Three Italians in the race against the studios that make the full in the Official Selection, Today pre-opening with the Tribute to Comencini and the Lumiere Brothers

Lido di Venezia Luigi Noera - Photo courtesy of the Biennale.

The 73rd Venice Film Festival will officially open its doors tomorrow with American films in competition La La Land by Damien Chazelle in homage to Studios. Dopo la conferenza stampa tenutasi ad un mese inauguration at which President Baratta and the Director of the 73rd Barbera Show presented the films selected, the same has been completed, in collaboration with Venice Days, with an out of competition documentary film by Enrico Caria The man who changed history, loosely based on the diary of the archaeologist and art historian Ranuccio Bianchi Bandinelli “The Voyage of the Führer in Italy”, realized thanks to the Istituto Luce archive images – Cinecittà. In the Official Selection are six productions from the USA, in front of four Italians in the race. These days in particular by Giuseppe Piccioni, Roan Johnson Feather, the doc Spira Mirabilis Massimo D'Anolfi and Martina Parenti and by Enrico Caria documentary. The new film of Pigeons, interpreted by the Buy and Timi is the history of the province and girls who make the trip to accompany one of them in Belgrade, where they await a mysterious friend and an unlikely job opportunity. Roan Johnson signed instead with Feather his third feature with actors sconosciutissimi, a comedy about a pair of teens expecting their first child. Spira Mirabilis is a documentary film immortality, a visual symphony filmed in locations across the world, which revolves around the four fundamental elements of nature: water, aria, terra, fire. But there are also three other Italian Out of competition. Besides the expected special event with the screening of the first two episodes of The Young Pope Paolo Sorrentino, There Thomas Kim Rossi Stuart, autobiographical film that explores the relationship between a young actor, plus beautiful, and women. Always out of competition, the first Italian film Stateless Iranian director Amir Naveri which will be presented the award Jaeger-LeCoultre Glory to the Filmmaker. The title is Mt.: a man his wife and their son live at the foot of a mountain which rises like a wall against the sun's rays. Metaphor of the struggle for survival, against the boundaries, coercion and the insults that sometimes make the miserable human life with an epilogue breathtakingly. And then, two documentaries: Our War Bruno Chiaravalloti, Claudio Giampaglia e Benedetta Argentieri following three volunteers fighters, from United States, Italy and Sweden, enrolled in the Kurdish militias in Syria against Isis; e Assault to heaven by Munzi that, after the success of black Anime, returns to Venice with an archival film on the season extra-parliamentary political struggles in Italy in the years between 1967 and '77, between outbursts, dreams, violence and crimes. Two Italian titles in Horizons: Deliver me Federica di Giacomo on the phenomenon of exorcism, e The greatest dream, first work by Michele Vannucci. In the new section Cinema in the Garden Fishing between auteur cinema and that of the general public: The summer wearing, "Small" by Gabriele Muccino, Robinù doc on baby boss of the Camorra by Michele Santoro that turns the TV to Cinema, e Franca: Chaos and Creation, intimate portrait of the director Francesco Carrozzini mother. Four then the Italian courts in Horizons, five national documentaries in Venice Classics. So a large group of new Italian talents to defend our cinema that increasingly unable to speak with the documentary language. As has been explained this year the artistic direction has taken as a guide in the selection, unlike previous editions, those movies that speak of this with stories of the past and therefore have an indirect universal language but using the novel material as in the case of mild A streetscape of Brizé French, or from dramatic works from which are taken either the expected thriller Tom Ford Nocturnal Animals is Frantz Ozon which proposes themes dear to Lubitsch on the Great War. Ci sono poi storie utilizzate da autori provenienti dall'America America eats degli argentini The Distinguished Citizen Cohn & Duprat and Ciego Christ of Cileno Murray to express feelings in the first case or thesis Christological so dear to Pasolini in the second. Anche Pablo Larraín sarà presente con Jackie, namely the murder of J.F. Kennedy saw from a very particular point of view, precisely the First Lady. There are also great returns for such directors as Kusturica with a fairy-tale story starring Monica Bellucci and the same director, elaboration of his short film. The great expectations for American visionary Malick leading its work lasted ten years Voyage of Time. And also Wim Wenders and 3D features the universal theme of love with The good days d'Aranjuez in a pictorial context of other times. La scuola di cinema della Russia è rappresentata da Konchalasky che con Paradise He tells the Shoa from an original point of view in the intertwining of the three protagonists. From overseas visionary Mexican director Escalante with the Wild Region He exposes homophobia and machismo of certain parts of his country. But it seems to us that the pearl of the exhibition will be donated by the Philippine Lav Diaz with his performance of more than three hours with a simple story: The Woman Who Left. In the middle because the existence Human which is basically the question that everyone arises though in different forms. Then there are genre films like American The Light Between Oceans di Cianfrance, the sci-fi thriller Arrival of the other American Villenue, atypical western Brimstone Belgian Koolhoven. It can be said that Barbera has gone fishing from over a thousand films that may again surprise and attract the cinephile audience that is the engine of the festival. We devote a mention at the Cinema in the Garden, already in its second year, which it will be hosted in space for many years a symbol of institutional neglect. Where there was "the Hole" at last the council has been remedied and there is the Red Cube, the new hall offering 450 places dedicated to the general public not properly festival. La Mostra si apre all’esterno con sette film che come abbiamo detto sono tra il cinema d’autore e quello del grande pubblico. Ci scuseranno i lettori per quelle pellicole che non abbiamo citato, but of which we will speak in the next few days.
Since this film is how humanity a development process we devote a few lines in Venice restored classics and in particular to the opening film Shabhaye Zayandeh - rood (The Nights of Zayandeh – rood), a film director Mohsen Makhmalbaf realized in Iran 1990. At the time,, Iran's censorship committee determined that the film was going against the spirit of the Iranian revolution and consequently cut 37 minutes of the original negative. The mutilated version was still prohibited any public screening, as it was denied the opportunity to make copies of the film. In 2016 some parts of the original negative were recovered in the archives of the Iranian censorship committee. The copy, restored by the Makhmalbaf, dura 63 minutes instead of the original 100. The missing parts are hopelessly lost.

