Венецианский кинофестиваль 2020

[empathy]

ПРЕЗИДЕНТ ЖЮРИ: КЕЙТ БЛАНШЕТТ

ЖЮРИ: ДЖОАННА ХОГГ, КРИСТИАН ПЕТЦОЛЬД, ЛЮДВИН САНЬЕ,

ВЕРОНИКА ФРАНЦ, МЭТТ ДИЛЛОН, НИКОЛА ЛАДЖОЙА

2 СЕНТЯБРЯ - 12 СЕНТЯБРЯ

COMPETITION

In Between Dying, dir. Hilal Baydarov

Le Sorelle Macaluso, dir. Emma Dante

The World To Come, dir. Mona Fastvold

Nuevo Orden, dir. Michel Franco

Lovers, dir. Nicole Garcia

Laila in Haifa, dir. Amos Gitai

Dear Comrades, dir. Andrei Konchalovsky

Wife Of A Spy, dir. Kiyoshi Kurosawa

Sun Children, dir. Majid Majidi

Pieces Of A Woman, dir. Kornel Mundruczo

Miss Marx, dir. Susanna Nicchiarelli

Padrenostro, dir. Claudio Noce

Notturno, dir. Gianfranco Rosi

Never Gonna Snow Again, dirs. Malgorzata Szumowska, Michal Englert

The Disciple, dir. Chaitanya Tamhane

And Tomorrow The Entire World, dir. Julia Von Heinz

Quo Vadis, Aida?, dir. Jasmila Zbanic

Nomadland, dir. Chloe Zhao

HORIZONS

Apples, dir. Christos Nikou

La Troisieme Guerre, dir. Giovanni Aloi

Milestone, dir. Ivan Ayr

The Wasteland, dir. Ahmad Bahrami

The Man Who Sold His Skin, dir. Kaouther Ben Hania

I Predatori, dir. Pietro Castellitto

Mainstream, dir. Gia Coppola

Genus Pan, dir. Lav Diaz

Zanka Contact, dir. Ismael El Iraki

Guerra E Pace, dirs. Martina Parenti, Massimo D’Anolfi

La Nuit Des Rois, dir. Philippe Lacote

The Furnace, dir. Roderick Mackay

Careless Crime, dir. Shahram Mokri

Gaza Mon Amour, dirs. Tarzan Nasser, Arab Nasser

Selva Tragica, dir. Yulene Olaizola

Nowhere Special, dir. Uberto Pasolini

Listen, dir. Ana Rocha de Sousa

The Best Is Yet To Come, dir. Wang Jing

Yellow Cat, dir. Adilkhan Yerzhanov

OUT OF COMPETITION – SPECIAL SCREENINGS

30 Monedas, Episode 1, dir. Alex de la Iglesia

Princesse Europe, dir. Camille Lotteau

Omelia Contadina, dir. Alice Rohrwacher Jr.

OUT OF COMPETITION – FICTION

Lacci, dir. Daniele Lucheti

Lasciami Andare, dir. Stefano Mordini

Mandibules, dir. Quentin Dupieux

Love After Love, dir. Ann Hui

Assandira, dir. Salvatore Mereu

The Duke, dir. Roger Michell

Night In Paradise, dir. Park Soon-jung

Mosquito State, dir. Filip Jan Rymsza

OUT OF COMPETITION – NON-FICTION

Sportin’ Life, dir. Abel Ferrara

Crazy, Not Insane, dir. Alex Gibney

Greta, dir. Nathan Grossman

Salvatore, Shoemaker Of Dreams, dir. Luca Guadagnino

Final Account, dir. Luke Holland

La Verita Su La Dolce Vita, dir. Giuseppe Pedersoli

Molecole, dir. Andrea Segre

Narciso Em Ferias, dirs. Renato Terra, Ricardo Calil

Paulo Conte, Via Con Me, dir. Giorgio Verdelli

Hopper/Welles, dir. Orson Welles

[Walter666]

Спасибо за тему.

 

Уже есть реакции по открывающим фильмам, греческий дебют любопытный, хвалят.

 

Lacci, dir. Daniele Lucheti

 

Variety

The original Italian title of “The Ties” is “Lacci,” which translates more specifically as “shoelaces,” and it better evokes where the strengths of Daniele Luchetti’s freely time-skipping domestic drama lie: in conveying the more banal everyday details, incidents and anecdotes that become, over time and often subconsciously, the very fabric of family history. When it reaches for grander metaphors and emotional gestures, on the other hand, Luchetti’s film comes a little undone.

