Giulio Bass started his journey to the Turin Film Festival from scratch.
In 1982, when he was just 17 years old, he took part in the first edition of the convention, then called Cinema Giovani (“Festival of Young Cinema”) and co-founded by Alberto Barbera. From that moment on, he was hooked.
Over the next 40 years, as the festival’s name, scope and reputation grew, Barze built a career both in front of and behind the camera, earning critical acclaim for his directorial work and international acclaim for his theologically themed films. Forty-one years after that first encounter, he returned to where it all began as the festival’s artistic director.
“The Turin Film Festival has always been known as a prestigious, author-driven event,” says Bass. “That will never change. That’s who we are. But I wanted to add another dimension, something more popular, attractive and open. I wanted to make a film that would appeal not only to film buffs and students, but also to those who don’t usually attend festivals. My goal is to maintain the spirit of Turin’s auteur, while making it more accessible and exciting for everyone.”
Bass also sought to rekindle the youthful glow that first attracted him to the event. The selection committee has been revamped and six new members under the age of 30 have been appointed, with an emphasis on debut and second works.
“Let’s be honest,” he says with a laugh. “Italy can be described as a land of old people, and I was looking for a fresh perspective. Their vision and approach to cinema helped shape a competition that stays true to the festival’s founding spirit: youthful, bold, and determined to change the world, or at least change cinema.”
Now in his second year in office, Base focuses on clarity and curation to create a manageable and memorable festival.
“Salo, or the 120 Days of Sodom”
Turin Film Festival
“I don’t like overly complicated and messy lineups,” he explains. “Some festivals screen hundreds of films, which can be overwhelming as a viewer. I prefer quality over quantity. Our festival runs for eight days and screens 16 titles each in three main competitions: feature, documentary, and short. That means we screen two films per day per section. The program is clear, balanced, and easy to navigate.”
A man of wide-ranging tastes and curiosities, Barze holds doctorates in literature and philosophy as well as theology. His eclecticism is most evident in the festival’s Zibaldon program, one of his signature contributions. Named after the famous “Hodgepodge” of poet Giacomo Leopardi, this section mixes works related to restorations, homages, special screenings, premieres and festival guests, without following a single path.
In addition to the 24-title Paul Newman retrospective, this year’s Zibaldon will feature standout works by festival guests such as Terry Gilliam’s Fear and Loathing in Las Vegas and Alexander Sokurov’s Russian Ark, interspersed with a playful program that follows the rhythms of a wide range of themes.
To commemorate the 50th anniversary of the release of Pier Paolo Pasolini’s last film, the festival will screen Salo, or the 120 Days of Sodom, exactly 50 years since its first screening on November 22, 1975.
At the same time, the festival’s artistic director brings similar creative energy to the curatorial vision.
“In English, the term ‘director’ refers to both the director of a film and the director of a festival,” says Bass. “I think it’s fitting, because I approach this festival with the same vision, sense of timing and belief in collaboration that I do when I watch movies. At the opening ceremony, both the Russian honoree Alexander Sokurov and the Ukrainian jury member Sergei Loznitsa will appear on the same stage. For me, it is very symbolic. Cinema is against war. It stands for dialogue, peace and, yes, love.”
