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Jamie Lee Curtis Golden Lion for Lifetime Achievement

The honour to the iconic American actress will be awarded on Wednesday September 8th in the Palazzo del Cinema.

GOLDEN LION FOR LIFETIME ACHIEVEMENT

Iconic American actress Jamie Lee Curtis (photo: Andrew Eccles) has been awarded the Golden Lion for Lifetime Achievement at the 78th Venice International Film Festival (September 1–11, 2021).

The decision was made by the board of the Biennale di Venezia, which embraced the proposal of the Festival’s Director, Alberto Barbera.

The award ceremony of the Golden Lion for Lifetime Achievement will take place on Wednesday September 8thin the Sala Grande of the Palazzo del Cinema (Lido di Venezia) before the out-of- competition screening of Halloween Kills, directed by David Gordon Green, starring Jamie Lee Curtis and presented by Universal Pictures, Miramax, Blumhouse Productions and Trancas International Films. Halloween Kills arrives in theaters October 15.

STATEMENT FROM JAMIE LEE CURTIS

“I am incredibly humbled to be honored in this way by the Venice International Film Festival,” Jamie Lee Curtis said. “It seems impossible to me that I’ve been in this industry long enough to be receiving ‘Lifetime Achievement’ recognition, and to have it happen now, with Halloween Kills, is particularly meaningful to me. Halloween—and my partnership with Laurie Strode—launched and sustained my career, and to have these films evolve into a new franchise that is beloved by audiences around the world was, and remains, a gift. Italian Cinema has always honored and heralded the genre that gave me my career, so I couldn’t be more proud and happy to accept this award from the Venice International Film Festival on behalf of Laurie and all the courageous heroines of the world who stand tall in the face of seemingly insurmountable obstacles and refuse to yield.”

STATEMENT FROM
ALBERTO BARBERA

Regarding this award, Venice International Film Festival Director Alberto Barbera declared, “Jamie Lee Curtis belongs to that rarefied group of Hollywood actors who best reflect the qualities that are the very soul of the global film industry and its legacy. A direct descendant of America’s film aristocracy – she is the daughter of two unforgettable stars, Tony Curtis and Janet Leigh – Jamie Lee Curtis is the natural embodiment of a star who knows how to play roles with versatility and amenability, all while infusing them with her peerless charisma and signature personality. All these qualities, combined with her work as an author of children’s books and her commitment to her charitable work have cemented her status as an indelible and enduring global artist. To date, her extraordinary four-decade career, which began with her dazzling debut in John Carpenter’s 1978 horror classic, Halloween, encompasses more than forty feature films and reminds us that true talent, combined with intelligence, wit, endurance and sheer grit, are the hallmarks of this true and unforgettable star.

In addition to the legendary Halloween franchise, Curtis’ career spans almost every genre of film, including the memorable and beloved comedies Knives OutA Fish Called WandaTrading Places and Freaky Friday, the intense action films True Lies and Blue Steel and the powerful and moving dramas The Tailor of Panama, My Girl and Forever Young. Her work reveals an artist who navigates tone and style with impeccable skill and definitive grace. We are thrilled to award Jamie Lee Curtis the 2021 Golden Lion for Lifetime Achievement.”

ABOUT  HALLOWEEN KILLS

In 2018, David Gordon Green’s Halloween, starring icon Jamie Lee Curtis, killed at the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman.

And the Halloween night when Michael Myers returned isn’t over yet. Minutes after Laurie Strode (Curtis), her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) left masked monster Michael Myers caged and burning in Laurie’s basement, Laurie is rushed to the hospital with life-threatening injuries, believing she finally killed her lifelong tormentor. But when Michael manages to free himself from Laurie’s trap, his ritual bloodbath resumes. As Laurie fights her pain and prepares to defend herself against him, she inspires all of Haddonfield to rise up against their unstoppable monster. The Strode women join a group of other survivors of Michael’s first rampage who decide to take matters into their own hands, forming a vigilante mob that sets out to hunt Michael down, once and for all. Evil dies tonight.

Universal Pictures, Miramax, Blumhouse Productions and Trancas International Films present Halloween Kills, co-starring Will Patton as Officer Frank Hawkins, Thomas Mann (Kong: Skull Island) and Anthony Michael Hall (The Dark Knight).

From the returning filmmaking team responsible for the 2018 global phenomenon, Halloween Kills is written by Scott Teems (SundanceTV’s Rectify) and Danny McBride and David Gordon Green based on characters created by John Carpenter and Debra Hill. The film is directed by David Gordon Green and produced by Malek Akkad, Jason Blum and Bill Block. The executive producers are John Carpenter, Jamie Lee Curtis, Danny McBride, David Gordon Green and Ryan Freimann.

