotoscoped movie (a short film that they made to test the method, Snack & Drink was inducted into the permanent collection at M
oMA). So for those who haven't seen it, see it for the ideas or the beauty; for those that have, I'm sure that there are characters you don't remember (and you can never watch too much of the libertarian with the bullhorn!).

Bonus: If you loved Before Sunset/Sunrise, as I did, you'll be glad to know that Jesse/Céline makes a (postcoital) appearance.

"Waking Life won the National Society of Film Critics award for 'Best Experimental Film', the New York Film Critics Circle award for 'Best Animated Film', and the CinemAvvenire award at the Venice Film Festival for 'Best Film'. It was also nominated for the Golden Lion, the festival's main award."

Also: Patricia had the brilliant idea of making this a sort of sleep party. So bring pillow(s) or a cover or a beanbag (!) and we can all lay back and enjoy.

5.5.10

CLOSED for Liberation Day




We run away with the rest, but we'll be back next week to offer you something very, very special...

Poster, calendar and more soon!!!

27.4.10

YOU TURN THE KEY...

...And we unlock the door of the new cycle Dislocation with "the best Egyptian movie ever", according to the Internet forums: The Yacoubian Building.

Check its trailer now and enter the community...



OMARET YACOUBIAN, by Marwan Hamed (2006)

April 28, 5 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48


Stay tuned!!! Full calendar of the cycle veeery soon. Thank you for your suggestions!!

AN INTERVIEW WITH MARWAN HAMED, DIRECTOR OF 'THE YACOUBIAN BUILDING' (2006), by Sarah Al Mojaddidi

S.M. What was your reaction to launching a blockbuster movie on the silver screen?

M.H. I don’t expect that everyone will like the movie and it was not initiated to be a popcorn film where the viewer would watch it and simply sleep on it. If the movie aggravates or encourages the viewer to think, then the film has served its purpose. The best thing is to watch something that makes you think for a moment. Some people say that it is a rather dark movie with a heightened sense of hopelessness. A lot of people told me that they got depressed. I think we should be depressed.

S.M.
Homosexuality was brought up a lot in the film. Do you feel that men in Cairo are aware of it? Was discretion advised on account of it being a serious taboo or was it more a form of satire to express that the average man today lacks gut, steel and masculinity when it comes to standing up for his view or taking responsibilities?

M.H.
Art should not be measured ethically. Art or drama revolves around characters that some people might consider at fault, guilty or wrongful from the start according to their personal biases and set of beliefs. The movie only nostalgically contrasts between past and current Cairo and folds to what Cairo used to tolerate in terms of different religions, intellect and understanding our differences. We were a very cosmopolitan city at one time. Now we do not tolerate or deal with one another with heart. It reaches a point where hostilities do not brew between Egyptians and foreigners but are initiated among us, which is sad. For example, take a veiled and unveiled girl, a Muslim and a Christian. If we do not adhere and actively seek out solutions for these problems and continue to evade these issues we will fall into a bottomless pit.

S.M.
The movie mainstreams a lot of Cairo's past and recent transitions, and it was an ideal location to film it downtown at the Yacoubian Building. Due to the fact it shadowed a community that is small and interconnected to everyone's affairs, do you believe Egyptians judge each other crucially?

M.H.
Naturally, our society has greatly changed and the dramatic transition is evident in that area as well. Today, our society crucially judges people from every aspect and from a moral standard of view rather than accepting change and tolerating other people's differences. But our role in society is not 'Godly'. It is not our role to act as our Creator and judge people according to how we believe God will judge us.
"We need to be more open-minded and learn how to deal with each other"

S.M. Are people ready to see roles like Hatem on the silver screen? A lot of uneasy viewers cringed at the mere sight of Hatem's role and others laughed. Care to comment?

M.H.
We had no intentions of inducing any comical tones but if a person laughed or cringed it's for the movie's best interest. A person sitting agitated or in complete turmoil during the entire movie is in itself a good effect.

