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    Legal notes and privacy

    • The 31st Liffe films are only available as a VoD service for the Slovenian area.

      The 31st Liffe films are only available as a VoD service for the Slovenian area.

      This is stipulated by the film copyright licences which the Ljubljana International Film Festival or the national distributors were able to obtain exclusively for Slovenia.  

    • Tickets

      Tickets

      Price of ticket for a single film: €6.90

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    Pred nami je 60. Jazz festival Ljubljana. Letošnji program še posebej odraža bogastvo slovenske glasbene scene, ob tem pa ponuja vznemirljiv izbor mednarodnih umetnikov. Festival je ogledalo značilnosti časa in trenutka, v katerem živimo, pa tudi raznovrstnosti domačega godbenega prizorišča v vseh njegovih odtenkih, tako generacijsko kot po načinu glasbenega izražanja. Lahko zatrdimo, da še nikoli doslej nismo bili priče tako močno razvejanemu glasbenemu dogajanju v Sloveniji s številnimi avtorji in glasbeniki, ki delujejo v širokem polju jazza. Pogumni pristopi in odlične izvedbe so naju prepričali, da mora biti festival prav tako pogumen. Poslanstvo Jazz festivala Ljubljana je zagotoviti prostor novim snovanjem. Želiva, da bi vsi delovali v smeri, da bosta tako letošnja kot jubilejna izvedba festivala prihodnje leto najlepši praznik glasbe za domačo in mednarodno glasbeno skupnost ter številne obiskovalce.

    Prvi veliki korak v tej smeri je letošnja ponudba desetih brezplačnih koncertov v Parku Cankarjevega doma. Poudarek je na predstavitvah domačih zasedb in slovenskih glasbenikov kot vodij ali delov mednarodnih zasedb. Poleg tega bo Park prostor še za novi Oder pri starem drevesu, kjer bo z godbenimi vložki posegala mlada, nadobudna generacija glasbenikov, ki v svojem ustvarjanju razmišljajo kreativno. V Parku bo potekalo celodnevno dogajanje, namenjeno tako posameznikom kot družinam. Kot je že običaj, bomo pripravili tudi poseben program za najmlajše.

    Prenovljeni koncept festivala je lahko uspešen samo s podporo občinstva. Od samega začetka oblikovanja letošnjega programa sva imela v mislih vaše zadovoljstvo in sloves programsko najbolj drznega festivala v Evropi*. Meniva, da se drznost ne izkazuje samo z imeni uveljavljenih izvajalcev, ampak tudi s spodbujanjem domače ustvarjalnosti, ki lahko zaživi najbolje, kot je mogoče, samo z vašo podporo.

    Dobrodošli v neomejeni kozmos kreativnosti in glasbenih užitkov!

    Bogdan Benigar, programski vodja 60. jazz festivala ljubljana

    Bogdan Benigar

    programski vodja 60. Jazz festivala Ljubljana
    Edin zubčevič, programski vodja 60. jazz festivala ljubljana

    Edin Zubčević

    programski vodja 60. Jazz festivala Ljubljana

    Awards Ceremony

    SAT, 21 November, at 19.30
    The 31st Liffe virtual awards ceremony took place on Saturday, 21 November, at 7:30pm on  Liffe.si, Liffe and Cankarjev dom FBs and  Cankarjev dom’s YouTube channel. The following awards were bestowed: Kingfisher, FIPRESCI, Best Short Film and Slovenian Art Cinema Association.

    Winners >>

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    Can I watch the films outside Slovenia?
    Unfortunately, no. The 31st Liffe films are only available as a VoD service for the Slovenian area. This is stipulated by the film copyright licences which the Ljubljana International Film Festival or the national distributors were able to obtain exclusively for Slovenia.  




    22. 10. 2020
    31st Liffe set to take place! From the comfort of your couch


    Between 11 and 22 November 2020, a selection of 31st Ljubljana International Film Festival films will be available as an on-demand service.

    By accessing www.liffe.si visitors will be able to navigate – via the VOD (video on demand) platform – some of the finest and latest offerings from filmmakers braving these challenging times. They will be able to choose from approximately 20 titles, including five competition films from the Perspectives section.
    Liffe is thus continuing to provide film enthusiasts with an insight into new, relevant, and quality film production.

    The 31st Liffe programme initially comprised 55 feature films (and a selection of shorts), including the 17 films from the Federico Fellini retrospective – copies that cannot be shown digitally or remotely. Out of the 38 new productions, around 20 films will be available via the virtual platform. Regretfully, we were unable to obtain online screening licences for others, only theatre viewing rights.