BIOGRAPHICAL NOTES

Jamie Lee Curtis has demonstrated her versatility as a film actress, starring in acclaimed films such as the blockbuster True Lies, for which she won a Golden Globe Award; Trading Places, for which she earned a BAFTA (British Film Academy Award) for Best Supporting Actress; A Fish Called Wanda, for which she received duel Best Actress nominations from BAFTA and the Golden Globes; and the Disney feature film Freaky Friday, for which she received a Golden Globe nomination. It was her portrayal of Laurie Strode in Halloween, which was her film debut and brought her to the attention of audiences worldwide.

40 years later, in 2018, Curtis reprised that signature role in David Gordon Green’s record-breaking horror feature, Halloween, produced by horror guru Jason Blum. Halloween’s opening weekend was the biggest debut ever, for any movie in any genre, to feature a female lead character over 55 years of age. The second film in the trilogy, Halloween Kills, will be released in October of this year. Most recently, Curtis appeared alongside an incredible cast including Daniel Craig, Chris Evans and Ana De Armas in the smash hit Knives Out, a murder mystery with a modern take on the classic detective genre as written and directed by Rian Johnson. She has recently wrapped production alongside Cate Blanchett and Kevin Hart on the feature film Borderlands, which is based on the popular videogame of the same name.

Additional film credits include: Spare PartsYou Again with Sigourney Weaver, Kristen Bell and Betty White; Beverly Hills ChihuahuaChristmas with the Kranks, opposite Tim Allen; The Tailor of Panama along with Pierce Brosnan and Geoffrey Rush; Fierce Creatures; Virus; Dominick And Eugene; Blue Steel; My Girl; My Girl II; Forever Young; Mother’s Boys; House Arrest and Love Letters.

In 2016, Curtis returned to her horror roots, starring in two seasons of the Ryan Murphy-created TV series Scream Queens, for which she received a Golden Globe nomination. She also co-starred opposite Richard Lewis in the acclaimed sitcom Anything But Love, which earned her both a Golden Globe and People’s Choice Award, as well as TNT’s adaptation of the Wendy Wasserstein play The Heidi Chronicles, which also earned her a Golden Globe nomination. In 1998, Curtis starred in the CBS television film Nicholas’ Gift for which she received an Emmy nomination. Other episodic work includes New Girl and NCIS.

Curtis is also a New York Times best-selling children’s book author. Her 12th book, Me, MySelfie & I: A Cautionary Tale, was released in 2018. Her 11th book, This Is Me: A Story of Who We Are and Where We Came From, was released on September 20, 2016 and became an instant New York Times best-seller.

Her other titles include, When I Was Little: A Four-Year Old’s Memoir of Her Youth, Tell Me Again About the Night I Was Born, Today I Feel Silly and Other Moods That Make My Day, I’m Gonna Like Me, Where Do Balloons Go?, It’s Hard To Be Five, Is There Really a Human Race, Big Words for Little People, My Mommy Hung the Moon and My Brave Year of Firsts.

Curtis is an AIDS activist and has a deep and active connection to many children’s charities. In 2020 she launched the website www.myhandinyours.com, which offers items of comfort where 100 percent of proceeds from sales benefits Children’s Hospital Los Angeles.

In addition, Jamie produced and appears in “Letters From Camp,” a podcast from Audible that debuted in September 2020 and returned for a second season this June. In July iHeart Radio will debut the Good Friend podcast, which Jamie hosts and delves into the many phases of friendship through unscripted conversations with new and old friends.