 

THR

Quality Italian drama of yesteryear.

 

 

Apples, dir. Christos Nikou

 

Cineuropa

 

when a bizarre worldwide pandemic causes people to lose their memory spontaneously, Aris (Aris Servetalis, excellent) is told to eat more apples and to perform tasks prescribed on cassette tapes so he can create new memories and document them on camera. He goes to a costume party where the guests pay homage to movies ranging from 2001: A Space Odyssey to The Karate Kid. It's that kind of film where highbrow and lowbrow delightfully dance together. It is also a mix of the weird and the familiar.

Apples has a storyline that places heavy emphasis on the psychological makeup of humans, and which seems hell-bent on highlighting what strange beasts homo sapiens are. But – and this will please many audiences around the world – Nikou's characters have a bit more heart than those found in Lanthimos land, and the humour is more “funny ha ha” than sarcastic.

 

Screendaily

A meditation on memory, identity, grief and loss, with the narrative device of a global pandemic thrown in for good measure: Apples might initially sound like a tough sell. But this hugely accomplished, satisfyingly textured first feature is really something special.

With its deadpan style, laced with surreal flourishes and dry, absurdist humour, the film evokes not only the Greek Weird Wave work of filmmakers such as Yorgos Lanthimos (Nikou served as an assistant director on Dogtooth) but also something of the hyper stylised melancholy of Charlie Kaufman. But Apples is also distinctive enough never to feel derivative of its influences.

[Table Top Joe]

Эндрю Гарфилд у Копполы-внучки и Алек Утгофф в роли гуру: 20 главных фильмов Венеции-2020

2 сентября в Венеции начинается первый из крупных фестивалей, проходящий после коронавирусного локдауна. Рассказываем, за какими премьерами на Лидо мы будем следить особенно внимательно.

[Walter666]

Короткометражку Альмодовара показали

 

Variety

Tilda Swinton Sets the Screen Ablaze in Pedro Almodovar’s Iridescent Short

 

The Playlist

‘The Human Voice’ Is A Concentrated Half-Hour Dose Of Everything You Love About Almodovar

 

IndieWire A-

Still, it’s not size that counts, but what you do with it, and Almodovar does so much in half an hour that it is bound to be rated as one of the Festival’s highlights, anyway. This is the pure, distilled essence of both the veteran director and the actress. For anyone who is smitten by Almodovar and Swinton’s instantly recognisable styles, the film is basically porn. Feast your eyes on those mustard-coloured kitchen cabinets! Bow down before those leopard-print stilettos! Any more than 30 minutes might have been too much to take.

[Veryjammy]

For anyone who is smitten by Almodovar and Swinton’s instantly recognisable styles, the film is basically porn.

 

Неплохо сказано

[Walter666]

Конкурсные фильмы пошли. Боснийскую драму про геноцид хвалят.

 

THR

A terrifically harrowing historical film that's impossible to forget.

The subject is horrifying but the screen is hard to look away from, as the situation becomes a powder keg of tension. Though there have been serious documentaries made over the years, photographic exhibits and other memorials, Zbanic’s fictionalized screenplay sucks the viewer into the nightmare of Srebrenica, where Mladic’s murderous soldiers triumphantly swagger through a deserted town and the residents flee to what they think is the safety of a United Nations compound. The film is a grave indictment of the way UN forces reneged on their promise to bomb the Serbs if they attacked the population. Stymied by bureaucracy and political unwillingness to irritate Serbia, they inertly allow thousands to be loaded onto buses and taken to their deaths.

ScreenDaily

Jasmila Zbanic directly addresses Srebrenica in this taut, compelling film

The energy and passion of Zbanic’s fresh, new, direct gaze at the conflict comes through in every frame

 

 

Николь Гарсиа по-разному

 

TheGuardian 2/5

Sex, surf and scuba diving make Nicole Garcia’s crime drama easy on the eye but there’s little substance behind the style

 

THR

A good ol' fashioned doomed romance replete with eye-popping exotic locations, a traffic-stopping cast, lavish wines, great catering, guns, drugs, sex and lies, French actress turned director Nicole Garcia’s latest effort, Lovers (Amants), delivers the genre’s essential items in a slick film noir throwback carried by a trio of strong performances.

[Walter666]

Итальянский полл

 

[ORANGE'71]

Без Долина не разобраться.

[Walter666]

Вот это оч интересно выглядит и рецензии отличные.