    Epidemiological situation permitting, the rest of Liffe 2020 films will be screened, together with the Federico Fellini retrospective, in cinemas this December.

    Simon Popek

    Festival Director

    Cinema is an Art Form. Yes and No.


    It is an art form and at the same time a circus, a funfair, a voyage aboard a kind of ‘ship of fools’, an adventure, an illusion, a mirage. 

    Federico Fellini 


    The father of Neorealism, a movement defining post-WWII Italian cinema, Roberto Rossellini said: “There things are. . . Why manipulate them?” In mid-sixties, Federico Fellini – fifteen years his junior and at the height of his creative powers – might have replied: “Things are there precisely to be manipulated!” 


    Indeed, cinema is all about manipulation, creating illusion, at times even poetry. Whether it is an art form, Fellini was not completely decided. When asked about it, Fellini replied, “Yes and no. It is an art form and at the same time a circus, a funfair, a voyage aboard a kind of ‘ship of fools,’ an adventure, an illusion, a mirage. It is an art form that has nothing to do with other arts, least of all with literature. It's an autonomous art form. If at all, it's related to painting through its treatment of light.” 


    The maestro, whose centennial of birth we mark this year, had a special propensity for the fine arts. In the 1940s, during the German occupation and when American forces took possession of Rome, Fellini established himself as an illustrator and caricaturist. In his first independent feature-length film, The White Sheik, made in 1952, the protagonist, a hero of the then popular romance photonovels, is introduced in a style so spectacular, bombastic and absurdly comical – not to say Felliniesque – to remain unparalleled in the auteur’s entire body of work. Paraphrasing Fragonard’s The Swing (1767), an icon of Rococo style, Alberto Sordi is first seen high up among the treetops, like a cross between Tarzan and Rudolph Valentino: on an extremely long swing above his astonished admirer, a girl from the provinces who sneaks off while on honeymoon in Rome, ‘forgetting’ all about her newlywed husband to meet with her matinee idol in the outskirts of the city. This fleeting yet extremely meaningful sequence convincingly foretold the numerous regular projects Fellini realised in the 1950s and ‘60s in addition to his major works. 


    Whilst in the history of film often dismissed as an example of ‘early Fellini’, The White Sheik is actually a brilliant romantic comedy pulsating with the realities of post-war Italy. Here, Fellini already tackled some of the country’s main issues, e.g. the deeply rooted patriarchy, the inviolable family honour, the relationship between the provinces and urban environment and the noncritical mass’s inability to distinguish between fiction and reality. It goes without saying that Sordi’s infamous and banal ‘sheik’ character heralded the ‘culture of trash’, which reached epic proportions during the 1960s economic boom and of which Pasolini, in particular, was fiercely critical. 


    In its golden age, Italian film had a special knack for passing down knowledge from teacher to pupil in order to nurture its own vitality and continuously cultivate new talent, filmmakers who competed against one another and provided mutual inspiration. Fellini worked under the tutelage of Rossellini, Fellini mentored Pasolini, Pasolini then imparted his wisdom on Bertolucci and so forth. At the same time, apprentices were critical of their masters, especially Fellini, whom the Neorealists accused of departing from the tradition of location shooting, which was regarded as sacred at the time, in favour of his folie de grandeur style. When asked to provide his view on the legacy of Neorealism, Fellini replied, “Neorealism pretended to draw directly from life, but life is changing constantly. Rossellini was sensitive enough to adapt to the shifting wavelengths of real life, though challenging his own theoretical principles in the process.” 


    The most suitable place for making (and supervising) Fellini’s made-up, carnivalesque vaudeville films was the safe haven of the Cinecittà studios, even when revisiting his youth and his native Rimini (e.g. I Vitelloni and Amarcord). He felt no need for travelling north, to shoot on location. To Fellini, memory was “a version of reality changed by distance and imagination,” an imparted look at the things that have happened. In order to relate all these stories convincingly to the audience, they had to be enriched with sound, light, colour, feeling. And he could only achieve all that in “a magical laboratory called the studio.” 


    Cankarjev dom
    Glavni pokrovitelj / Main sponsor
    Telekom Slovenije
    Partner festivala / Festival partner
    Medijski pokrovitelj / Media sponsor
     
     
    Ustanovitelj in glavni sofinancer kulturno-umetniškega programa CD / Founder and main co-funder of Cankarjev dom’s Arts & Culture programme
     
     
    S podporo programa Evropske unije Ustvarjalna Evropa / MEDIA With the support of Creative Europe - MEDIA Programme of the European Union