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Venice

Giornate degli Autori’s line-up revealed for the Venice Film Festival

 THE POWER OF A SHARED VISION
Giornate Degli Autori's Line Up Revealed For The Venice Film Festival
The 19th edition of Giornate degli Autori, headed by President Andrea Purgatori, working alongside the Board of Directors, General Delegate Giorgio Gosetti, and Artistic Director Gaia Furrer, will run from August 31st to September 10th, during the 79th Venice Film Festival.
Founded in 2004, the brainchild of Francesco Maselli and Emidio Greco, Giornate degli Autori is promoted by ANAC and 100autori and made possible by the unwavering support of the MIC’s General Directorate for Cinema and the joint efforts of partners such as Miu Miu, SIAE, BNL, the European Parliament’s Lux Audience Award, and the streaming platform MUBI. Vibrant independent sidebar organized in concert with the Venice Biennale, Giornate 2022 once again presents 10 films in the running for the GdA Director’s Award, in addition to the closing film (The Listener by Steve Buscemi) and five special events, which are also world premieres. The Official Selection features 19 countries, 6 women directors and 5 first films. Nine titles are on the lineup for Venetian Nights, the alternative showcase of auteur Italian films that is co-organized with Isola Edipo at the Sala Laguna.
Directors and stars on hand for Giornate this year include: Abel Ferrara, Shia LaBeouf, Salvatore Mereu, Wissam Charaf, Steve Buscemi, Tessa Thompson, Stefania Sandrelli, Silvia D’Amico, Sébastien Lifshitz, Daniele Ciprì, Roberta Torre, Luigi Lo Cascio, Filippo Timi, Artavazd Peleshian, Bob Odenkirk, Edgar Reitz; and naturally the Giornate jury president Céline Sciamma, who, together with the 27 young jurors and cinephiles from the 27 EU countries, coordinated by Karlovy Vary Festival Director Karel Och, will be choosing the winner of the GdA Director’s Award, with its cash prize of €20,000.
It goes without saying,” declares the President of the cultural association Giornate degli Autori, Andrea Purgatori, “that our focus will be primarily on a bold selection of offerings that are particularly receptive to major social issues and political passions past and present, and look to a horizon spanning very different cultures and embracing, especially this year, the winds of change blowing towards Europe from the Mediterranean. Italy itself can boast four films on the lineup, including the hotly anticipated Padre Pio by Abel Ferrara; even more important, this edition is remarkably rich in events, talks, dialogues with filmmakers – almost as numerous as the films to be screened, which is a tribute to Giornate’s original calling, when it was created back in 2004.”
In addition to the grand tradition of the Miu Miu Women’s Tales talks (made possible thanks to a collaboration with the Veneto Region, Cinecittà, and the Ente dello Spettacolo), following the screening in Sala Perla of the ‘auteur shorts’ House Comes with a Bird by Janicza Bravo and Carta a mi madre para mi hijo by Carla Simón), Giornate events this year feature: three masterclasses co-organized with the Fondazione Centro Sperimentale di Cinematografia, including a special talk with Edgar Reitz, to fete the restoration of his Heimat 2, thirty years after it premiered at Venice; three events promoted by SIAE (among them, a talk with Bob Odenkirk after the presentation of Cecilia Miniucchi’s Worlds Apart, in which he stars); and a special event devoted to the project 100+1 and the Scuola d’Arte Cinematografica Florestano Vancini in Ferrara, with the screening of Era Roma by Mario Canale.
Then there is the two-day event Milano Industry Days – MID by MFN #1, jointly organized by Milano Film Network and Isola Edipo; two panels arranged by ANAC (Cinema and Schools) and 100autori (Women in the Audiovisual Industry); the traditional pre-opening book event on August 30th, the Bookciak Azione! Award; plus a talk with Cecilia Strada; the 27 Times Cinema campus, a project of the LUX Audience Award, in collaboration with Europa Cinemas and Cineuropa, with the members of the European Parliament in attendance, on September 3rd-4th; the livestreamed talks with the contemporary voices of Italy organized by MUBI; and a program of events for the 10th anniversary of the Sardegna Film Commission.
Two unique occasions make the list this year. The first, courtesy of a collaboration between Isola Edipo and the Cartier Foundation for Contemporary Art, takes place on September 5th and revolves around the great Armenian artist Artavazd Peleshian, a spokesman for Inclusion 2022, in Venice with a selection of his short films and his most recent work, Nature. The second, thanks to SIAE’s invaluable support, brings a star exponent of Italian independent film to Venice: Daniele Ciprì, dazzling cinematographer on hand at Giornate with his storytelling and directing verve put to work in the short film La fornace.
Joint initiatives at Giornate include a new “three-way” collaboration this year: BNL BNP Paribas will be awarding a cash prize of €3,000 to a first or second film from among the narrative features in competition; the distinguishing features of which must be courage and innovation. The grant, dubbed BNL x Cinema del futuro, will be announced by five film students at Rome’s Centro Sperimentale di cinematografia and bestowed on Friday, September 9th.
Last but not least, the Sala Laguna will host an exhibition curated by Italo Moscati, ANAC Turns 70, devoted to the historic association of Italian filmmakers; Giornate bows early in Chioggia, in late August, for the eighth edition of Laguna Sud, co-organized by Zalab and the city of Chioggia; and a sampling of the 2022 Giornate lineup will be offered on the Esterno Notte program in Venice, and then in Rome, for the Venezia a Roma showcase at the Cinema Farnese.
“To describe our program this year,” observes General Delegate Giorgio Gosetti, “we could do worse than quote Shakespeare, with a smile: ‘There are more things in heaven and Earth, Horatio, than are dreamt of in your philosophy.’ The truth is that a single overriding passion brought together ideas, people, works, supporters, consultants and programmers, all united by a shared mission; to show the world and its complexity through images and words, commentary and dreams, and without any barriers between invention and chronicle, or any hierarchy between master artists and beginners; and above all, with no fear of displaying courage. My heartfelt thanks, therefore, to all the individuals, collaborators, institutions and enterprises at our side, for their gift of enthusiasm and utopia.”
FLY ME TO THE MOON
by Gaia Furrer
