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Alps murders: Police sketch proves fruitless

A month after investigators released a sketch of a mysterious motorcyclist, French police admitted on Monday that not a single call from the public had proved “of interest,” or brought them closer to solving the murders of a British-Iraqi family in the French Alps.

Alps murders: Police sketch proves fruitless
A month after investigators released a sketch of a mysterious motorcyclist, French police admitted on Monday that not a single call from the public had proved to be “of interest.” Photo: AFP

French police investigating the murder of a British-Iraqi family admitted on Monday that despite receiving around 100 calls from the public, not one had led to any kind of break in the probe.

Saad al-Hilli, a British national originally from Iraq, was gunned down in September 2012 along with his wife and her mother in a woodland car park close to the village of Chevaline in the hills above Lake Annecy.

His two daughters survived the gruesome attack but French cyclist Sylvain Mollier, apparently an innocent bystander, was also killed.

On November 4th, police in Annecy released this sketch of a mysterious motorcyclist seen by witnesses near the site of the shooting, hoping it would provide a breakthrough in the case.

Witnesses gave a description to police of the motorcyclist early on in the case, but it was not initially released for fear he would go into hiding.

Investigators had hoped that the helmet depicted in the sketch would prove a fruitful avenue of inquiry, since it is a rare model, used by French police during the 2000s, with only 8,000 made in black, as seen by witnesses.

Speaking on Monday, however, Annecy prosecutor Eric Maillaud told TF1 television: “The appeal for witnesses hasn’t yielded anything of interest up to this point.”

“We’ve had nearly 100 calls, some of them from abroad, but nothing that has provided information that would be a break in the case in one direction or another,” he added.

Maillaud also noted that many of the “leads” from members of the public had turned out to be frivolous.

“In particular, we’ve had some silly calls from people recognizing their neighbour or caretaker or a local police officer,” he said.

Furthermore, the local prosecutor, who heads the investigation being conducted in collaboration with British police, announced there would be no further public appeals for help in solving the case.

“Insofar as time is passing, we know that we’ll be getting fewer and fewer calls, and eventually none at all,” Maillaud said on Monday.

“The work is continuing, but the chances of tracking down this helmet are dwindling, that’s for sure,” he added.

“We’ve known for a while that this would be a long and complicated investigation. But as long as there is physical evidence to be explored, the probe will continue,” said Maillaud.

SEE ALSO: Alps murders – cops still stumped, one year on

In March, Maillaud admitted to The Local that the inquiry may never reach a definitive conclusion.

“Of course it is possible we will never find them, but it’s too early to conclude that,” Maillaud said at the time.  “It’s out of the question that we will be thinking like that now.”

Despite the lack of a definitive theory as to a motive for the murders, investigators have concluded that Mollier was not a target and died because he had the misfortune to arrive on the scene at the wrong time while out cycling.

A theory that the attack could have been the work of a lone psychopath also seems to have been dismissed.

Instead, the investigation had focused increasingly in recent months on the possibility that the slaying had its origins in a dispute between one of the victims, Saad al-Hilli, and his brother Zaid, over a family inheritance.

Maillaud has described the financial dispute as involving several million euros.

He said in June that investigators were trying to track the destination of calls made to Romania from Zaid al-Hilli’s home phone in the weeks prior to the attack.

Shortly after that revelation, Zaid al-Hilli was arrested by British police and questioned on the basis of suspicion of conspiracy to murder. 

He was subsequently released without charge but then placed under bail pending further enquiries.

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FILM

Rimini celebrates centenary of legendary Italian director Federico Fellini

Italian resort Rimini this week marked 100 years since the birth of director Federico Fellini, whose visual dreamscapes revolutionised cinema in a career spanning almost half a century.

Rimini celebrates centenary of legendary Italian director Federico Fellini
A still from La Dolce Vita in the exhibition 'Fellini 100 : Immortal Genius'. Photo: Andreas Solaro/AFP

Dozens of events are being held around the world and in Italy this year to remember Fellini, considered one of the most influential filmmakers of all time.

The winner of a record four best foreign language film Oscars, he is famed for films set in Rome such as 'La Dolce Vita' (1960), and most of his films were shot in Cinecitta's Studio 5 outside the capital.

But he set his 1973 masterpiece 'Amarcord', a semi-autobiographical comedy about an adolescent boy growing up in 1930s fascist Italy, in the Adriatic resort of Rimini, where he was born on January 20th 1920.

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The city is marking the centenary with a special exhibition and is due to open a museum dedicated to Fellini, who died in 1993, by the end of the year.

“Rimini is everywhere in Fellini's cinema, the countryside in his films is Rimini's countryside, the sea in all Fellini's films is Rimini's sea,” said Marco Leonetti of the Rimini Cinematheque which helped put on the exhibition.

The show includes some of the more spectacular costumes from his films, as well as frequently erotic extracts from the sketchbooks of his dreams he created for his psychotherapist over a 30-year period.


Costumes on display at the 'Fellini 100 : Immortal Genius' exhibition. Photo: Andreas Solaro/AFP

'The maestro from Rimini'

Originally an artist and caricaturist, Fellini paid to watch films as a child at Rimini's Fulgor cinema by drawing caricatures, and his films remain caricatures of society.

“If you take Fellini's films, like 'Amarcord', 'La Dolce Vita', 'I Vitelloni', when you watch them all, it's as if you're flicking through a history book, you travel through the history of our country, the history of Italy, from the 1930s to the 1980s,” Leonetti told AFP.

READ ALSO: Fellini's La Strada: a vision of masculinity and femininity that still haunts us today

Fellini was initially appreciated more abroad than in Italy, where he frequently scandalised the conservative society of the 1950s.

His films embodied a sense of irony, the ability to invent, and a sense of beauty, said Leonetti. “These are the three qualities of his art, qualities which also created 'made in Italy', and that's why Fellini, besides having told the story of our country the best, is also the person who best represents it,” he said.


A photograph of Federico Fellini. Photo: Andreas Solaro/AFP

Fellini has inspired generations of directors since, including Britain's Peter Greenaway and Spain's Pedro Almodovar. US director David Lynch, who shares the same birthday as Fellini, in 1997 declared his love for the “maestro from Rimini”.

“There's something about his films… They're so magical and lyrical and surprising and inventive. The guy was unique. If you took his films away, there would be a giant chunk of cinema missing,” Lynch told filmmaker Chris Rodley.

Fellini played “a shameless game of reflections and autobiographical projections” with his actors, the exhibition said.

The exhibition 'Fellini 100. Immortal genius' ends in March but will then travel to Rome and on to cities including Los Angeles, Moscow and Berlin.

By AFP's Charles Onians

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