Venice – The image of Venice in the 80s is a pretty Frankenstein. Emma Stone it takes its first steps, graceful and crooked, towards life. The gait becomes unbridled, the crossing of the finish line is overwhelming. Laughter and female emancipation that avoided Barbie. Collective love at the festival is a rarity and a treasure. It so happened, to understand each other, with Love From Michael Haneke, parasites From Bong Joon Ho, water shape From Guillermo Del Toro. It’s almost impossible to meet someone – both critics and viewers – who doesn’t like it. poor creatures. Who am I Damien Chazelle (what Stone wanted it to be La La Land) and fellow judges to ruin the party?
A few games from the grand finale, the review is ready. At least in partial numbers. On the fifth day, 35,500 tickets were sold to the public, up 9 percent by 2022, for a total attendance of 114,851, up 18 percent. “The lack of Hollywood stars that made us wary didn’t seem to have affected mainstream participation. The halls are always full, people walk until late, there is a crowd on the red carpet. Compared to the pandemic, the SAG-AFTRA strike is a walk in the park, but not only for the podium, but also for expressing one’s thoughts, there was a lack of Bradley Cooper, Emma Stone, Zendaya, Carey Mulligan, Michael Fassbender, Penelope Cruz. And also because Venice has long attributed part of its international success to being a bridge to the Oscars.
Few inconveniences were noted in the members’ quick bulletin: the traffic jam when booking an e-ticket, the anxiety associated with grabbing it and then randomly choosing a ticket in places that make you regret streaming home, the cold temperatures that made Andes survivors film – snow company – interactive experience. Italian chapter: aren’t six competition films too many? Yes. Among other things, they end up distracting the attention of international critics (for example, too many Germans at the Berlinale and too many French at Cannes). In general, everything went well, there is a gap between our opinion and the opinion of foreigners.
Looking at the critics’ rating of the Daily at Mostra newspaper and not only, “Adagio” is considered a good genre film, it was noted Aeneas from 31 years old Castellittoliked I am the captain From Matthew Garronewho has to deal with the powers that be on the issue of refugees green border From Agnieszka Holland. Except for occasional surprises, the race for The lion sees Yorgos Lanthimos on a pole poor creatures and Japanese Ryusuke Hamaguchi With Evil does not exist. Virtues that highlighted the inadequacy of other, quite a few, titles in the competition.
Aeneas, Pietro Castellitto and a Sentimental Portrait of a Broken Generation
Alberto Crespi
Out of the race, rated killer From Richard Linklaterabout a fake killer arresting would-be instigators, a poetic Fight Day From Jack Hustonshot in black and white. The choice, also alternating with color, is adopted in many films: Green border, Maestro, Theory of everything, Poor creatures. And a new generation of moviegoers, actors and directors, one for all: Alain Parroni and its beautiful story of generations Endless Sunday.
Favino and the controversy about Italian characters. Avati and Fenech: “He’s absolutely right.” Salvatores: “A topic for reflection”
edited by Spettacoli
The Yearbook of Controversy notes that Pierfrancesco Favino about Italians as Italians – cue: il ferrari From Adam Driver — a stance that may have suggested that the industry form a system without being too much subject to the power of large companies, but expanded and became something else. Woody Allen he overlooked (sometimes age is a blessing) a handful of activists who challenged him at the preview fluke. Crowds of politicians marched: Salvini, Sangiuliano, Renzi and even Sarkozy, in a hysterical hunt for a semi-political statement that could divert attention from films again. Beneath the social surface of underwear rappers and various influencers was a world of vision and discussion, big families, racism, diversity, nature.. In the words of Roberto Cicutto, outgoing President of the Biennale: “The exhibition is a living, humane, real place. We cannot allow artificial intelligence, which is useful in many areas, to kill a fraction of the divine that exists in each of us.”