With a golden leap, drawn for us by Italian artist Rä di Martino, designer of our poster this year, based on an image from his series Allunati, the 19th edition of Giornate degli Autori shoots for the moon as well, dreaming of a landing on the satellite that harbors earthlings’ hopes and dreams. And it does so by way of a poetic leap that speaks of the urgency to move forward, explore lands unknown, sound out new chances.
This leap of ours is an active, political act, just as the films on our lineup are: political themselves, and full of yearning.
As we sorted through the film entries for this year’s program, we did indeed discover and seize on works about separation, suffering and all the ills of this world, yet the same works stress cooperation and fellowship. Stories that are about society, personal or fantastical tales, inspired by reality, or an imaginary version of it, which still succeed in providing an original take on contemporary life.
Probing political issues or reworking the past; abiding by the status quo or attempting to catapult oneself into a different future; the solitude of human beings, hence the search for alliances: these are the cornerstones of our program.
The above are themes that transcend content; they underlie the practice of making films and making festivals. All of Giornate’s sections – the Competition, Special Events, and Venetian Nights, to which it is our custom to add Miu Miu Women’s Tales – dialogue with each other, in a common discourse that is ongoing. We offer numerous films that are co-directed, reinforcing the idea of cinema as a practice, and in the plural. Gender parity on the program reflects the evolution of women filmmakers, finally free to express themselves and, above all, gain access to that intricate economic machine that is cinema. Lastly, we’ll have the honor of welcoming to our ranks a jury president of the stature of Céline Sciamma, whose filmmaking has shaken our society to its foundations and laid out new directions for us to take.
One film in which the past serves as still raw material to come to terms with the present is The March on Rome, the new film by Irish filmmaker Mark Cousins and the opening title on the out-of-competition slate.
On the competition front, Blue Jean by British director Georgia Oakley plunges us into Thatcher’s England in the late ‘80s, for a look at homophobia. In The Last Queen, Adila Bendimerad and Damien Ounouri take a leap backwards into the 16th century, to tell the epic tale, part legend, part historical record, of the last queen of Algiers.
The two Italian films in competition also hone in on the past, as seen through today’s eyes. The subject, the setting and the production are all Italian in Abel Ferrara’s new film, his mystical, feverish Padre Pio, with a star turn by Shia LaBeouf. The film revisits a tragic early-twentieth century event in Italian history, the San Giovanni Rotondo Massacre in October 1920.  Salvatore Mereu is back at the Venice Film Festival, after two years, to share with us the painful yet uplifting story of his film Bentu, a tale of wind and wheat set in Sardinia in the 1950s, and a metaphor that could hardly be more relevant to the eternal battle between man and nature.
Fast forward to the present day – a present that is oppressive, contradictory, yet not without glimpses of hope – for the two films Dirty, Difficult, Dangerous by Wissam Charaf and The damned don’t cry 
by Fyzal Boulifa. In the former, two young lovers, a Syrian refugee and an Eritrean caregiver, pursue the thrill of romance against the backdrop of a country on the verge of collapse, Lebanon. In the latter, a mother and son, united, yet distant from each other at the same time, travel across Morocco, a nation riven by social and economic differences.
A wholly contemporary portrait of China comes to us in the form of Stonewalling, the last installment in a feminist trilogy from Chinese filmmaker Ji Huang (who co-directs this film with her husband, the Japanese cinematographer Ryuji Otsuka). The trilogy kicked off in 2014, when Ji Huang’s debut film won the top prize at Rotterdam.
From the past to the present and up to the future, and that promise of a future embodied in adolescence. The stars are teenagers, in fact, in The Maiden, the debut film, swinging between reality and imagination, by Canada’s Graham Foy, and a lyrical account of the fragile, traumatic transition to adult life. And for her first narrative feature, Wolf and Dog, Portuguese documentarian Cláudia Varejão immersed herself in the queer community on the island of Sao Miguel, in the distant Azores, to paint a moving portrait of solitary youths who seek to defy the moral order in order to reach out to each other and coexist as best they can with a hostile world.
A woman filmmaker straddling film and art, Czech director Cristina Groșan offers up a warning about a world that is mysteriously collapsing, coupled with an exhortation to not give in to the widening gyre of the apocalypse and to react by finding allies in misfortune: it’s the story of her film Ordinary Failures, about three women’s rebellion against the ordinariness of failure.
The Listener by Steve Buscemi is the perfect note to end the ten films in competition on. It almost seems as if American actress Tessa Thompson, playing a night-shift volunteer on a helpline for people in distress, is listening to the characters of our own films at Giornate – soothing them with the promise that all will be well.
There’s a certain affinity between our Special Events and our competitive lineup as well. Starting with the Iranian documentary Alone by Jafar Najafi, in which a little boy doesn’t want his sisters, still children, to wed, and tries to overturn a rule and the world entire. In Siamo qui per provare, Greta De Lazzaris and Jacopo Quadri track another couple, stage directors Daria Deflorian and Antonio Tagliarini, who are in pursuit, in their turn, of a play that isn’t taking shape, yet may well be finding its own way of being in that very evident not-taking-shape, like life itself: a work in progress, with all its unpredictable trajectories.
In Casa Susanna, the third part of a trilogy about transsexuality, French filmmaker Sébastien Lifshitz revisits and reworks the past by using stock footage he turns into live, incandescent material.
An alliance between women, tender, vibrant, and poignant, is the subject of a road movie starring Stefania Sandrelli and Silvia D’Amico, the debut film by Veneto filmmaker Corrado Ceron, Acqua e anice (Olimpia’s Way).
On the verge of its 20th anniversary, in a world moving from crisis to crisis, changing before our eyes, Giornate degli Autori has served up a program that does, of course, echo the dark times we are living through, yet is also an act of resistance, a window that opens, a glimmer of hope in the face of endemic solitude, clashes of identity, and political dictates that imprison and oppress thought the world over.
OFFICIAL COMPETITION

