From the submariner “Favino” to Pinochet Larren: films on display in Venice

The life of others. Exhibition No. 80 explores them, immersing itself in particular in authentic, more or less well-known ones. Between “Competition” and “Out of Competition” screens will be filled with the lives of many characters from history, music and art.

We start with an introductory film and the story of submarine commander Salvatore Todaro in Edoardo De Angelis’ Comandante with Pierfrancesco Favino, while Danish director Nicolai Arcel in Promised Land takes his cue from the colonization policies of the Danish King Frederick V.

And then again the iconic figures of the great conductor Leonard Bernstein (Maestro, director and interpreter Bradley Cooper) and Enzo Ferrari (Ferrari, director Michael Mann) to finally come to music and art.

From Elvis to Gianacci

Elvis Presley through the eyes of his wife in Sofia Coppola’s film (Priscilla); a tribute to the legendary composer Ryuichi Sakamoto (Neo Sora’s Opus) and to the most eclectic and disturbing talent of Italian music (Giorgio Verdelli’s Enzo Giannacci Vengo ancho) right down to the ironic parable dedicated to Salvador Dali (Yeah!) the unpredictable Quentin Dupier.

Not only biographies, but also historical events are recreated in all their drama. The final film, Out of Competition, tells the story of the 1972 Andean plane crash in which some of the survivors were forced to eat the corpses of the victims in order not to die (J.A. Bayona’s Sociedad de la Nieve), as recounted by Richard Linklater in The Hit “. Man is the true story of an undercover cop posing as a hitman.

Investigations today

As long as the “real” lives. But the exhibition also penetrates the number of “invented” ones, touching on a wide variety of topics. Immigration (“Io Capitano” by Matteo Garrone and “Green Frontier” by Agnieszka Holland), racism and discrimination (“Origin” by Ava Duvernay and “Lubo” by Giorgio Wrights), civil rights and the environment (“Woman” by Szumowska-Englert and “Evil does not exist”). Exist Ryusuke Hamaguchi), a reflection on the defining weight of chance in Woody Allen’s new French film (Coup de Chance) and the media in the explosive chain of events narrated by Luca Barbareschi in The Repentant Man of Reason. and in Vivants editors’ assault group Alix Delaporte.

There is no shortage of genre cinema, even though many of the allegories remain openly revealed. Thus, the Chilean dictator Pinochet becomes a vampire in Pablo Larraín’s El Conde; Stefano Sollima watches the decline of Rome in a fiery dystopian film (Adagio), while Bertrand Bonello represents a society in which emotions have become a threat (Beth).

Thrills Specialists

There are also plenty of horror thrillers, from Luc Besson (Dog Man) to David Fincher (The Killer), from the Frankenstein Woman (played by Emma Stone) in Yorgos Lanthimos (Poor Man) to sci-fi German director Timm Kroger’s fantastical nightmare (“Von Allem Theory”) and the strange abilities of a little girl in Belgian Fien Troch’s Holly, all the way to Roman Polanski’s black comedy (“The Palace”), which tells of a kind of “end of the world” during New Year’s Eve 2000.

Golden Lion for Lifetime Achievement

And if the hours of the world are indeed numbered in the latest film of Liliana Cavani’s Golden Lion for Lifetime Achievement (The Order of Time), then Pietro Castellitto’s (Aeneas) film is ugly and cynical, while Saverio Costanzo’s film (Dawn at Last) puts the end of dreams and illusions.

To emerge from an increasingly traumatic reality (even in a relationship, as in Stefan Brize’s latest film Or Season), one must rely on the meeting of Wes Anderson’s stylistic universe with the poetic and surreal dimension of Roald Dahl (Wonderful World). The story of Henry Sugar), the sensory experience of Harmony Corin (Aggro Dr1ft), a new exploration by the great Frederic Wiseman (this time to tell a typical day at the three-star Michelin restaurant Menu Plaisirs – Les Troisgors) or, again, to the reflections of the most important Tibetan filmmaker Pema Tseden in his posthumous film The Snow Leopard.

Unfortunately, it will not be the only one: William Friedkin’s new work Out of Competition (Kane’s Mutiny-Martial) will also land in Venice without its author, who died on August 7th. —


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