From Silvia Veroli
Karla, arriving in Venice untimely on the day of Amato’s declaration of French responsibility for Ustica, simplified it as much as it was impossible: Venice is a unique place in the world, and a film festival, even if it is no longer one of its beginnings, can only be organized there .
And what was the exhibition like in the beginning? “Other,” sighs the Venetian, met in the small port of the naval league of Malamocco, on the Lido. When Lizzani was there… there was also an open-air cinema, and you were there even with mosquitoes and in the pouring rain. Hearing about the exhibition of the past, the Venetians on the pier approach like on dates mosquitoes, but unlike them, they are gentle and reserved. “I saw Blade Runner on the street.” I must say, he saw what we, people … He even saw the cash register. Now there are queues, but online, a kind of video game, a metaverse. However, the press service is kind, patient, efficient, but only a part, albeit a large one, of the Festival audience benefits from this.
We said that Malamocco has a relaxed and calm atmosphere, a ten-minute bus ride from the glorious Palabiennale; The Lido is an island of a floating city, a double dream of Schnitzler, albeit with spacious streets and strange, almost American houses. Outside the gates around the screenings, actors, flashes, influencers, fans, tourists, red carpets congregate, and in cinemas, the dream manifests itself in intangible and resonant truth: these are films that are seen in strings of two or three, in magic that remains intact, even if the holiday is different from the feast of Lizzani, and how could it be otherwise?
Everything is also controlled by a crystal ball phone, an artificial intelligence that we hold in our hands to navigate the world and find a place, like a soothsayer with his wand, but then it gets dark and the devices have to be turned off, they do not make masks. It is precisely the abstinence of two and a half hours, and sometimes more, that is the most difficult test and the greatest freedom that films give, all, even those that you will not go to the cinema.
Movies in the original language that Netflix and Smart TV tame us to, and that’s a good thing. For example, to hear the real voice of Willem Dafoe, as caustic as his sharp smile, is quite another. Defoe appears (on screen) in Venice 2023 at least three times in a few hours. It is the deus ex machina, indeed, it is the deus and machina of the poor, exorbitant Lanthimos. Scientist and field of scientific experimentation, father of Geppetto, rabbi of Frankenstein’s golem girl, to whom he grants not life but rebirth, in a double somersault, really vital, screwed up. Excessive history of liberation and actual liberation, bildungsroman, deformation and injustices, corrected at the cost of an open-hearted operating life, where Emma Stone, epicurean, never cynical, dressed as Max Ernst’s Antipope, kept in the Peggy Guggenheim collection on the Grand Canal, he becomes magnificent an enemy to some brave general, and the film is to be watched only to see how it has evolved into… spoiler-free.
In the middle of “Venice 80” there are some beautiful female figures. Besides Belle, there’s Tilda Swinton, Donna Cotton Fioc, in a key cameo in which she speaks (eats, drinks, loves, maybe prays) beautifully and for the second, making up for the silent (but constantly thinking) Killer/Fassbender’s silence Fincher’s production in a work based on the graphic novel from which it bears the imprint.
First of all, there are fathers, at least in the middle of the festival and in the most attractive works: Defoe was said to willingly participate in “Pet Shop Days”, he tries his best to create a plot that develops a slightly sluggish and too cosmetic work before Olmo Schnabel, families in crisis, rich kids who are bored and broken up, Euryalo and Niso these days. Boredom, confusion and predatory violence, as well as the classicism of the last days of Pompeii in the background, as well as in the “Adagio” of Sollima, masterfully directing the composition of more or less old lions, and the convincing protagonist Cucciolo (Gianmarco Franchini), in which their anomalous and tragic paternal attention: Toni Servillo, Valerio Mastandrea, Adriano Giannini, Pierfrancesco Savino, who is a fast-paced artist and would actually play Ferrari very well. Among the topics related to the first look at the festival was this one: the roles of Italian figures entrusted to international stars, raised by Favino in a series of answers and debates.
Cancellation culture is another leitmotif, an issue that also arose in Wes Anderson’s speech awarding the Cartier Glory Award to a filmmaker in Venice in the presence of Alexandre Despaltes, a French composer who collaborated with the director on seven films and gave his praise at the Lido. .