S.M. The ending was enigmatic on account it mainstreamed two different characters of different social classes in holy matrimony. What was the main motif behind the wedding ceremony between Adel Emam's (Zaki) and that of Hind Sabry's (Buthaina)?

M.H. The ending had a strong impact on the movie's fold on account it mainstreamed Egyptians from the lower class and those of bourgeoisie standing together. The concept of the wedding - also known as the 'merger' - served its purpose by pinpointing an important element of social deviations and stressing the fact that we all have to live together! You cannot alienate people due to their social standing. The main motif is to accept and tolerate differences amidst our cultural gaps, religious beliefs, race, colour, etc.

S.M. Zaki's character played by Adel Emam is deeply moved by his country's transition. He is a man deeply rooted to Cairo's glorious past and is very nostalgic. He would often go to an exclusive elite night club at a prestigious hotel to feel the essence of Cairo's pastime glory. Was it your intention to have Yusra play the piano for him seductively, so as to lure Zaki metaphorically and have him travel in time back to his beloved old Cairo when it was still within its prime?

M.H. Zaki feels alienated today. He cannot blend in with modern Cairo and his entire world has changed. He feels the need to be nostalgic because he feels out of place and a stranger in his own home.

© Good News Group

S.M. Would this film, with all of its cultural taboos and associations, have been effective 10 years ago or even produced?

M.H. I think the film effectively fits in today's world and strikes a cord rather than being a movie visually perceived in the past. We need these sort of movies now and we feel more connected to them now in comparison to how we might have not been moved by them in the previous years.

S.M. The abuse during the negotiations in the film, when the Egyptian intelligence were cross examining the fundamentalists, was upsetting. The movie was bald, as it portrays a poor boy who was down-sized all of his life and dismissed by the police academy's admittance due to his father's profession of being a door-keeper (bawab). Thus, this misfortune hinders the boy to a world of extremism and surges his despondence of his shattered dreams onto a new extremist faith and later gets abused in jail and avenges his stolen dignity. Do you think this storyline had some light on discussing the true problem that awaits our youth, the problem being religious extremism and terrorism?

M.H. I believe that terrorism in the Middle East or in Egypt has not been tackled correctly. This is not the way to fight terrorism. It has been more than 30 years and terrorism is still being manufactured through despondent hearts and extremist followers who see no beauty in living in a world full with so much corruption and distinctions. You cannot fight terrorism with force or by reducing yourself to barbaric rituals. The quest in which terrorism can be subdued is through opinions, thoughts and voicing out what cannot be said but in a humane manner.

S.M. Adel Emam's character was fixated on Cairo's past and infamous for his promiscuous lifestyle. He never insulted or disgraced a woman and was very cultured when it came to courting ladies and very open about his desires and wants. Do you think Cairo needs to evolve first, to change its mentality when it comes to opposing women's rights or other forms of disrespect?

M.H. How men treat women is not the issue. The real issue lies in respect, in general. We need to respect one another first, respect our fellow peers, citizens, pedestrians on the street first before we tackle the issue of how men treat women. One must treat everyone with respect, especially in your moving vehicles.

20.4.10

'BURMA VJ. REPORTING FROM A CLOSED COUNTRY': Andreas' invitation


A
s the cherry on top for the Reality cycle, this week there will be the screening of the award-winning documentary Burma VJ.

This is what Andreas Schuck has to say about it:

Since I suggested the movie and am very excited about it, I of course hope that many of you will be able to come. I am also happy to announce that we will also have an interesting guest who will join us tomorrow and give an introduction to the movie, ready to answer your questions: Rob Brouwer, filmmaker and head of the audiovisual department of Amnesty International in The Netherlands, whose family stems from Burma and who is a specialist on human rights issues and journalism practice and has longstanding experience in training journalists (also in Burma). He was supposed to be on his way to Thailand tomorrow but thanks to volcano Eyjafjallajökull's activity he will be joining us instead. Thus, I am looking forward to an interesting session, with lots and lots of questions and an interesting, stimulating debate. Hope to see you all!



BURMA VJ, by Anders Østergaard (2009)

April 21, 5.30 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

Remember that next week we start off a new cycle. Its name will be Dislocation to give room to varied approaches on personal disconnection in different social environments.