BENTU – Salvatore Mereu

BĚŽNÁ SELHÁNÍ/ORDINARY FAILURES – Cristina Groșan

BLUE JEAN – Georgia Oakley

DIRTY, DIFFICULT, DANGEROUS – OPENINGFILM – Wissam Charaf

EL AKHIRA. LA DERNIÈRE REINE/THE LAST QUEEN – Adila Bendimerad, Damien Ounouri

LES DAMNÉS NE PLEURENT PAS /THE DAMNED DON’T CRY – Fyzal Boulifa

LOBO E CÃO/WOLF AND DOG – Cláudia Varejão

PADRE PIO – Abel Ferrara

STONEWALLING- Huang Ji, Otsuka Ryuji

THE MAIDEN – Graham Foy

OUT OF COMPETITION – SPECIAL EVENTS

ACQUA E ANICE/OLIMPIA’S WAY- Corrado Ceron

ALONE- Jafar Najafi

SIAMO QUI PER PROVARE/WE’RE HERE TO TRY – Greta De Lazzaris, Jacopo Quadri

CASA SUSANNA – Sebastien Lifshitz

MARCIA SU ROMA/THE MARCH ON ROME – Mark Cousins

THE LISTENER – Closing film – Steve Buscemi

VENETIAN NIGHTS

IL PAESE DELLE PERSONE INTEGRE/ LAND OF UPRIGHT PEOPLE – Christian Carmosino Mereu

KRISTOS, THE LAST CHILD – Giulia Amati

LA TIMIDEZZA DELLE CHIOME/THE CROWN SHYNESS – Valentina Bertani

LAS LEONAS- Isabel Achával, Chiara Bondì

LE FAVOLOSE – Roberta Torre

PABLO DI NEANDERTHAL/PABLO FROM NEANDERTHAL – Antonello Matarazzo

SE FATE I BRAVI – Stefano Collizzolli, Daniele Gaglianone

SPACCAOSSA/THE BONE BREAKERS – Vincenzo Pirrotta

UN NEMICO INVISIBILE/ AN INVISIBLE ENEMY -Riccardo Campagna, Federico Savonitto

MIU MIU WOMEN’S TALE

#24 CARTA A MI MADRE PARA MI HIJO – Carla Simón

#23 HOUSE COMES WITH A BIRD – Janicza Bravo

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Venice

OFFICIAL LINE-UP OF VENICE IMMERSIVE 2022

OFFICIAL LINE UP OF VENICE IMMERSIVE 2022

Back to the Island of Lazzaretto Vecchio (Lido). 43 projects from 19 countries / 32 worlds in the Worlds Gallery. May Abdalla (President), David Adler, and Blanca Li are the members of the International Jury.

VENICE IMMERSIVE 2022

The selection of projects for Venice Immersive, the XR – Extended Reality section of the 79th Venice International Film Festival of La Biennale di Venezia, is now complete. The official selection will return to  the Venice Immersive Island (island of Lazzaretto Vecchio), a short distance from the Lido di Venezia, for the first time since 2019, on the following dates:

  • 30th August (afternoon): press preview
  • 31st August: open exclusively to Press and Industry accreditations
  • 1st – 10th September: open to the public and all accredited visitors

 

Venice Immersivethe new title of the Venice VR Expanded section, intends to acknowledge the growth of immersive media beyond the technologies of Virtual Reality and to include all means of creative expression in XR – Extended Reality: 360° videos and XR works of any length, including installations, live performances and virtual worlds.

The Venice Immersive section of the 79th Venice International Film Festival, following the success of its most recent online editions, will be held in person again this year, with the technical support of Meta and HTC Vive.

