Everything’s Better in Il Futuro: Interviews, Driving, and Alicia Scherson’s Masterful Vision of The Future

Saturday was another jam-packed day.  I spent the morning at the Filmmakers’ Lodge to help PA some Creative Services employees film a panel with actors Michael B. Jordan (Fruitvale), Paul Eenhoorn (This Is Martin Bonner), Kathryn Hahn (Afternoon Delight), Danai Gurira (Mother of George), and Kaya Scodelario (Emanuel and the Truth About Fishes).  From there, our small crew went to the Music Café to conduct a few interviews and film the talented Kat Edmonson as she underwent a sound check for her upcoming performance.  Kat gave an interview and talked about her excitement in playing Sundance for the first time and the opportunity to be in Park City thanks to an invitation extended by the American Society of Composers, Authors, and Publishers (ASCAP).

After getting some free gloves and rejuvenating with a lovely meal at the Blue Iguana, I was ready to do a bunch of driving throughout the afternoon.  I feel as if I have gotten to know Park City pretty well as a result of having to drive everywhere.

On Saturday evening, I was lucky enough to attend the world premiere of Il Futuro (The Future), a film about which I knew nothing, and which absolutely blew me away.  Il Futuro is written and directed by Alicia Scherson, whom the Internet tells me has made two other features (she is new to me).  It is an adaptation of a novel by Chilean writer Roberto Bolaño and concerns the lives of two orphaned teens, Bianca (played by an amazing Manuela Martelli) and Tomas (Luigi Ciardo) immediately following a car accident that killed the orphans’ parents and changed the way the orphans’ perceive the world.  Tomas soon falls in with some shady friends who move in and concoct a plan to have Bianca seduce and rob an aging move star and former Mr. Universe named Maciste (played by Martelli’s equal, Rutger Hauer).  Il Futuro is many things: a surreal examination of rapid, irrevocable change, a post-feminist text, a shrewd observer of character, a critique of masculinity…  All is woven together with such intricacy that the film defies summation in words: it is a truly cinematic experience, whose meaning unfolds mysteriously as it’s viewed, and for that reason, I can’t wait to see it again.

Today is supposed to be the Creative Services Department’s busiest day of the festival.  I hope to check in soon with more news.

With the Creative Services Department at the Filmmakers’ Lodge

The talented Kat Edmonson performs a sound check as Creative Services gets some b-roll

2 thoughts on “Everything’s Better in Il Futuro: Interviews, Driving, and Alicia Scherson’s Masterful Vision of The Future

  1. Have you seen any well known film critics at sundance? What’s it like to see a world premiere, like you did for Il Futuro? Are the lights left up so that people can take notes?

    • I haven’t seen any critics that I would recognize, but I’m sure the press is full of people known in their communities for delivering film criticism and news.

      I think all of the films I have seen so far have been world premieres. The screening runs normally (no lights are left on) — but there’s a feeling of excitement in the audience that doesn’t often coalesce in a normal screening. Often, many of the people who worked on the film are in the audience, and some of them haven’t seen the final cut of the film themselves. None of them have seen the film with an audience, so they’re usually nervous for how everyone will respond.

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