We need one more proposal to go. C'mon, help your Film Club round off its cycle of four!!

'BURMA VJ' (2009). REVIEW, by Andreas Schuck


Ask yourself – what do you know about Burma? Burma VJ goes beyond the occasional news clips from Burma and its oppressive military regime and brings us close to those young video journalists who insist on keeping up the flow of news from their closed country despite risking torture and life in jail. The tour they are taking us on makes the situation in Burma tangible for us and makes us realize how little we know. 'Joshua', 27, is one of the young journalists, our psychological lens, and in Burma VJ we follow his footsteps, experience the uprising against the regime through his eyes, march with him, run away with him, see what he sees, feel what he feels - and also what we rather would not want to see or feel.

© Kamoli Films

In fact, it does not really get more realistic than seeing dead monks floating down the river or being beaten up on the streets or in their monasteries. Or those very journalists covering the events being arrested and carried away in front of our eyes. However, what is more impressive is the passion and hope in the eyes of those marching through the streets and the courage of those risking their own lives to enable us to get the full picture of what is really going on.

Burma VJ is directed by acclaimed filmmaker Anders Østergaard and won awards at the Sundance Film Festival, Berlin Film Festival, Hotdocs and the Full Frame Doc Film Festival. Finally, it won the main competition at the International Documentary Film Festival (IDFA) here in Amsterdam, where it was awarded the Joris Ivens Award for best feature-length documentary. Last but not least it was nominated for an Oscar for best documentary last year.

Depending on volcano Eyjafjallajökull's activity today and tomorrow we are hopeful to welcome some interesting guests from Amnesty and Free Voice (an NGO promoting freedom of expression) to our movie screening who have been to Burma, know about the situation (and how it has further developed after the release of the movie) and will be ready to answer your questions. Together we will discuss how we can expect the situation in Burma to further develop, what happened to those journalists who made the movie afterwards, but also what is the power and what are the boundaries of journalists in situations such as this.

Thus, come along, bring your friends, and see you tomorrow!

13.4.10

'HOME' (2009)


Just for this once, we won't use any marketing to try to convince you to come along to this week's screening. Click on the HOME website down here (Home in Figures section is highly recommended) and/or see the reviews below. You'll need nothing else.

© Yann Arthus-Bertrand

HOME, by Yann Arthus-Bertrand (2009)

April 14, 5 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

But don't watch it online, my clever fellas, our big screen will be waiting for ya!!

''HOME', AN ENVIRONMENTAL PICTURE', by Giacomo Ciapponi


During the last few years, themes like green energy, sustainability or fair trade have shown their prominence. For example, becoming carbon-free is impossible without re-thinking our consumption patterns. Before talking about renewable or nuclear energy we MUST understand that our ('Western') lifestyle is not compatible with our finite world! This necessity of re-thinking our society is also linked to the necessity of filling the gap between the North and the South of the world. This example shows how all these themes are linked: for realizing one we also have to take into account the others! Being indifferent is now nonsense.

We are certainly the green generation. We are, in theory, concerned about the environment and in harmony with the major green principles. However, we are bothered by what it takes for them to be applied. Though familiar with all kind of '-ables' (equitable, durable, reasonable, responsible, bearable, renewable), we remain guilty of inaction. Leaving a clean planet for the generations to come is our lofty goal, but telling is easier than doing.

HOME is a documentary released in June 5, 2009, directed by Yann Arthus-Bertrand and gracefully narrated by Glenn Close. Arthus-Betrand, French photographer best known for his aerial photographs of the Earth, is a master identifying colours, angles and patterns that show the Earth at its most beautiful.

© Yann Arthus-Bertrand

He delivers us his 'earth from above footage', a feast for the eyes with a strong ecological message. Indeed, he takes the viewer back to the beginning of time and explains how and when life on Earth came about. He also puts us directly onto the facts: 'It is too late to be pessimistic'.

