Venezia 78, one of the best editions of recent years, with an Italy in a state of grace –

Venezia 78, one of the best editions of recent years, with an Italy in a state of grace –
Venezia 78, one of the best editions of recent years, with an Italy in a state of grace –
from Paolo Mereghetti

A quality exhibition, starting with the winner, thanks also to the president-director.
Now it is up to the distribution and exhibitors of the cinemas not to disperse this value

One of the best editions of recent years (of very high overall quality) was crowned by an equally commendable verdict, confirming the idea that the presidents-directors are the best judges. L’Evnement is not only a courageous film that knows how to question us on a still stinging theme but reveals an admirable maturity of staging, capable of controlling a subject that could have become blackmail if it had not been guided by a rigor and dryness that made resonate in the images the writing style of Ernaux (from whose autobiographical novel the film is based). The same can be said of the two Silver Lions – the Grand Jury Prize and the best director – which awarded two of the best films seen on the Lido, that of Sorrentino and that of Campion.

And that this year the Italian representation was really in a state of grace is also shown by the jury prize to Il buco and that of the best emerging talent to Filippo Scotti (protagonist of the hand of God). Of course, sorry for Martone and Toni Servillo (great in the role of Scarpetta) but he couldn’t win all of Italy. And the other awards (the two Volpi Cups to Penlope Cruz and the Filipino John Arcilla and the American script award Maggie Gyllenhaal) demonstrate a predictable but very justified geopolitical balance. Of course, now the controversy will come about who produced who, on a film festival that rewards the largest provider of streaming films, but they are sterile controversies: Sorrentino will be entitled to three weeks of film programming before being visible on Netflix and even after. it will be up to the cinemas to remember (and demonstrate) how movies are much better on the big screen than on the TV at home. After a year and more of a pandemic, Venice has done everything in its power to rekindle the attention of the public on the cinematographic product, demonstrating that we can and must return to the cinema. Now it is up to distributors and exhibitors not to disperse the wealth of trust and expectations that the Exhibition has offered them.

September 11, 2021 (change September 11, 2021 | 20:39)



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