Tag Archives: La Biennale

5th edition of Biennale’s Sala Web at the 73rd Venice Film Festival

Sala Web line-up from 2 to 9 September

18 feature films will be available online worldwide

Screen Shot 2016-08-21 at 4.48.06 PMLeading the online screening experience additionally to its regular programming, the Venice Film Festival continues exploring the international audience beyond the traditional theatres. For a new edition, the Venice Sala Web will serve as the meeting point for film lovers worldwide, who will have the possibility to watch world premieres and follow the Biennale buzz on www.festivalscope.com/venicesalaweb2016. Only 400 tickets will be available for each film.
In addition to titles from the Orizzonti section and from Biennale College, the Venice Sala Web will expand for the first time to selected films from other sections, like THE ORCHID SELLER by 2015 Golden Lion winner Lorenzo Vigas. Reknown directors like Wang Bing from China and Parviz Shahbazi from Iran will join a line-up with the new works by Tim Sutton, Gastón Solnicki, Peter Brosens and Jessica Woodworth, whose previous film THE FIFTH SEASON screened in Competition at the Festival, winning the Young Cinema Award.
These 2016 world premieres will serve as a follow-up for a previous edition that saw the world premieres of multi-awarded films like Gabriel Mascaro’s NEON BULL and Anita Rocha da Silveira’s KILL ME PLEASE.
Four titles supported by the Biennale College will also be part of the Venice Sala Web line-up. The Biennale College is a higher education workshop for the development and production of micro-budget feature length films, and a launching platform for new talent, like Rania Attieh & Daniel Garcia with H. in 2014 and Anna Rose Holmer with THE FITS in 2015.
The 5th edition of this innovative project will be not only an opportunity for film lovers, but also for directors to find synergies with an audience of cinephiles, eager for new artistic surprises. That is how La Biennale sees it, in words of its director Alberto Barbera:alberto-barbera-594x350 “We believe film festivals can always find new ways to reach international audiences, and that is specially true thanks to the new technologies. Sala Web is a key example of it, as it allows filmmakers find their public beyond all frontiers, something impossible only a few years ago. As the first film festival in history, the Venice Film Festival needs to be part of this new story that is being told.”
Sala Web screenings will be hosted on a secure site operated by Festival Scope (www.festivalscope.com) on behalf of the Venice Film Festival. Festival Scope is the online platform where international film lovers can discover innovative new films from home, through exclusive events in partnership with the most prominent film festivals in the world.
Digital tickets for Sala Web screenings are on sale on Festival Scope. Users may register to buy tickets for the online screenings with all tickets priced at 4€ or a Festival Pass (2€ per film from 5 films). Once they have purchased a ticket for a chosen title, users will be able to screen the film once during a 10 day period beginning at 9pm (Venice time, GMT+2) on the day of the film’s official premiere at the Venice Film Festival.
2016 Venice Sala Web line-up

Orizzonti Competition
THE EREMITES (DIE EINSIEDLER), by Ronny Trocker – from 2 Sept.
Germany, Austria, 110′

, by Fien Troch – from 3 Sept.
Belgium, 103′

, by Peter Brosens, Jessica Woodworth – from 3 Sept.
Belgium, the Netherlands, Bulgaria, 94′

, by Michele Vannucci – from 4 Sept.
Italy, 97′

, by Karl Lemieux – from 5 Sept.
Canada, 91′

Orizzonti – Special Screening Out of Competition), by Tim Sutton – from 6 Sept.
USA, 85′

, by Gastón Solnicki – from 7 Sept.
Argentina, 72′

(LIBERAMI), by Federica Di Giacomo – from 7 Sept.
Italy, France, 89′

(KOCA DÜNYA), by Reha Erdem – from 8 Sept.
Turkey, 100′

, by Parviz Shahbazi – from 9 Sept.
Iran, 90′

(KU QIAN), by Wang Bing – from 9 Sept.
Hong Kong, France, 150′

Out of Competition
OUR WAR, by Bruno Chiaravalloti, Claudio Jampaglia, Benedetta Argentieri – from 9 Sept.
Italy, USA, 69’

Biennale College – Cinema
EARS (ORECCHIE), by Alessandro Aronadio – from 1 Sept.
Italy, 90’

(MUKTI BHAWAN), by Shubhashish Bhutiani – from 2 Sept.
India, 103’

(LA SOLEDAD), by Jorge Thielen Armand – from 3 Sept.
Venezuela, 89’

