Attending this event
Adrian Wootton OBE is the Chief Executive of Film London, the agency charged with developing the screen industries in the capital, and the British Film Commission, the unit responsible for promoting the UK as the best place to produce feature films and high-end television.
Most recently, Adrian has led the BFC’s work to develop the COVID-19 Production guidance for Film and High-end TV drama, as part of the BFI’s wider COVID-19 Screen Sector Recovery Task Force.
Prior to becoming the Chief Executive of Film London in 2003, Adrian was Acting Director of the British Film Institute (BFI), having worked in many roles for the organisation, including Director of the London Film Festival (LFF), the National Film Theatre (NFT), Head of BFI Exhibition, and Director of Crime Scene, the BFI’s crime and mystery film festival.
Before his appointment to the BFI, he was Founding Director of Broadway Media Centre in Nottingham, and Director of the Bradford Playhouse & Film Theatre.
Adrian is a Programme Advisor to the BFI London Film Festival, Venice Film Festival and Noir in Festival, Milan. He was the Founding Director of Shots in the Dark, Nottingham’s crime and mystery film festival and is the Curator of Cinema Made in Italy.
He regularly broadcasts and reviews films for BBC Radio 4 and contributes articles to various newspapers and magazines, including The Guardian and Sight & Sound.
Peter Bradshaw is an author and film critic at The Guardian. His most recent book is The Films That Made Me… (2019) an edited selection of his essays and reviews for The Guardian. He has written one journalism collection, Not Alan Clark’s Diary (1998), and three novels: Lucky Baby Jesus (1999), Dr Sweet And His Daughter (2003) and Night Of Triumph (2013). He has written and performed in the Sky One sitcom Baddiel’s Syndrome (2001). In addition to this, he is a regular contributor to Radio 4, which broadcasts his short stories and comedies. He also appears on BBC Breakfast and the Film Programme.
Professor Pizzi is a specialist in modern Italian literature, cultural memory and cultural studies, including children’s literature and illustration. She is Director of the Italian Cultural Institute London. Since 2008, she has been Senior Lecturer in Italian Studies at the Institute of Modern Languages Research, School of Advanced Study, University of London. From 1994 to 2004, she was Lecturer in Italian at the University of Kent. Since 2009, she has been Director of the Centre for the Study of Cultural Memory at the Institute of Modern Languages Research, School of Advanced Study, University of London
Her publications include Italian Futurism and the Machine (Manchester: Manchester University Press, 2019); Trieste, Una frontiera letteraria (Trieste: Vita Activa, 2019); Cold War Cities: History, Culture and Memory, co-ed (Oxford: Peter Lang, 2016); Pinocchio, Puppets and Modernity. The Mechanical Body, ed. (New York and London: Routledge, 2012, winner of the Children’s Literature Association Edited Book Award (2012); The Cultural Identities of European Cities, co-ed. (Oxford, Bern, Berlin: Peter Lang, 2011). Trieste: italianità, triestinità e male di frontiera, (Bologna: Gedit, 2007); A City in Search of an Author: The Literary Identity of Trieste (London and New York: Sheffield Academic Press-Continuum, 2001).
Dominique Sanda was born in 1951, in Paris. She was working as as a Vogue model, when Robert Bresson gave her the starring part in his absorbing drama Une femme douce (1969). She was then offered the female lead in Vittorio De Sica’s The Garden of the Finzi Continis (1970) as the provocative daughter of a rich Jewish family. Afterwards, she worked with Bernardo Bertolucci on the The Conformist (1970), as the sensual wife of an anti-fascist professor, and co-starred with Paul Newman in John Huston’s spy thriller, Le piège (1973). She worked again with Bertolucci in the epic, 1900 (1976), and won the Cannes Film Festival Best Actress Prize for her performance in Mauro Bolognini’s L’héritage (1976), as an Italian patriarch’s daughter-in-law. Today, she is still busy, appearing regularly in international films and TV series.
Films screening at this event
- Vittorio De Sica
- Dominique Sanda, Lino Capolicchio, Helmut Berger
- 94 min
Special 50th Anniversary Screening
Ferrara, 1939. Owned by a wealthy, intellectual Jewish-Italian family, the garden of the Finzi Continis is a sylvan sanctuary in the ducal town. When the tennis club, observing Mussolini’s new anti-Semitic laws, drops the Finzi Continis from its rolls, Micol Finzi Contini and her brother Alberto make a tentative gesture towards ending their aristocratic isolation. They invite friends – gentiles as well as Jewish – into their estate to play tennis on long, hot summer afternoons. De Sica’s classic film deftly depicts the slow build of fascist dogma, and the ways Jews tried – and ultimately failed – to insulate themselves from its effects.
Winner of the Academy Award for Best Foreign Language Film
Golden Globe for Best Breakthrough Actor
BAFTA and 26 major international awards.
Film followed by a panel discussion with lead actress Dominique Sanda (Micol Finzi Contini), film critic and author Peter Bradshaw, and writer and academic Prof. Katia Pizzi. Chaired by Chief Executive of Film London, Adrian Wootton OBE.
Anne Joseph and James Libson
In association with the Italian Cultural Institute