Let us a rundown on the two independent sections that take place in conjunction with the 73rd Show. The motto of this year's Venice Days is:The Future Is WomanMany of visual genres were chosen for this edition 2016 under the emblem of great expressive originality from Syria to Bolivia, from Sweden to Asia, addressing the great themes of political and social unrest: documentary (The War Show), the tale training (Heartstone e Polina), the melodrama (Indivisible and Pamylia Ordinaryo), the suspense thriller (Hounds of Love), westerns (Relative), il road-movie (The Road to Mandalay), without forgetting the family drama declined in realistic key (The girl in the world), grotesquely (Quit Staring at My Plate), memorial (Sami Blood). But again it is the individual to fight against the inevitability of fate and the cruelty of society. Sign of a loss that characterizes our society. And in fact the opening of the Days 2016 It is reserved to the exciting video diary from the heart of Syria The War Show of the Danish Andreas Dalsgaard and the Syrian Obaidah Zytoon.

Among other side events at Venice Days there is also the DWA – Doc/it Women Award which it is a prize to the story, creativity and entrepreneurship for women conceived and promoted by Doc / it – Italian Documentary Association. For his first Doc / it edition has chosen the Venice Days to communicate the five nominated projects and the winner with an event dedicated within the Women's Tales of MIU MIU. The new Development of documentaries Prize is designed to promote gender equality both in the creative sphere and productive open to all documentary projects in development with 2 requirements of 3 (history, direction, production) the presence of female.