(UNA HERMANA), by Sofia Brockenshire, Verena Kuri – from 4 Sept.
Argentina, 68’

Cinema nel Giardino
FRANCA: CHAOS AND CREATION, by Francesco Carrozzini – from 2 Sept.
Italy, USA, 80’

Out of Competition – Special Screenings
Venezuela, Mexico, 75’

Pre-opening event (Tuesday August 30th 2016) of the 73rd Venice International Film Festival

Dedicated to the great director Luigi Comencini (1916 – 2007) on the centennial of his birth, the Pre-opening event of the 73rd Venice International Film Festival will be held on Tuesday August 30th at the Sala Darsena (Palazzo del Cinema) on the Lido.
Screen Shot 2016-08-02 at 5.51.25 AMFeatured will be the screening of Comencini’s masterpiece Tutti a casa (Everybody Go Home, Italy/France, 1960) in the copy digitally restored by Filmauro and CSC – Cineteca Nazionale di Roma, starring Alberto Sordi, Serge Reggiani, Carla Gravina and Eduardo De Filippo, produced by Dino De Laurentiis, with screenplay by Age and Scarpelli, winner at the time of two David di Donatello awards and one Nastro d’argento.
The restored version will be presented in its world premiere screening, remastered in 4K on the basis of the original negatives provided by Filmauro. The digital processing was performed in the laboratories of Cinecittà Digital Factory in Rome. The transfer to 35mm film was done in the laboratories of Augustus Color in Rome.
The 73rd Venice International Film Festival will take place on the Lido from August 31st to September 10th 2016, directed by Alberto Barbera and organized by the Biennale chaired by Paolo Baratta.
Tutti a casa by Luigi Comencini is one of the most famous and successful examples of what made the “commedia all’italiana” immortal: the blend of comedy and drama, of real and grotesque, of courage and determination to survive. Comencini, with the autobiographical complicity of the two great screenwriters Age and Scarpelli and the bitter laughs provoked by the remarkable performance of Alberto Sordi, tells the story of the chaos that ensued on September 8th 1943, when Badoglio signed the armistice and the soldiers loyal to the King and Mussolini were abandoned to their own destinies, to face many dangers alone. In the film, Alberto Sordi, on the phone under German gunfire, asks his superiors: “Colonel, Sir, this is Lieutenant Innocenzi, something amazing just happened, the Germans have become allies of the Americans. What are we supposed to do?”
Tutti a casa is a film “on the road” across the ruins and confusion reigning in Italy at that time, when the soldiers had no one to give them orders and one after another they decided to head back home: tutti a casa, everybody go home. In the story, Second Lieutenant Alberto Innocenzi (Sordi), who is used to obeying and not answering back, is abandoned by his soldiers and flees from north to south with his friend, the Neapolitan military engineer Ceccarelli (Serge Reggiani). He runs into German soldiers eager for retaliation who shoot at them, witnesses the odyssey of an Jewish girl attempting to escape (for whom a young Venetian soldier gives his life), meets an American prisoner hiding in an attic, is united with his father (Eduardo De Filippo) who wants to send him back to the Fascist army, until the final redemption during the 4 days of Naples. At the time Comencini stated: “On the 8th of September, people were abandoned to themselves, and that is what I wanted to describe”. The film was a box office hit, bringing in over a billion lire in ticket sales.
Luigi Comencini (1916-2007) who was awarded a Golden Lion for Lifetime Achievement in 1987 by the Biennale di Venezia, is considered one of the greatest masters of Italian-style comedy, as well as “the children’s director“. Among his comedies, his first masterpiece was Pane, amore e fantasia (Bread, Love and Dreams, 1953), with Gina Lollobrigida and Vittorio De Sica, winner of the Silver Bear in Berlin, the prototype for what is known “neorealismo rosa” and one of the highest-grossing films in the history of Italian cinema, followed over the years by other hit comedies such as Pane, amore e gelosia (Bread, Love and Jealousy, 1954), Mariti in città (Husbands in the City, 1957), Lo scopone scientifico (The Scientific Cardplayer, 1957) and Mio Dio, come sono caduta in basso! (Till Marriage Do Us Part, 1974).
Comencini addressed the theme of childhood early on in 1946 with Bambini in città, his first short documentary (which won an award in Venice and a Nastro d’argento), while Proibito rubare (Hey Boy, 1948), set among the street children in Naples, was his first feature-length film. His significant production of films on the theme of “childhood” continued with La finestra sul Luna Park (The Window to Luna Park, 1956), Incompreso (Misunderstood, 1966, in competition at Cannes and winner of a David di Donatello), Voltati Eugenio (1980, presented at the Venice Film Festival), Un ragazzo di Calabria (A Boy from Calabria, 1987, in competition in Venice) and Marcellino pane e vino (1991) his last film directed with his daughter Francesca. Also worthy of note are his versions of two classics of children’s literature, such as Le avventure di Pinocchio (The Adventures of Pinocchio, 1972) and Cuore (1984).
A co-founder in 1935 with Alberto Lattuada and Mario Ferrari of the Cineteca italiana di Milano, Comencini directed a total of forty feature-length films, without counting his documentaries, screenplays, and investigative reports for Rai television. He experimented with many genres other than comedy, such as murder mysteries (La donna della domenica, The Sunday Woman, 1975), melodrama (Incompreso, 1966), literary films (La ragazza di Bube, 1963), period films (Infanzia, vocazione e prime esperienze di Giacomo Casanova veneziano, 1974), film-operas (La Bohème,  1987), but also experimented with more particular films (Cercasi Gesù, 1982, winner of a Nastro d’argento). In an interview he granted in the early 1980s, Comencini declared that he was willing to defend ten of his films, that “would never have seen the light of day if I had not made other flawed films, wholly or in part. But I have never made a film in bad faith”.

