THE COMPLETE SCREENINGS CALENDAR IS AVAILABLE HERE
Fondazione Prada promotes a dense cinematographic program presented in original language, transforming the Cinema at its Milan venue into a real movie theater, featuring screenings from Thursday to Sunday in May and June, and set to be expanding to a broader program in the months to follow. This project generated from a profound reflection on the meaning and purpose of a cinema within an institution devoted to visual arts like Fondazione Prada.
The new program at Fondazione Prada’s Cinema presents a wide variety of formats and visual languages in which classics, experimental works, first releases, blockbusters, avant-garde features, TV productions as well as rare and restored films are showcased. The Cinema therefore takes on the identity of a “compressed multiplex cinema” which allows a plurality of audiences, from cinema enthusiasts and experts to film scholars and students, to freely explore a range of ever changing geographies, stories and film genres without imposing any strict interpretation framework. The cinema is therefore to be intended as a fundamental place for cultural and personal formation.
The new program is divided into four sections, which correspond to different defined days of the week: on Thursdays film surveys linked to the exhibitions hosted at the foundation and selected by curators or artists directly involved in such projects; on Fridays “Soggettiva”, cinematographic works chosen by personalities from different environments, who have been invited to share with the public their favorite films as well as most significant ones for their cultural education; on Saturdays “Indagine”, the section featuring first releases; on Sundays “Origine”, restored films from the past, showcased again for their historical and present relevance, in collaboration with important film libraries and producers.
The first thematic film survey is linked to “Post Zang Tumb Tuuum. Art Life Politics: Italia 1918–1943”, the exhibition curated by Germano Celant exploring world of art and culture in Italy in the interwar years. Selected films create a dialogue between the Italian cinematographic production between 1918 and 1943 and the films distributed in Germany, the UK and Russia in the very same period.
Section “Soggettiva” opens with the films selected by artist Damien Hirst, who picked a series of full-length features essential to his personal and creative formation. The first part of his selection is to be presented in May and is scheduled to continue throughout the summer, and includes: Eraserhead (1977), Willy Wonka and the Chocolate Factory (1971), The Exorcist, Director’s Cut (1973), Jason and the Argonauts (1963), The Matrix (1999) and Dead Ringers (1988).
Section “Indagine” features two first releases in May, made possible thanks to the collaborations with Twentieth Century Fox and Europictures: Isle of Dogs, the latest film by Wes Anderson, and You Were Never Really Here by Lynne Ramsay.
“Origine”, the section devoted to classics, opens with the screening of the restored version of Last Tango in Paris (1972) by Bernardo Bertolucci, Belle de jour (1967) by Luis Buñuel, and 2001: A Space Odissey (1968) by Stanley Kubrick.
Eraserhead (1977), Willy Wonka e la fabbrica di cioccolato (Willy Wonka and the Chocolate Factory, 1971), L’Esorcista (The Exorcist, Director’s Cut, 1973), Gli Argonauti (Jason and the Argonauts, 1963), Matrix (The Matrix, 1999) e Inseparabili (Dead Ringers, 1988)