The first season of CineTeatro Maffei opens in Turin, between Cineforum, Hitchcock and Open Mic

After the beautiful days of the opening and reopening, the first real season of the reborn CineTeatro Maffei in Turin begins. The programming will take place in three lines: the film review at Cineaffei, curated by Carlo Griseri, the appointment with Open Mic and finally the soundtrack of Hitchcock’s Blackmail.


It’s called Cinemaffei and it’s the film festival that, starting Wednesday, March 2, Cinema Teatro Maffei will offer to the public every week. The Wednesday appointment, curated by Carlo Griseri, former founder of Agenda del Cinema in Turin, artistic director of Seeyousound, journalist and film critic, puts films and documentaries on the calendar that are rarely programmed by the classic circuits.
Giving space to independent filmmaking often means giving voice to new ideas expressed through new languages ​​and aesthetic norms.
Cinemaffei will also be an opportunity to meet directors and protagonists of the proposed titles. It will be a time and place to meet film festival organizers and critics who have long been dedicated to exploring the fertile image of the Eighth Muse. Cinema Teatro Maffei thus begins its rich alternative and unconventional cultural programming, with an original and visionary appointment midweek.

Doors open: 7.30pm
Viewing 20.30
Entrance 5 euros
Entry with Arci card, possibility to do it on site


March 2
SESTRI – SISTERHOOD by Dina Duma (2021, 91′, original version with subtitles)
Local preview.
In collaboration with the Trieste Film Festival on Tour 2022.
Teenagers Maya and Jana are two inseparable friends, they do everything together. Jana is the stubborn one who takes the initiative and Maya follows her every step of the way. However, their friendship is seriously compromised when they become involved in the accidental death of a classmate.
The film premiered at the 2021 Karlovy Vary Film Festival in the East of the West competition section where it won the Special Jury Prize. Film proposed in collaboration with the Trieste Film Festival in Tour 2022.

March 9
FREE BODIES by Fabiomassimo Lozzi (2021, 97′).
Preview Torino.
After the screening, there will be a meeting with the director
May 2018: 50 years after ’68, an extraordinary event takes place at the largest European university: Sapienza’s LGBTQIA+ student collective, Prisma, organizes the first university Pride. The struggle against patriarchy merges with anti-capitalism in their queer communism. Like Greta Thunberg, Prisma students are part of a generation that is increasingly demanding a radical change in our society.

March 10 (extraordinary date)
RADIOGRAPH OF A FAMILY by Firouzeh Khosrovani (2020, 82”, original version with Italian subtitles).
After the screening, there will be a meeting with the director.
The film traces the director’s family history. Firouzeh Khosrovani, the daughter of a secular father and a Muslim mother, is the product of the conflict between secularism and Islamic ideology in Iran. His parents’ relationship spanned many decades: from the era of the Shah to the Islamic Revolution, from the Iran-Iraq war to the present day. In her family, as in many others, the effects of the Islamic revolution have affected every aspect of daily life. While her father continued to listen to Bach, her mother devoted herself to religious activism, removing playing cards and pictures of women without hijabs from the house.
Through photographs, letters and voices from the past, the director narrates her youth, the story of a divided family and a conflicted daughter. His private story becomes a metaphor for the changes in Iranian society over the past forty years.

March 16
TRIBUTE TO PASOLINI: PASOLINI AND FOOTBALL (ask for the official press release)
The screenings will be followed by meetings with the directors

7pm: PASOLINI’S LAST GAME by Giordano Viozzi (2019, 62′)
A documentary about the last football match Pasolini played: it was September 14, 1975.

20.30: HENTRED TWENTA AGAINST NOVECENTO by Alessandro Scillitani (2019, 52′)
March 1975. On a spring Sunday, in the Cittadella Park field in Parma, two unique football teams face each other: the representative of the Salò troupe or Pier Paolo Pasolini’s One Hundred and Twenty Days of Sodom against Bernardo Bertolucci’s Novecento.
Two films that will mark the history of Italian cinema and that are shot on the same days, a few kilometers apart. It will be an epic fight, legendary in the stories of the movie people who took part in it, but practically unknown to the public.

