Antonio Capuano and Dario Argento take center-stage on day two of Noir in Festival. Two films by Caligari Prize contenders premiere on Saturday: A Classic Horror Story and Calibro 9. Diario di spezie bows in the International Competition. Simona Vinci and Stefano Vicario present their new novels.
First up in the spotlight, Italy’s heavyweights in the fields of literature and film, and that means the five finalists for the Giorgio Scerbanenco Award, which singles out, every year, the best Italian novel in genre fiction, and the six finalists for the Claudio Caligari Prize, an accolade bestowed jointly with IULM University, to honor the best Italian genre film.
The new edition of Noir in Festival is finally taking place in person, after the online 2020 edition. It features seven films in competition, the Manetti Bros.’ Diabolik as the closing film, the Caligari Prize, the Conversations and their presentations of the latest book releases, the Raymond Chandler Award, and other events and dialogues, all tinged with noir.
photo by Emanuele Scorcelletti The French author, well-known and widely read the world over despite his young age, is the recipient of Noir in Festival’s prestigious lifetime achievement award.
In its ongoing twinning with the festival in Toulouse, Noir in Festival will be welcoming the writer Hervé Le Corre.
Noir in Festival is back in Milan on December 10-15, 2021, with a packed program free for the viewing. The festival has tapped a versatile subversive talent, Marco Galli, to design the poster for its 31st edition, which has two new venues in Milan this year: the Multisala Gloria, in the Notorious Cinemas circuit, and the Teatro Filodrammatici.
Deadline for submission is November 15th 2021.
His earliest literary influences, his later infatuations, his defying of labels and genres The author of Snow opens up to Adrian Wootton online.
Brian Yuzna, winner of the 2020 Luca Svizzeretto Prize, picked up the gauntlet thrown down by Roberto Silvestri and Giorgio Gosetti and held nothing back, musing over his love of genre films, his start as a self-taught director, his commercial work, the 1980s, special effects, and more.
In her Sin muertos, Alicia Giménez-Bartlett has told the story of her best-known character. It’s a way to reaffirm the need to reflect on one’s own actions..
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