Venice Immersive will present 43 projects from 19 countries and 32 works in the Worlds Gallery section:

  • 30 projects in Competition
  • 10 projects Out of Competition – Best of Venice Immersive (international selection of the best XR works presented since the 2021 edition)
  • projects developed during the Biennale College Cinema – VR: 1 project produced thanks to a grant from the sixth edition, projects developed within the international workshop of the fourth edition
  • 30 worlds selected for the Worlds Gallery with 2 Special Events, presented in 7 Guided World Hops in 75’ presentations
  • film  Special Event – Out of Competition

 

The Venice Immersive World on VRChat, designed with the technical support of VRrOOm, will present a virtual version of the Venice Immersive Island. Following the success of the 2021 edition, the Worlds Gallery section has been renewed and will feature a selection of 30 virtual worlds and 2 special events. Additionally, Venice Immersive will screen the documentary feature film, We Met in Virtual Reality, filmed in VRChat and createdby Joe Hunting.

The Venice International Film Festival was one of the first film festivals in the world to show an interest in Virtual Reality. The development of a VR Theatre in 2016 sparked enormous interest among the participants of the Venice Production Bridge. Starting in 2017, La Biennale di Venezia launched the first competition for works in Virtual Reality in an A-list festival, which was held for three editions, through 2019, on the island of Lazzaretto Vecchio on the Lido, judged by an International Jury. The online accessibility of Venice VR Expanded over the past two editions represented a new commitment and a new challenge to guarantee that the Venice International Film Festival would continue to offer the experience of this new art form, even in times of required social distancing.

Accredited visitors to the Venice Film Festival will have access to all the titles in the line-up. There will also be a special Venice Immersive subscription available for interested visitors who are not accredited at the Festival.

JURY AND AWARDS

The members of the international Jury of Venice Immersive are:

May Abdalla – president: (UK) born in 1983 in the UK, has made documentaries around the world for BBC, Channel 4 and Al Jazeera about housing, revolution and punk music. She is the co-founder of Anagram. Anagram is an award-winning creative studio specialising in thought-provoking interactive storytelling and immersive experience design. Created in 2013, the company won the Tribeca Film Festival Storyscapes, participated in the Best of VR at the Venice International Film Festival in 2019 and won the Best Immersive Art award at the Sandbox Festival in China. In 2021, it won the Grand Jury Prize in Venice for the Best VR Work for Goliath: Playing with Reality.

David Adler (Denmark) was born in 1985 and accepted into the prestigious National Film School of Denmark after having attended the Visual Arts and Design program at the Vancouver Film School. Latest work is the companion piece Taste of Hunger VR (2020), co-produced with Zentropa and selected for completion at Venice Film Festival. He returned to Venice with End of Night, which won the Best VR Story Award in 2021.

Blanca Li (Spain) is a choreographer, film director, dancer and actress. In 1992, a young Spanish dancer landed in Paris from Madrid post movida and New York training. Soon, she founded her own contemporary dance company, which has set a successful, singular and independent position touring the whole world. With the glamour coming from her maturity and assumed artistic choices, crowned by her election to the French Academy of Fine Arts in 2019. In 2021, her VR work Le bal de Paris de Blanca Li won the Best VR Experience award in Venice.

 

The Venice Immersive Jury will award the following prizes:

  • Venice Immersive Best Experience
  • Venice Immersive Grand Jury Prize
  • Venice Immersive Special Jury Prize

LINE-UP

VENICE IMMERSIVE
In Competition

ASCENDERS
by JONATHAN ASTRUC, JONATHAN TAMENE
France, 35’

TU VIVRAS, MON FILS
by VICTORIA BOUSIS
Greece, USA / 35’

REIMAGINED VOLUME I: NYSSA
by JULIE CAVALIERE, MICHAELA HOLLAND
USA / 15’

RENCONTRE(S)
by MATHIAS CHELEBOURG
France / 15’

THE MAN WHO COULDN’T LEAVE
by CHEN SINGING
Taipei / 35’

ALL UNSAVED PROGRESS WILL BE LOST
by MÉLANIE COURTINAT
France / 10’

EURYDICE, EEN AFDALING IN ONEINDIGHEID [EURYDICE, A DESCENT INTO INFINITY]
by CELINE DAEMEN
Netherlands / 25’

OKAWARI
by LANDIA EGAL, AMAURY BURTHE
France, Canada / 45’

DAZZLE: A RE-ASSEMBLY OF BODIES
by RUTH GIBSON, BRUNO MARTELLI, ALEXA POLLMANN, BINE ROTH
UK / 25’

PEAKY BLINDERS: THE KING’S RANSOM
by RUSSELL HARDING, TIM JONES, MARCUS MORESBY
UK / 30’

FROM THE MAIN SQUARE
by PEDRO HARRES
Germany / 19’

SORELLA’S STORY
by PETER HEGEDUS
Australia, Hungary, Sweden / 15’

EGGSCAPE
by GERMAN HELLER, JORGE TERESO, FEDERICO HELLER
Argentina / 20’