Single film admission 5 euros with an Arci card
Entrance to 2 films: 8 euros

March 23
SUMMER 1993 by Carla Simon (2017, 97′, original version with subtitles)
Celebrating the Golden Bear 2022: Spanish director Carla Simon triumphed at the Berlinale at the end of February with her second film, “Alcarras”, created thanks to the contribution of TorinoFilmLab, but with this first film she already won the award for best debut .
In the summer of 1993, Frida, a 6-year-old girl who has just lost her mother, goes to the countryside to her aunt and uncle’s house. Here he experiences the warmth of the “new family” and makes friends with their 3-year-old daughter Anna. But despite the idyllic vacation, an unspoken pain lurks within Frieda that leads to progressively problematic behavior. Will she be able to overcome her grief this summer?

March 30
FUTURA by Alice Rohrwacher, Pietro Marcello and Francesco Munzi (2021, 105′)
Futura is a collaborative research conducted by Pietro Marcello, Francesco Munzi and Alice Rohrwacher, which aims to explore the idea of ​​the future of girls and boys between 15 and 20 years old who met during a long trip to Italy. A portrait of the country seen through the eyes of teenagers who talk about the places where they live, their dreams and their expectations between desires and fears.


Cinema Teatro Maffei opens its microphones and makes them available to professionals, writers and amateur actors for a monthly ‘Open Mic’ date.
Starting from Saturday, March 5, every first Saturday of the month, anyone who wants to measure their artistic talent will step on the Maffei stage in front of a real audience that loves the “audition” genre.

The unpublished repertoire will be launched by the final year students of the Teatro Ragazzi course of the Mario Brusa Academy, who will present an “Absurd Evening”: a series of performances freely inspired by authors such as Tardieu and Benni, reimagined by the young. according to their interpretation beyond reason!
Surreal situations and dialogues, moments of everyday life or special life experiences are reworked. every convention is completely undermined, to create a comic and tragic effect: absurdly memorable!

Performers: Students of the Advanced Children’s Course-Mario Brusa Academy. Edited by: Eleonora Frida Mino and Davide Viano – Bonaventura Association

Eleonora Frieda Mino: actress and playwright, her work focuses on raising awareness among new generations on issues of legitimacy, justice and beauty through theatrical language. Eleonora Frieda Mino is the curator of Maffei’s theater program.

Show on the 20th
Tickets: 6 euros for Arci card holders
3 euros + 12 euros (ticket + Arci card).

Those who wish to participate can register using the form found on the website
Cinema Teatro Maffei is a social and cultural promotion association that is part of ARCI Turin. Access to all initiatives with an Arci card.

With the support of Compagnia dei Caribbean


Cinema Teatro Maffei will give “voice” to Alfred Hitchcock’s last silent film, Blackmail, and will do so through the live soundtrack of one of the protagonists of international electronic music: Chloé Thévenin. Two different artistic forms, in terms of expression and time, that meet in the new cultural center inaugurated a few weeks ago in San Salvario.
Through the synthetic sounds of Chloè’s music, the restored film of the great master of emotion will thus become a live performance. a perfect balance between music and scenery, also thanks to the editing that heightens the atmosphere of eternal tension of this 1929 masterpiece.
The work was commissioned by the French cinema in the year of its restoration, carried out by the National Archives of the British Film Institute (BFI), in collaboration with Studio Canal. After being presented at several international film festivals, the soundtrack finally arrives in Turin.

BLACKMAIL (1929, Alfred Hitchcock)
While on a date, Alice White (Anny Ondra) falls out with her boyfriend, Scotland Yard officer Frank Webber (John Longden), and decides to elope with an artist named Mr. Crewe (Cyril Richard). Arriving at the artist’s apartment, Mr. Crews tries to rape Alice and she kills him in self-defense. Frank investigates the case and, after realizing that Alice is the culprit, tries to help her. However, a thief (Donald Calthrop) with blackmail on his mind complicates matters.

Chloe’s soundtracks heighten an atmosphere of already palpable tension, which grows increasingly uneasy as Alice’s guilt intensifies.

Chloé Thévenin’s journey begins in the late 90s, when she was one of the few female DJs, one of the first to proclaim loud and clear: DJing wasn’t just a man’s job. It is no coincidence that the springboard to international success was Le Pulp, a club that gave a new meaning of provocation and activism to dance culture.
Her first two albums arrived soon: The Waiting Room from 2007 and One in Other from 2010. In 2017, Chloé founded her own record label, Lumière Noire: the very name heralds a contradictory spirit that refuses to choose between techno and dark electronica, offering a sound as personal and evocative as the images that often accompany it.
In 2019, Chloé released the live version of Endless Revisions,
At the end of this journey, Chloé felt ready to work on her first soundtrack with Kabyle musicians for the soundtrack of Paris La Blanche, a feature film by Lidia Leber Terki.

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