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Introduction by the Director of the 79th Venice International Film Festival Alberto Barbera

Introduction By The Director Of The 79th Venice International Film Festival Alberto Barbera

Traveling by definition is both coming closer and moving away. (…)

I wonder if the meaning of travel is not ultimately in returning, having taken one’s distance to see better, or simply to be able to see.  

Wim Wenders, from “The Act of Seeing”

 

Today, there is no simple or predictable answer to the usual question – which surfaces each time the festival comes around – regarding the future of cinema. The film industry, lacerated from within by contrasting subjects who are, for the most part, clinging to corporatist defensive positions, seems unable to provide an answer.

Nor is a solution offered by critics, who no longer waver between stances that are apocalyptic or integrated, as we used to say, but between disappointed skepticism and die-hard optimism regarding the future of an art form that is undergoing breakneck transformation. Neither do filmmakers seem particularly interested in finding an answer; they seem to be primarily occupied with tapping into the vast economic resources – so vast that the memory of the golden age of cinema pales in comparison – in order to make as many movies as they can. Often to the detriment of quality, which should not be affected by haste, and resulting in shorter shooting and production schedules, and a lack of screenplay development, which requires much greater care for an adequate and satisfactory outcome. But time is of the essence, platforms press for more new content, and even those few countries still lacking a film tradition are racing to equip themselves with organisms and structures geared to foster its development. The short-sighted debate over so-called “windows” and the predominance of algorithms have little real effect, while the majority of movies that aspire toward distribution in cinemas are suspended in a limbo that is destined to last forever.

But more and more people go to festivals, and the desire to earn a place in the sun in the ever-feared and much-respected agon seems to indicate a future that is anything but free of expectations and wide appeal. How can we not agree with Francis Coppola, who, at 82 years of age, expresses unlimited faith in the future of film and the survival of theatres, where the audience’s response has withstood the challenge of time ever since the days of Aeschylus, Sophocles, and Euripides? The Venice International Film Festival, which is about to mark the ninetieth anniversary of its first edition – which took place from August 6 to August 21, 1932 – is a reflection of this difficult moment, affected by all kinds of tension and subject to an ongoing transformation whose telluric dimensions we can sense but whose final outcome is not ours to see.

Assuming one exists, in a world that is increasingly fluid and liable to abrupt and unpredictable change. The program is more varied than usual, placing affirmed filmmakers alongside directors in search of confirmation and, above all, talented newcomers aspiring for international recognition, but what still prevails is the feeling that “Cinema still wants to try to explore ways of thinking, big themes and big questions, the profound relationships that tie people to one another, the power of feelings and memory and the ability to push one’s gaze beyond the horizon of the present.” We are borrowing the words of Gian Piero Brunetta, taken from the monumental work that reconstructs the history of the Film Festival in a book that was co-edited for the occasion by Marsilio and La Biennale di Venezia. One thousand two hundred pages that flow like a grand adventure story, whose events are intertwined with the political, social, and moral vicissitudes that have affected Italy over these past nine decades. A magnificent gift for an important birthday, considerable sustenance for a journey that is destined to continue well beyond this year’s festival. Which, rather than ecumenical or reassuring, aims to be interrogative and debatable.

Nicola Lagioia says that literature has an amazing ability to “bridge the (sometimes enormous) gap that separates us from ourselves.” Substitute the word ‘film’ for ‘literature’ and you will discover that it is still a perfect fit. The Venice Film Festival is this, as well: an invitation to go on a surprising journey; when it ends, we might not be the same as we were before.

Alberto Barbera
Director

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Venice

THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES FOR THE FIRST TIME AT THE VENICE FILM FESTIVAL

THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES FOR THE FIRST TIME AT THE VENICE FILM FESTIVAL
© labiennale.org

The panel The values of cinema in global society is scheduled on August 30, Press Room (Palazzo del Casinò, Venice Lido).

A warm welcome from La Biennale di Venezia, Cinecittà, and Mastercard.

THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES AT THE VENICE FILM FESTIVAL

For the first time, the Academy of Motion Picture Arts and Sciences will officially attend the Venice International Film Festival, on the occasion of the festival’s 90th anniversaryLa Biennale di VeneziaCinecittà, and Mastercard will welcome the Academy’s new CEO Bill Kramer – who will participate at the 79th Venice Film Festival along with a number of Academy delegates – at various important events to celebrate international cinema together.

In particular, on Tuesday, August 30 at 3 pm, at the Press Room (Palazzo del Casinò, Venice Lido), there will be a round table discussion entitled The values of cinema in global society, with the participation of the Academy’s CEO Bill Kramer, the President of La Biennale Roberto Cicutto, the Artistic Director of the Venice International Film Festival Alberto Barbera, the President of Cinecittà Chiara Sbarigia, the CEO of Cinecittà Nicola Maccanico, and Mastercard’s Country Manager Italy Michele Centemero. The panel will be moderated by the Variety correspondent Nick Vivarelli.

Also on Tuesday, August 30Bill Kramer will participate at an exclusive event in partnership with Mastercard which will be held that evening at Misericordia (historic center of Venice). Then, on the evening of Wednesday, August 31, he will take attend the opening Gala in the Sala Grande (Palazzo del Cinema). Lastly, on Thursday, September 1, at the Lido, Bill Kramer will meet with Academy members from around the world who are attending the festival, as well as with key representatives of international cinema.