The documentary follows Al Gore's famous environmental movie, An Inconvenient Truth. With the last climate change summit, the COP 15, and its failed slogan 'System change, not climate change', the documentary is completely up to date!

HOME is a beautiful, indispensable and responsible film which won't let you down. When it's over, you leave with its fantastic images floating around in your head, reminding you how beautiful this planet actually is. What can you do to save it? At least, that is the idea.

More opinions?

Check this article out:

The cinematography of this documentary is amazing, even the images of pollution of the environment that humans have caused look remarkably appealing to the eye. But this documentary is much more than a stream of beautiful images from across the world.

© Yann Arthus-Bertrand

The message that the documentary contains is a strong one: unlike our nations, our ecosystem doesn't have any borders. As humans organized in nation states, we spend 12 times as much on weapons to defend ourselves from each other than we spend on aid for the poorest. The effects of the exploitation of our shared ecosystem will affect us all and will hit those who already face the toughest circumstances the hardest. The problems that our world faces cannot be solved by any country alone. Too long have we focused on what separates us as citizens of specific countries, without realizing that we are all bound together as human beings. Without a rapidly growing global awareness of the situation we are facing, we will leave a much harsher environment for our children, in which natural resources on which we all depend will become increasingly scarce.

I am a student in my twenties. The state the world is in today is how my generation will inherit it, before we will have had the chance to have any effect on this trend. Can this really be the inheritance of a generation that dedicated itself to peace, love and happiness? Maybe it's not too late just yet. You might still be a sceptic about the message the documentary tries to convey after reading my comments, but I promise you this: it will be much harder to be sceptic about that message after having watched Home.

6.4.10

'PRAY THE DEVIL BACK TO HELL' with us


Pray the Devil back to Hell
is a documentary that focuses on the heroic role of women in ending the 1989-2003 Liberian conflict. Christian and Muslim women united for the first time in the history of the nation to help Liberia recover peace and establish its first female head-of-state.

Rated 100% by Rottentomatoes and winner of the Best Documentary award at Tribeca Film Festival, the documentary directed by Gini Reticker and produced by Abigail Disney is a much-needed attempt to put a moment of history that still inspires in the spotlight.

Powerful, intelligent, outstanding... You need to see it to believe it!


PRAY THE DEVIL BACK TO HELL, by Gini Reticker (2008)

April 7, 5.30 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

'PRAY THE DEVIL BACK TO HELL' (2008). REVIEW, by Judy Wanjiku Wanderi


When the devil takes over your homes, your livelihoods and your countries, what do you do? Whom do your turn to when the world stays silent while the devil rapes and kills? The Liberian women found out the solution...

Pray the Devil back to Hell is a compelling docu-drama that chronicles the remarkable story of the courageous Liberian women - from different faiths, tribes and ages - who came together to end the bloody civil war that put their country on the brinks of destruction.

Pray the Devil back to Hell
is a story of sacrifice, unity and transcendence of heroic women in Liberia who put up a resistance that sent Charles Taylor into exile and helped to bring the first African female president into power.

© Fork Films

This is a powerful story on how nonviolent activism from women can bring warlords to their knees and help regaining the elusive peacedeal.

Pray the Devil back to Hell is a must watch!

30.3.10

ITALIAN 'VIVA ZAPATERO!'


Keeping up with the same spirit, BLACK&WHITE continues its cycle Reality with a famous recent Italian documentary, Viva Zapatero!, directed by the genius comedian Sabina Guzzanti.

Viva Zapatero! is clearly an anathema to Italian Prime Minister Silvio Berlusconi's regime and a real eye-opener about censorship and freedom. The satirist Sabina Guzzanti dares to open a door on a new shameful typical -and exclusive to Italy- anomaly in relation to other neighbouring countries with a satiric tradition: France, Germany, Holland and England.

It is a very necessary, not to be missed documentary. It will make us laugh and think, and maybe also offer us some hope. Come along: same day, same place at a slightly different time this once.