Paolo Baratta Introduces 73rd Venice Film Festival

Screen Shot 2016-07-28 at 10.33.12 AM
President of La Biennale di Venezia Paolo Barrata
We won’t linger more than necessary over routine questions such as the usefulness of film festivals in the face of the ongoing changes in the demand and offering of works, how they are viewed, how they are produced, etc.
Our recognition of everything that is evolving around us and could influence this demand finds us primarily involved in adopting initiatives which can help address the changes.
All the while holding fast to a number of principles regarding our mission as a cultural institution and maintaining a number of organizational formulas. A certain stability in operating methods encourages rather than hinders the transit of innovations and the aggregation of extra initiatives.
As in other art forms, in film, too, great attention must be paid to the quality and the vitality of the works, above and beyond their genre.
Only through courageous choices and the ability to take risks can a “cultural” function be performed. We will be useful as long as we know how to be fairly unpredictable.
It is no paradox that, as long as we remain faithful to these principles and maintain this specificity, we will also be able to preserve and reinforce our ability to overcome strong international competition and attract quality productions which consider participation in our Festival a way to obtain added value for their commercial launch. The most recent editions of the Festival have shown this very clearly, and this year’s Festival in particular.
The three main innovations of this new phase are: the inauguration of a “new screening room” which is also a new section; increased commitment to the “Biennale College” (an instrument to foster film development from the initial project to the completed production, and whose results have already proven to be more than gratifying); the launch of the “Venice Production Bridge,” a new instrument which can lead to the complete financing of fully planned works.
These innovations mark both our receptiveness toward a greater range of works and genres, and the intensification of our contribution to those energies which conceive, construct and make films. These work commitments go well beyond the actual days of the Festival.
The hole has been covered over! To the municipal authorities, our gratitude for the promptness with which they dealt with the issue, once the knots created by controversy and dispute had been untangled. We finally have a new open-air space which allows us to redraw the map of the Citadel of Cinema; we can integrate traditional programs with new initiatives.
We will continue to oversee the decentralization of the festival’s films to other Italian cities, and of the Italian films to our cultural institutes abroad.
We thank everyone, from Alberto Barbera and his collaborators to everyone at the Biennale who helps organize the Festival and develop our program.
Our thanks to the Ministry of Cultural Heritage and Activities and Tourism , the local authorities, our sponsors and the members of the press who, starting tomorrow, will work with and at the Festival. And to the city of Venice, whose many initiatives help foster greater hospitality and more heartfelt participation.
P.S. Yesterday marked the beginning of the Biennale-Theatre program, which will conclude on August 14th. Directed by  Àlex Rigola, it represents a successful alliance between Festival and College: a unique formula which involves a great many young people (307 of them, from 22 countries), who attend works by maestros as spectators and also collaborate with them on specific projects, many of which are later performed in public.
P.P.S. A few days ago, the call was concluded for the selection of the 12 film projects which will participate at the Biennale College; 205  applications were submitted.
Paolo Baratta
President of La Biennale di Venezia