 

The Disciple, dir. Chaitanya Tamhane

Variety

A Nuanced Look at a Determined Hindustani Musician, Exec Produced by Alfonso Cuaron

For those able to set aside potentially daunting feelings of ignorance, this rich, multi-layered story of a young man’s dedication to mastering the spiritual and technical elements of “raga” singing offers much to ponder on teacher-pupil relations, the nature of performance and the consuming character of an artistic calling.

 

IndieWire A-

A Brilliant Look at a Passionate Musician in a World That Moves Too Fast For Him

In Tamhane’s dreamy, transcendent character study, the undulating raga melodies serve as a transformative portal to self-discovery that places the audiences in the confines of its entrancing power.

[Walter666]

Новый полл

 

[Table Top Joe]

«Человеческий голос»: Педро Альмодовар снял чудесный получасовой фильм с Тильдой Суинтон

На Венецианском фестивале, первом из больших смотров, открывшихся после частичного снятия ковидного локдауна, все боятся умереть: в залах мало людей, шахматная рассадка, обязательный масочный режим. Кинокритик Егор Беликов с огромным трудом добрался до Венеции и нашел здесь фильм, после которого хочется жить: «Человеческий голос» Педро Альмодовара.

[azerius]

Заинтригован новым короткометражным фильмом Альмодовара с Тильдой Суинтон. По описанию, трейлеру и кадрам картина определенно стоит внимания, странно, что я до сих пор не обратил на нее свое внимание.

[Walter666]

Чет сегодня неудачный день, всё более-менее ругают.

 

Pieces Of A Woman, dir. Kornel Mundruczo

 

The Guardian 3/5

Viewed as an acting masterclass, the film is bruisingly impressive in its way. The principal actors raise the roof; each gets to do their big turn for the camera. But it feels a little schooled, a little staged, like a workshop at the Actors’ Studio; this impression isn’t helped by the over-insistent score, which drops like a lead weight after each full-throated exchange. If Mundruczo’s aim is to lead us through the depths of agony and despair, then we need to feel the couple’s pain in our guts; I never did, quite.

 

IndieWire C+

This raw grief drama loses its focus after opening with a 30-minute long take that follows a home birth from hope to horror.

 

THR

Puncturing a brittle European veneer with spikes of more American emotional volatility, the drama wears influences from Ingmar Bergman to John Cassavetes — not always lightly. Despite some contrived script passages and unsubtle symbolism, the first-rate cast keeps it gripping.

 

 

Miss Marx, dir. Susanna Nicchiarelli

 

IndieWire C+

Susanna Nicchiarelli's Eleanor Marx biopic initially promises something vibrant and punk rock, before crumbling into bland biopic platitudes.

 

THR

Misses the mark.

 

Variety

Susanna Nicchiarelli's portrait of the ill-fated 19th-century political activist is heavily stylized, but also just plain heavy-going.

 

 

Mainstream, dir. Gia Coppola

 

IndieWire D

Garfield and Maya Hawke can't save Coppola's vapid send-up of social-media culture set in a sleazy Los Angeles.

 

THR

It's a messy, childish scrawl of a film, but it is high on energy. Andrew Garfield leaves his mark as a screaming, spontaneous, unstable genius who dazzles the Internet like a latter-day Jim Carrey in a Gen Z version of The Truman Show.

 

The Telegraph 3/5

As a skewering of junk internet culture Mainstream works well enough, even if it doesn’t have much new to say to anyone even slightly familiar with the sphere in question.

[empathy]

открытки с набережной неисцелимых

О первых фильмах фестиваля рассказывает героически добравшаяся до Лидо Зинаида Пронченко.

открытки с набережной неисцелимых: второй выпуск

Главным разочарованием Мостры, пожалуй, стали новые фильмы Джии Копполы и Корнела Мундруцо.

[ORANGE'71]

А Кино ТВ нет в Венеции чтоли?

[empathy]

почти никого нет в венеции. по этой причине искусство кино без ежегодной таблички оценок.

[Walter666]

Новый полл, а итальянцам похоже Miss Marx очень даже зашла

 

[ORANGE'71]

почти никого нет в венеции. по этой причине искусство кино без ежегодной таблички оценок.

Обидно. Я все их выпуски с фестов смотрел.

[Walter666]

Сегодня вроде в основном положительные рецензии

 

Sun Children, dir. Majid Majidi

 

IndieWire B

“Khorshid” (or “Sun Children”) is quite the thrill ride, mixing a Dickensian, social-realist account of children in poverty in Tehran with a kinetic, far-fetched heist movie and a well-meaning drama about a kindly teacher who would, in a 1980s American film, have been played by Robin Williams.