TYPEMAN
by KEISUKE ITOH
Japan / 25’

KINDRED
by BAMBOU KENNETH
UK / 9’

SHIINEUI BANG [POET’S ROOM]
by BOMSOK KU
South Korea / 23’

GUMBALL DREAMS
by DEIRDRE V. LYONS, CHRISTOPHER DAVIS
USA / 60’

NAMUANKI
by KEVIN MACK
USA / 45’

TMÁNÍ [DARKENING]
by ONDŘEJ MORAVEC
Czech Republic, Germany / 25’

ALL THAT REMAINS
by QUINTERO CRAIG
Taipei / 12’

ROCK PAPER SCISSORS
by ALEX RUHL
UK / 7’

THANK YOU FOR SHARING YOUR WORLD
by YU SAKUDO, TOSHIAKI HANZAKI
Japan / 33’

ETERNELLE, NOTRE DAME
by BRUNO SEILLIER
France / 45’

FRAMERATE: PULSE OF THE EARTH
by MATTHEW SHAW, WILLIAM TROSSELL
UK / 20’

MRS BENZ: VOYAGE OF DISCOVERY
by ELOISE SINGER
UK / 45’

UNCANNY ALLEY
by RICK TREWEEK
South Africa / 20’

FIGHT BACK
by CELINE TRICART
France, USA / 40’

TREASURE HEIST
by LUAN TRINH
USA / 60’

MANDALA – A BRIEF MOMENT IN TIME
by THOMAS VILLEPOUX
China, France / 45’

RED TAIL
by WANG FISH
Taipei / 20’

 

 

Best of Venice Immersive – Out of Competition
(an international selection of the best XR – Extended Reality works)

ON THE MORNING YOU WAKE (TO THE END OF THE WORLD)
by MIKE BRETT, STEVE JAMISON, PIERRE ZANDROWICZ, ARNAUD COLINART
France, UK, USA / 42’

(HI)STORY OF A PAINTING: THE LIGHT IN THE SHADOW
by QUENTIN DARRAS, GAELLE MOURRE
UK / 15’

AREA MAN LIVES
by AMY GREEN, RYAN GREEN
USA / 90’

LUSTRATION
by RYAN GRIFFEN
Australia, USA / 32’

ALEX HONNOLD : THE SOLOIST VR
by JONATHAN GRIFFITH
UK, France, USA / 60’

SPACE EXPLORERS: THE ISS EXPERIENCE – EPISODE 3: UNITE
by FÉLIX LAJEUNESSE, PAUL RAPHAEL
Canada / 35’

SPACE EXPLORERS: THE ISS EXPERIENCE – SPACEWALKERS
by FÉLIX LAJEUNESSE, PAUL RAPHAEL
Canada / 20’

KINGDOM OF PLANTS WITH DAVID ATTENBOROUGH
by IONA MCEWAN
UK, USA / 15’

THE MIRACLE BASKET
by ABNER PREIS
Netherlands / 14’

SHORES OF LOCI
by ELLEN UTRECHT, JAMES SUNDRA, DANI BITTMAN, DAISY BERNS
USA / 120’

 

Biennale College Cinema – VR – Out of Competition

ELELE
by SJOERD VAN ACKER, producers: FIRAT SEZGIN, ECEGÜL BAYRAM
Netherlands / 6’
produced with a grant from Biennale College Cinema VR, 6th edition (2021/2022)

MONO
by CHIARA TROISI, producers: FEDERICO LAGNA, ALICE DRAGO, MATTEO FRESI
Italy / 14’
developed during the Biennale College Cinema VR, 4th edition (2019/2020)

CHROMA 11
by TSANG TSUI-SHAN, producers: KATTIE FAN, TERESA KWONG
Hong Kong SAR / 13’
developed during the Biennale College Cinema VR, 4th edition (2019/2020)

 

Worlds Gallery

ADRIFT by M E R C
BAROQUE CATHEDRAL by OPCherry
CAVE OKINAWA by Tokoyoshi
CUE by 0b4k3
DISCONNECTED: VIDEO FEEDBACK WORLD by MomoTheMonster
DISTRICT ROBOTO by Fins
DREAM by Zanderthaw
DUBROVINIK MAIN STREET & OLD PORT by nobelchoco
FIRE TORNADO by BigChickenLover
FRACTAL EXPLORER by ikamon
FRACTAL EXPLORER 1001 by 1001
FRACTAL LOVE by pema99
FRICTION [!] FUNCTION – PARTICLE LIVE by Norimaki
I N I T I U M ⁄⁄⁄ イニシャルby Artsy Glitch
LLLL SILENT DAWN RELEASE PARTY by PK
MAGIC HEIST by Fins
NIGHT CHURCH by OPCherry
OLYMPIA NIGHTS by DrMorro
ORGANISM by DrMorro
OXYMORE by VRrOOm
PARTICLE LIVE FIXER by らいちちゃん
SHADOW FACTORY by emymin
THE DICE DIMENSION by FlyingFly
THE DINOSAUR BONE GALLERY MUSEUM by topgunsi
THE GREAT INVENTOR ESCAPE by FlowersRite花之祭P
THE RAT KING by _Digital
VENICE BASILICA SALUTE by nobelchoco
VENICE CANAL WIDMANN by nobelchoco
VMV CC TYPE 01 by skkn
ZENIARAI SHRINE CONNECTED WITH JAPANELAND by 龍 lilea