VIVA ZAPATERO!
, by Sabina Guzzanti (2005)

March 31, 5.30 pm

Bushuis (Room F 0.22)

Kloveniersburgwal 48

'VIVA ZAPATERO!' (2005). 'A SATIRE ON THE BREACH OF FREEDOM OF EXPRESSION', by Guia Baggi


It was October 2002. Silvio Berlusconi was the Italian Prime Minister for the second time. The first, in 1994, lasted only a few months. This time, instead, he governed for five years. In Sofia, Bulgaria, during a press conference, Berlusconi accused two journalists, Michele Santoro and Enzo Biagi, and the satirist Daniele Luttazzi, from the public service broadcasting station RAI. His precise words were: "the use of television, paid with money from tax-payers, that Biagi… -What is the name of the other?- Santoro… -But the other?- Luttazzi have done is a criminal use. And I believe that it is a precise duty of the new management not to allow that to happen anymore". And that is what really happened. The three were fired. The episode remains in the Italian memory as the 'Bulgarian diktat'.


One year after, it was the turn of another comedian, Sabina Guzzanti. Guzzanti's family is publicly known in Italy. Paolo Guzzanti, Sabina's father, is a journalist who went into politics and became a senator for Berlusconi's party till 2008. Sabina's brother, Corrado, and sister, Caterina, are also actors and satirists. They used to work together in comedy shows critic with Italian politics on the public broadcasting service. The first was in 1989. Guzzanti siblings have parodied many politicians and celebrities with success in terms of audience and sharpness ever since. In November 2003, Sabina Guzzanti made her debut on RAI 3 with a new programme. After the launch press conference, the director of the channel communicated the stop of the show. Only the first episode was broadcasted. So Sabina Guzzanti organised a big mediatised event from the Rome Auditorium to broadcast the second on local and satellite television channels, on the Internet and in some theatres. The event gathered together people everywhere in Italy, especially along the network of ARCI's social and political clubs.

Both cases mark a sad chapter about freedom of expression in Italy, and the recent events confirm this has not ended yet. In fact, eight years after the 'Bulgarian diktat' and a temporary two-year government theoretically opposed to Berlusconi's coalition, satire in television is less and less present in the Italy of Silvio Berlusconi. Among the purged RAI professionals in 2002, only Michele Santoro went back to work in RAI in 2006. This month, he has been at the centre of another attempt of silencing critic points of view on the government and especially on the Prime Minister. This time, Berlusconi exercised direct pressures on the Authority of Communications and on the management of the public broadcasting service to stop Santoro's programme because it often talked about his trials and involvement in crimes. The calls were tapped and now allegations of power abuse are pending for Berlusconi and favouritism for a member of the Authority.

Santoro's programme has also been stopped with the excuse of regional elections and measures of fair treatment on political communication, known as 'par condicio'. This year, for the first time, 'par condicio' has been interpreted as the elimination of talk shows from television programming and their substitution with electoral tribunes in the month preceding the elections. Talk shows should start again from the 29th of March 2010, if April Fools' day does not reserve new surprises.

On the 25th of March, Michele Santoro replied to the limitations in the programming of the public broadcasting service with a mediatised event, similar in principle to the one mentioned above, called Raiperunanotte. It was a special edition of his programme, Annozero, from the stadium of Bologna and broadcasted on satellite, digital television and the Internet, reaching an extraordinary audience of more than 3 million people.

Viva Zapatero! tells half of this story of breaches in freedom of expression on Italian television. It questions the Italian public broadcasting service system and its tight relationship with politics. The documentary looks at the rest of Europe, at what is considered and allowed as satire abroad, at Zapatero in Spain and his public broadcasting service reforms. The images of the film go from some of Sabina's comic sketches to interviews with politicians, important public figures on the Italian cultural landscape, as Nobel Prize Dario Fo, or popular foreign satirists in France, the UK and the Netherlands.



Sabina Guzzanti shot Viva Zapatero! in 2005 as another reply to her experience of being censored. Viva Zapatero! also suggests the renewal of the Italian public broadcasting service based on the model Zapatero used in Spain. A little book with a specific proposal for a law to reform the public broadcasting service on popular initiative also came together with the DVD.