We try again the duo Damien Chazelle and Ryan Gosling to inaugurate the exhibition unfortunately an ordinary film

(Venice Luigi Noera with the kind collaboration of Marino fearful- Photos are published courtesy of the Venice Biennale)

Inauguration of disappointing this year but we reserve many surprises

This year there have been controversies around at the Venice together at the Cannes Film Festival and Berlin interpret moods, the new directions of the film and why not where it directs global policy.

One for all the controversy about the quotas that at least in the official selection are represented by a single candidate Jennifer Kent, actress, Australian writer and director. What signed in 2014 il horror film Baba Dook, his directorial debut film. The indictment has been returned to sender by the artistic director Alberto Barbera for which quotas would be an insult to the professionalism of directors, In fact, according Barbera films are chosen for their artistic quality. Affirmation politically correct but which often clashes with the practical reality.

The preinagurazione yesterday saw the screening of the restored film of the classic silent film The Golem - How was the world (The Golem - As he came into the world, 1920), written and directed by Paul Wegener, commented extensively from President Paolo Baratta as the symbol of the fears of then and now that cyclically reappear at Human views, manifesto of the German expressionism of the '20s that has influenced the cinema in its subsequent development. The screening was voiced by the original live music Admir master Shkurtaj commissioned by the Venice Biennale, performed live by Ensemble composed Mesimèr: Hersjana Matmuja (soprano), Giorgio Distant (tromba in sib, trumpet midi), Pino Basile (cupafon - set of friction drums, percussion, ocarina), Vanessa SOTGIU (synthesizer, piano), Iacopo Conoci (violoncello), Admir Shkurtaj (direction, electronics, accordion, piano).

Set in 16th century Prague, The Golem tells the story of the Jewish creature made of clay and brought to life by the arcane ritual of a rabbi. Anticipating the next expulsion of Jews from the city, Rabbi Loew (Albert Steinrück) awakens the legendary Golem to protect his people. After a series of events, Golem saves the Emperor's life (Otto fee), convincing him not to expel more Jews. But because of the intrigues of a jealous servant (Ernst German), the Golem gets out of control and turns against its creator.

The inauguration of the 75 ° Venice Film Festival was conducted by Michele Riondino on which it rained well as criticism for his latest electoral choices.

On the opening night of VENEZIA 75was presented a film from which it was expected more: FIRST MAN of DAMIEN CHAZELLE con Ryan Gosling e Claire Foy. After the success of the two previous films American director has left the musical tradition sneaking in a challenge that saw him defeated. Telling one of the most important human endeavor such as the moon landing in the mythical 20 July 1969 after our mother earth had been shaken by the revolution of '68. It was expected a new idea emerging from the director who instead has been debated in the ordinary exercise of telling the historical event by inserting pieces of privacy astronaut Neil Armstrong, his colleagues and private sentimentalism. Really poor screenplay. Perhaps what strikes the viewer, in addition to the remarkable soundtrack, are the images as you have perceived the astronauts at the time. Even our friend Marina fearful commented THE FIRST MAN film that invite you to read. How often each of us has different emotions!

To fill the disappointment we thought Allesandro Borghi superb performance as Stefano Cucchi in OPENING FILM Official selection of the other ORIZZONTI with ON MY SKIN -to Alessio Cremonini. Alessandro Borghi was affiancatio by running at Jasmine Trinca in the shoes of the Ilaria sister and an unexpected Max Tortora in his father's shoes, Milvia Marigliano. This story is known and so our director has risked so much but Alessandro Borghi interpretation reflects very well the psychology of the poor Stefano Cucchi which has been lacking in their dire need the state support. That is perhaps this aspect was most clearly expressed, but we realize that there is an ongoing process that has made it perhaps too cautious author. It is an interpretation that sets in motion the empathy of the viewer and this is at the bottom of the main tool of the seventh art.

We just have to wait until the second day when it starts even the independent sections and Venice Days Critics' Week now in its 33rd.