Anderson brought to Venice his latest work, the mid-length film The Wonderful Case of Henry Sugar, taken, like The Fantastic Mr. Fox, from the book of beloved Roald Dahl, a writer who was the victim of linguistic and lexical changes. (censorship) publishing house “Dead end”; manifestations of political correctness, which also mean harshness against the trio of directors invited to Venice: Roman Polanski, Luc Besson and Woody Allen.
Well, calling Woody Allen a predator makes you laugh almost as much as one of his jokes. And yet, wandering around Venice that is dying Venice resting on the sea, as Guccini rightly sang, on the first Sunday of the festival, one comes across several protest banners. I’m next to the Arsenale, where the Biennale Architettura talks about a sustainable future and designs the spaces of Greta Thunberg’s world home: Wanted by Polanski, we read on the walls, or Coup de Chance: la Justice ne fait pas son. childbirth.”
“Everything is so stupid,” he commented, a formidable predator, at a press conference. And he adds that for him nothing has changed in the cinematic routine, except for how films are then served. Goodbyes, final chapters: Only the journalists lined up in the press room see portents of Allen’s demise “to me, given what’s going on with the film’s screenwriter, I’m afraid Woody is…” (wait, no spoilers). The truth is much more prosaic, linear, reassuring and funny, just like him, Allen, who turns out to be like the good old Groucho: the cancellation culture in movies really only affects the eternal search for money. Allen hates fundraising. “If they give me money to make a film, as I say, I will also shoot in Iceland,” he says, but he still dreams of his New York, he will have an idea of \u200b\u200bhis home.
Patriarchy, so far only satirized well by Lanthimos, who must have read Angela Carter’s Infernal Desire Machines of Dr. Hoffman, also returns in the always excellent Horizons section with Hungarian Gabor Reis’s “Everything Explained.” , a high school setting in Orbán’s country, between father-fathers, occasional nationalists, and charismatic professors, the life of collaborative journalists: a model demonstration of how the media pillory begins and how, in the end, nothing really seems to be taken seriously.
The father is also Elvis, the husband of a young and very small Priscilla, in Sofia Coppola’s long-awaited, well-executed film: a barely sixteen-year-old girl is taken to Graceland, Memphis, in essence, Puppenheim, ruled by the dominant male’s patrias. figures: Taz and above his father and manager Colonel Tom Parker. Vacant is his dead mother, whom Elvis misses so much.
There’s a funny and saving mother in male parenting who opposes the new Bluebeards: and it’s Woody who introduces us to her in his French-language Luck in the Eternal Golden Autumn that sets him apart from the 50 films. The stylistic features dear to the director return, calming him and those who love him, but in addition to sheer irony, they also vibrate with an additional message, despite the dark tricks and the role of chance (along with Woody, fortune cookies). there’s always a load, spinning wheels, balls balancing on a tennis net (“Match Point” was featured in this new movie, but there’s also a lot of “Scoop”); there is a glimmer of confidence what kind of blow awaits us (good luck or apoplexy): to be here means to win the lottery already, and this wonderful victory must be celebrated. Everything is the essence of the phenomenonand on the banks of swaying Venice, thought turns to the gardens of Ancona Franco Scataglini.
Here is Mark
We expect to see Simone Massi’s animated film “Invelle” in the competition, while an institutional delegation led by the president of the Marche Cultural Foundation, Andrea Agostini, attended the “March in Mostre” events with the protagonists, Marche’s producers and works. :
Endless Stories, Endless Places Produced by Goofy Studio Margherita Ferrari Leonardo Marziali Xenia Bozark Samuel Fantini – voice of Lucia Maschino
Free Animal Film Henry Secchiaroli Hego
Seagull Beach Claudio Pauri Guasco Srl
Castelrotto Damiano Giacomelli Hurray! OOO “Film”
Lost and furious. The most incredible adventure in F1 Giordano Viozzi Massimiliano Sbrolla Sushi ADV and Zoofactory
Luna Park Virginia Maury
Italy Germany’44 Alessandro Tarabelli Andrea Antolini Diego Morresi Subway Lab
Myopia Rocco Martelliti Moviestart Production srl
The focus of the Marches also last Sunday was the “Sei dimore in cerca d’autore” event, where historic residences in the Tronto Valley were presented as potential sites for the economic and social revitalization of crater areas; currently ca va sans dire, the government’s emergency commissioner for the 2016 earthquake recovery.