 

Worlds Gallery – Special Events

SANCTUM by PammeMatth
SODA by Issit

 

Special Event –Out of Competition

WE MET IN VIRTUAL REALITY
by JOE HUNTING
UK / 91’

VENICE IMMERSIVE MARKET

The first VIM – Venice Immersive Market (1 – 6 September), a part of the Venice Production Bridge, will take place on the Island of Lazzaretto Vecchio (Lido), in the Spazio Incontri Immersivo. There will be panel discussions and encounters dedicated to the world of XR – Extended Reality; also in attendance will be institutions, professionals, production, post-production and distribution companies, public and private funds linked to the Immersive world.

 

Finally, there will be a presentation of the Immersive projects selected for the Venice Gap-Financing Market (2 – 4 September):

16 IMMERSIVE STORY PROJECTS

16 Immersive Story Projects (11 from Europe and 5 from the rest of the world), The projects are both original stories and adaptations. All the projects have 30% of their budget guaranteed.

 

11 PROJECTS AT BIENNALE COLLEGE – IMMERSIVE STORY PROJECTS

11 projects developed during the Biennale College Cinema VR workshop, sixth edition, currently in various phases of development, from pre-production to post production.

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Venice

Poster and Opening Sequence for Venice International Film Festival 2022 Designed by Lorenzo Mattotti

POSTER AND OPENING SEQUENCE FOR THE BIENNALE CINEMA 2022 DESIGNED BY LORENZO MATTOTTI
Poster and Opening Sequence for Venice International Film Festival 2022 Designed by Lorenzo Mattotti

A Lioness with classical grace to celebrate the 90th anniversary of the Biennale Cinema.

Italian illustrator and artist Lorenzo Mattotti is, for the fifth consecutive year, the author of the image for the official poster, and for the fourth year, of the opening sequence for the Venice International Film Festival of La Biennale di Venezia.

The image chosen for the poster this year depicts “a Lioness gliding through the air offering us this anniversary ­– the 90th, explains Lorenzo Mattotti  It has been 90 years since the first Venice International Film Festival and for this reason we wanted the image to be classical in style, just as the choice of a gold background was equally classical. The colour gold is also a reference to the posters of the early decades of the twentieth century. The Venice International Film Festival has always been classical, but provocative as well. Here the Lion, symbol of power and strength, has been transformed into a Lioness who embodies elegance and creativity. After 90 years, the Lion of Venice, symbol of the Film Festival, has become a Lioness who flies through history with grace and energy, as a symbol of hope, a rejection of aggression and ferocity”.

BIOGRAPHICAL NOTES

Lorenzo Mattotti lives and works in Paris. He began his career in the late 1970s as a comic artist and in the early 1980s founded the Valvoline group with other illustrators. In 1984 he created Fuochi, which was greeted as an event in the world of comic art, and won important international awards. In cinema, he collaborated in 2004 on Eros by Wong Kar-Wai, Steven Soderbergh and Michelangelo Antonioni, and was responsible for the presentation segments of each episode. He was a creative consultant for Pinocchio by Enzo D’Alò. In IncidentiSignor SpartacoDoctor NefastoL’uomo alla finestra and many more books, all the way to Stigmate published in Italy by Einaudi, Mattotti’s work has evolved following an extremely coherent constant. Today his books are translated around the world. He publishes in newspapers and magazines such as The New Yorker, Le Monde, Das Magazin, Süddeutsche Zeitung, Nouvel Observateur, Corriere della Sera and la Repubblica. He has illustrated many books for children including Pinocchio and Eugenio, which won the Grand Prix in Bratislava in 1993. He has held many solo exhibitions including an anthological exhibition at the Palazzo delle Esposizioni in Rome, at the Frans Hals Museum in Haarlem and at the Musei di Porta Romana. He creates posters, covers, advertising campaigns and is the author of the Cannes 2000 poster and the posters for the Estate Romana festival.
In May 2019, he presented to great acclaim in the Un Certain Regard section of the Cannes Film Festival, his first animated feature-length film as author and director, titled La famosa invasione degli orsi in Sicilia (The Bears’ Famous Invasion of Sicily) inspired by the fable/apologue by Dino Buzzati.

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