Can you tell us the history of the Locarno Film Festival and what its main objectives have been since its foundation?
The Locarno Film Festival was born immediately after the end of the Second World War. From the beginning, in the fervour of a post-war restart, the objective was to promote cinema as an art form and a tool for cultural dialogue. In this sense, it has always stood out for its attention to independent and auteur cinema, giving voice to emerging directors and offering a platform for works that often do not find a place within the commercial mainstream. The first screening, O sole mio by Giacomo Gentilomo, was certainly symbolic, an open-air screening in the historic Grand Hotel, which will reopen in the coming years.
During the Cold War, the Festival played a significant role in promoting the intercultural dialogue, giving equal space to Western, Soviet and Chinese cinema. An approach that allowed the Festival to become a meeting point between different cinematographic cultures, promoting mutual understanding in a period of strong international tension. An example was the screening of Kompozitor Glinka (“Man of Music”) by Grigorij Aleksandrov, historical collaborator of Maestro Sergej Ėjzenštejn.
Over the years, the Locarno Film Festival has evolved, becoming a launching pad for many directors who have gone on to become internationally famous. For example, directors such as Spike Lee and Jim Jarmusch presented their first works in Locarno.