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E. Nina Rothe

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The Diaries, because sometimes life needs more. 

COURTESY OF THE LOCARNO FILM FESTIVAL

COURTESY OF THE LOCARNO FILM FESTIVAL

The Locarno Film Festival Diaries: The Prizes, the Takeaways and ‘Till We Meet Again, Locarno

E. Nina Rothe February 5, 2018

A film festival is of course only as great as the sum of its parts, and one very important, visual and ever-present part of the well-loved and hyper-attended festival that is Locarno is represented in the figure of its Artistic Director, Carlo Chatrian. A film journalist, writer, film programmer and now as the visionary head of the festival, Chatrian has been a part of Locarno Festival since 2002, inheriting his latest role in 2013. Those attending, as well as those following the event on social media and through their informative, interactive website, will notice his infectious enthusiasm. When I caught up with him on the next to last day of the festival, after he greeted the delegations of the day’s films during lunch — an activity he calls “a pleasure, after spending so much time in the dark watching films, to see these films come to light, and meet those who have done that work” — and then did a lively TV interview, he still had energy to spare. I, on the other hand, was exhausted by then.

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In Cinema, The Diaries Tags Locarno Film Festival, Marco Solari, Irrfan Khan, Adrien Brody, Nastassja Kinski, Fanny Ardant, Golshifteh Farahani, Lucky, Harry Dean Stanton, Oscar Contenders, Piazza Grande, Kursaal, Jacques Tourneur, Ana Urushadze, Carlo Chatrian, Pardo d'Oro, Miguel Gomes, Wang Bing, Madame Hyde, Isabelle Huppert, Mrs. Fang, Elliott Crosset Hove, Winter Brothers, Yousry Nasrallah, Three Quarters, Scary Mother, Rok Bicek, The Family, Olivier Assayas, Netflix, Locarno Stepin, Michel Merkt, Open Doors, Nadia Dresti, Richard Lormand, Sophie Bourdon
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