as to 31. International Critics' Week it is geared to “filmic pleasure”, as explained by Jonah A. Nazzaro in his presentation. The nature of the Critics' Week is discovered by the films selected this year, identified among more than 500 films submitted. A “pleasure” which the exposure and amazement are the basic elements. Da Prevenge – geniale horror-movie post-femminista diretto da Alice Lowe a The latest Things Irene Dionisio - taut retelling of humanism neorealist. Then there Keywan Karimi, Iranian filmmaker sentenced to one year in prison and 223 lashes for offense to Islam, Drum that signing, a metaphysical noir and expressionist, mentre Ala Eddine Slim, documentary filmmaker and video artist Tunisian, presents The Last of Us and echoed boldly experimental film and abstract, adventurous and even bluntly fiction. Cinema is an art young by definition as shown in the experiment of Los nadie Juan Sebastián Mesa, shot in seven days of the most inaccessible streets of Medellin, o a Prank di Vincent Biron, past director and fable of nihilism. But the film can also be a resume (or riperdere) its place in the world, Jours de France Jérôme Reybaud assumed a sensual sentimental journey, using a browser exceptional as Grindr, to find the names of forgotten things. There is also the amazing presence of Pepe Smith, Legend of the Filipino rock, protagonista di Singing in Graveyards, together with Lav Diaz, It offers himself as image and mirror the complex relationship with modernity and democracy in his country. Finally in closing a surprise coming from the United States with Cats Are We Not Xander Robin, a visceral horror melodrama, a dark fairy tale punctuated by the music of Funkadelic, Yvonne Fair, Lightning Bolt e Albert Ayler.

But let's talk about today's evening dedicated to the Venetians. One hundred and twenty years ago - exactly the evening of 9 July 1896 – il Cinématographe Lumière faceva la sua prima apparizione a Venezia, with the projection a step away from Piazza San Marco, in Minerva Theatre, of a compound program from 15 “views”. But it is only the 21 August following that appear for the first time 3 films made in Venice: Approdo di una gondola ai santi Giovanni e Paolo, I vaporetti a Rialto e I leggendari piccioni di San Marco, then followed by others in the following days. To celebrate this important anniversary, during the Pre-opening evening of 73. Venice International Film Festival (Tuesday 30 August, ore 20.30) in Darsena Room at Lido, before the screening of the already announced restoration of all to Luigi Comencini home, It will be offered to the public, agreed for the celebration of the centenary of Comencini, a program consisting of nine "views" made in Venice by the Cinematograph Lumière operators, commented in the hall by the Director of the Institut Lumière in Lyon, Thierry Fremaux.

I film, that belong to three successive years (1896-98), I'm:

Arrive by gondola, 1896, N°291

Pigeons in St. Mark's Square, N°292

Tram on the Grand Canal, 1896, N°293

Grand Canal with boats, 1896, N°294

Panorama of Grand Canal took a boat, 1896, N°295

Panorama of St. Mark took a boat, N°296

Venice, place Saint-Marc, 1897, N°430

Arrival gondola sovereign Germany and Italy at the Royal Palace in Venice, 1898, N°1058

Departure by gondola, 1898, N°1059

Following the screening of "views", on the centenary of the birth of the great director Luigi Comencini (1916 – 2007) It will be shown - as already announced – All Comencini's masterpiece at home (Italy / France, 1960) Alberto Sordi, Serge Reggiani, Carla Gravina and Eduardo De Filippo. The special evening in honor of Pre-Opening in Sala Darsena to Lido, beginning at 20.30, It has invited the public to Venice through collaboration with the daily "Il Gazzettino", "The New Venice and Mestre" and "Corriere del Veneto".

The restored film Tutti a casa (1960) Luigi Comencini shows through September lL'8 1943, Armistice Day, the feelings and the proven Italian society from war. But who can tell the author's best films? The answer given in an essay At the movies with heart. 1938-1974, by Adriano Apra reads: “Everyone at home is not even a war movie. It is a journey through Italy to war four stragglers (four "stupid" unwary) who want to go home. Deaf is a coward, rather, is an officer who cares deeply about his grade and trying to the last to fulfill what he believes is his duty. just that, unknowingly, It is an officer who did not understand anything. […] We believe that the Armistice of '43 tragedy has been particularly drama officers. Then, anyone with a degree, He had no military or attitudes, it became official. Rather, the photo in dress uniform was a bit 'the crowning graduation ".