ACADEMY IN VENICE PROGRAMME

Tuesday, August 30
3 pm – Venice Lido. Press Room (Palazzo del Casinò). Press presentation and round table discussion: The values of cinema in global society. In the presence of the Academy’s CEO, the President of the Biennale, the Artistic Director of the Venice International Film Festival, the CEO and the President of Cinecittà, and Mastercard’s Country Manager Italy.
8 pm – Scuola Grande della Misericordia: cocktail party
9:30 pm – Reception in partnership with Mastercard. Music by Aria and Friends Orchestra; dinner by Chef Alajmo, 3 Michelin stars.

Thursday, September 1
1 pm – Hotel Excelsior. Brunch with the participation of Bill Kramer, Academy delegates, and many national and international guests attending the Film Festival.

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Venice

SCREENING SCHEDULE OF THE BIENNALE CINEMA 2022 ONLINE FROM TUESDAY 16 AUGUST

POSTER AND OPENING SEQUENCE FOR THE BIENNALE CINEMA 2022 DESIGNED BY LORENZO MATTOTTI

Online ticket sales for the public from August 17 (3 pm), online booking service for pass holders from August 28.

SCHEDULE

The screening schedule of the 79th Venice International Film Festival (Venice, 31 August > 10 September 2022) will be published online on the website www.labiennale.org on Tuesday 16 August at 3 pm.
The online ticket sales service for the public will be active from Wednesday 17 August at 3 pm.
The online booking service for pass holders will be available from Sunday 28 August.

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Venice

VENEZIA 79 In Competition

OFFICIAL LINE UP OF VENICE IMMERSIVE 2022

WHITE NOISE OPENING FILM

by NOAH BAUMBACH

with Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy, Sam Nivola, May Nivola, Jodie Turner-Smith, André L. Benjamin and Lars Eidinger/ USA / 136’

 

IL SIGNORE DELLE FORMICHE

by GIANNI AMELIO

with Luigi Lo Cascio, Elio Germano, Leonardo Maltese, Sara Serraiocco / Italy / 134’

THE WHALE

by DARREN ARONOFSKY

with Brendan Fraser, Sadie Sink, Hong Chau, Samantha Morton, Ty Simpkins / USA / 117’

 

L’IMMENSITÀ

by EMANUELE CRIALESE

with Penélope Cruz, Luana Giuliani, Vincenzo Amato, Patrizio Francioni / Italy, France / 97’

SAINT OMER

by ALICE DIOP

with Kayije Kagame, Guslagie Malanda, Valérie Dréville, Aurélia Petit / France / 122’

 

BLONDE

by ANDREW DOMINIK

with Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Julianne Nicholson, Lily Fisher / USA / 165’

 

TÁR

by TODD FIELD

with Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, Mark Strong / USA / 158’

LOVE LIFE

by KÔJI FUKADA

with Fumino Kimura, Kento Nagayama, Atom Sunada / Japan, France / 123’

 

BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES (BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS)

by ALEJANDRO G. IÑÁRRITU

with Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid, Iker Sanchez Solano, Andrés Almeida, Francisco Rubio / Mexico

ATHENA

by ROMAIN GAVRAS

with Dali Benssalah, Sami Slimane, Anthony Bajon, Ouassini Embarek, Alexis Manenti / France / 97’

BONES AND ALL

by LUCA GUADAGNINO

with Taylor Russell, Timothée Chalamet, Mark Rylance, André Holland, Chloë Sevigny, Jessica Harper, David Gordon Green, Michael Stuhlbarg, Jake Horowitz / USA / 130’

THE ETERNAL DAUGHTER

by JOANNA HOGG

with Tilda Swinton, Joseph Mydell, Carly-Sophia Davies / UK, USA / 96’

SHAB, DAKHELI, DIVAR (BEYOND THE WALL)

by VAHID JALILVAND

with Navid Mohammadzadeh, Diana Habibi, Amir Aghaee / Iran / 126’

 

THE BANSHEES OF INISHERIN

by MARTIN MCDONAGH

with Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan / Ireland, UK, USA / 109’

 

ARGENTINA, 1985

by SANTIAGO MITRE

with Ricardo Darín, Peter Lanzani, Alejandra Flechner, Norman Briski / Argentina, USA / 140’

 

 

CHIARA

by SUSANNA NICCHIARELLI

with Margherita Mazzucco, Andrea Carpenzano, Carlotta Natoli, Paola Tiziana Cruciani, Luigi Lo Cascio / Italy, Belgium / 106’

MONICA

by ANDREA PALLAORO

with Trace Lysette, Patricia Clarkson, Adriana Barraza, Emily Browning, Joshua Close / USA, Italy / 106’

KHERS NIST (NO BEARS)

by JAFAR PANAHI

with Jafar Panahi, Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjeei, Mina Kavani, Reza Heydari / Iran / 106’

ALL THE BEAUTY AND THE BLOODSHED

by LAURA POITRAS

USA / 113’

 

UN COUPLE (A COUPLE)

by FREDERICK WISEMAN

with Nathalie Boutefeu / France, USA / 63’

 

THE SON

by FLORIAN ZELLER

with Hugh Jackman, Laura Dern, Vanessa Kirby, Zen McGrath, Anthony Hopkins, Hugh Quarshie / UK / 123’

LES MIENS (OUR TIES)

by ROSCHDY ZEM

with Sami Bouajila, Roschdy Zem, Meriem Serbah, Maïwenn, Rachid Bouchareb, Abel Jafrei, Nina Zem / France / 85’

LES ENFANTS DES AUTRES (OTHER PEOPLE’S CHILDREN)

by REBECCA ZLOTOWSKI

with Virginie Efira, Roschdy Zem, Chiara Mastroianni, Callie Ferreira / France / 104’

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