 

Variety

Iranian Master Majid Majidi’s Latest Empathizes With His Country’s Exploited Kids

 

 

The World To Come, dir. Mona Fastvold

 

Variety

A superb quartet of actors bring intense feeling to Mona Fastvold's simple, stirring sophomore feature, a love story between two disaffected farm wives in rural New York.

 

THR

The World to Come has much to recommend it, including the polish and precision of Fastvold's directorial touch and a terrific quartet of leads (Casey Affleck and Christopher Abbott play the heroines' spouses) who, among other things, deliver mouthfuls of unwieldy period dialogue with dexterity and conviction. Kirby, especially, is a marvel, radiant and haunting as the more outgoing of the central pair.

The World to Come is nearly undone by a single glaring flaw: The drastic over-reliance on voiceover composed largely of lines lifted from the short story. On a sentence to sentence basis, what we hear — mainly Abigail's diary entries, read by Waterston — is vivid, at times strikingly lovely. But it's also so jarringly literary, and so extremely frequent, that it yanks us out of the delicate spell cast by the film's painterly, austerely beautiful images and nuanced performances.

 

The Guardian 4/5

a spellbinding romance of stolen hours

 

The Telegraph 5/5

The World to Come is a film about the power of female intimacy, and also men's fear of it – the resentment and rage brought on by the realisation that even in a world where the master of the house is male by default, there can still be some rooms from which he’s excluded.

 

The Playlist B/B+

a beautiful and quiet, seasons-spanning tale of poetry and pining pioneerwomen. Set in 1850s rural upstate New York, it’s delivered in careful, spare 16mm that echoes, in its artisanal, handcrafted loveliness, the painstaking, slightly crooked hand-written calligraphy in which the film’s titles and intertitles are written.

[empathy]

камо грядеши: первые фильмы венеции

Антон Долин приехал на первый большой фестиваль с начала пандемии. Читайте о его впечатлениях с острова Лидо: венецианские маски, фестивальные стандарты и выдающийся индийский «Ученик».

 

«мейнстрим» джиа копполы: первое достойное кино о видеоблогерах

В венецианском конкурсе «Горизонты» представлен второй режиссерский фильм внучки Фрэнсиса Форда Копполы — «Мейнстрим» Джиа Копполы. Кинокритик Егор Беликов считает, что это неплохая попытка протошнить видеоблогеров при помощи их же языка.

 

[...]

 

The World To Come, dir. Mona Fastvold

класс!

[Julietta83]

Фастволд у меня последние несколько лет проходила как дама Корбета, вбившая ему в голову, что он хороший реж (и это совсем не комплимент). Если она сама при этом реж хороший, то всё ок, но у меня всё ещё сомнения.

[Walter666]

[GlitchMob]

пока из конкурса всерьёз заинтересовали мундруцо (говорят об ненормально впечатляющей открывающей one-take сцене длиной в 30 минут) и the world to come - уже что-то, вух

[empathy]

«мейнстрим»: эндрю гарфилд играет одного из самых отвратительных персонажей в сатирическом фильме джиа копполы

Даша Видре перевела статью журналиста IndieWire о фильме Джиа Копполы «Мейнстрим» (в российском прокате как раз-таки будет). Картина о мире интернет-шоу-бизнеса с большим количеством эмодзи и прекрасной Майя Хоук в главной роли. Внимание: в тексте много сарказма и недовольства, ехидных замечаний и искреннего недоумения.

[Walter666]

Товарищ похоже без приза снова не уедет

 

The Guardian 4/5

Dear Comrades is an engrossing, wrong-footing picture, gorgeously shot in fine-grained black-and-white, with a light, jaunty tone that undercuts the grim subject matter. It’s a film that understands that humour and horror are not always mutually exclusive and that even the worst moments in life carry an air of the absurd.

 

Variety

Meticulous and majestic, epic in scope and tattoo-needle intimate in effect, this scrupulous recreation of the lead-up to and aftermath of the Novocherkassk massacre six decades ago is excoriating proof that not all filmmakers are made sloppy or slipshod by anger. Some are made ever more righteously, icily precise.

 

 

Вот это интересно, Шумовску обычно ругают, а тут внезапно почти восторженные рецензии, и трейлер классный.

 

Variety

Co-directing with Michal Englert, Malgorzata Szumowska hits a career high in this alluring, atmospheric tale of a rich Polish community under the thumb of a migrant masseur.

 

The Playlist B+

Close your eyes and imagine what Jonathan Glazer’s “Under the Skin” would evolve into if its tone were more uplifting than unsettling and its protagonist wasn’t preying on humans but trying to heal them.