The AFI Conservatory Directing Workshop for Women (DWW) is a hands-on training program committed to increasing the number of women working professionally in screen directing.
The selected participants will receive guided instruction and direct a short film or new media project. All completed projects will be showcased the following year.
DWW offers participants intensive training in narrative filmmaking in an innovative workshop. Each participant is required to complete a short film or series by the end of the program. DWW is open to women with three years or more of professional experience in the arts. The program is tuition-free though participants are responsible for raising the funds for their projects. For more details on the program click here.
Applications are open now through August 30, 2016. Apply here.
Between 1961 and 1962 the Festival successfully became a showcase for renewal in cinema. The different sections included films from free British cinema, the consecration of the nouvelle vague, and young Italian directors: Pasolini, Bertolucci and the Taviani brothers. The Lions were reliable and not lacking in courage: L’année dernière à Marienbad by Alain Resnais and the Zurlini/Tarkovskij team with Cronaca familiare and Ivan’s Childhood.
Then came the era of Luigi Chiarini, the “professor”; from 1963 to 1968 he renewed the spirit and structure of the Venice International Film Festival. A coherent and authoritative director who spent six years organizing series of films according to strict aesthetic criteria regarding selection and resisting the social scene, political pressures and the interference of the film industry. Chiarini skilfully placed the work of masters with that of young emerging talents: Godard and Dreyer, Bergman and Penn, Pasolini and Bresson, Kurosawa and Bellocchio, Truffaut and Rossellini, then Carmelo Bene, Cassavetes and Cavani. This continued up until the last Lion, in 1968, that meant an opening onto the neuer deutscher Film with Alexander Kluge’s Die Artisten in der Zirkuskuppel: ratlos.
The Festival (along with the Biennale) still had a statute dating back to the fascist era and could not side-step the general political climate. Sixty-eight produced a dramatic fracture with the past. Up until 1980 the Lions were not awarded.
Between 1961 and 1962 the Festival successfully became a showcase for renewal in cinema. The different sections included films from free British cinema, the consecration of the nouvelle vague, and young Italian directors: Pasolini, Bertolucci and the Taviani brothers. The Lions were reliable and not lacking in courage: L’année dernière à Marienbad by Alain Resnais and the Zurlini/Tarkovskij team with Cronaca familiare and Ivan’s Childhood.
Then came the era of Luigi Chiarini, the “professor”; from 1963 to 1968 he renewed the spirit and structure of the Venice International Film Festival. A coherent and authoritative director who spent six years organizing series of films according to strict aesthetic criteria regarding selection and resisting the social scene, political pressures and the interference of the film industry. Chiarini skilfully placed the work of masters with that of young emerging talents: Godard and Dreyer, Bergman and Penn, Pasolini and Bresson, Kurosawa and Bellocchio, Truffaut and Rossellini, then Carmelo Bene, Cassavetes and Cavani. This continued up until the last Lion, in 1968, that meant an opening onto the neuer deutscher Film with Alexander Kluge’s Die Artisten in der Zirkuskuppel: ratlos.
The Festival (along with the Biennale) still had a statute dating back to the fascist era and could not side-step the general political climate. Sixty-eight produced a dramatic fracture with the past. Up until 1980 the Lions were not awarded.
AFI has announced its collaboration with the White House on the third annual White House Student Film Festival, to be held in late summer 2016. Participant Media, a global entertainment company focused on inspiring social change, joins AFI in support of their work with young filmmakers of the White House Student Film Festival for a second year. Open to K-12 student filmmakers, the theme of this year’s festival is “The World I Want to Live In.” Young storytellers are now encouraged to submit their short films based on this theme at WhiteHouse.Gov/FilmFest.
Film submissions period has been extended and will now be accepted through August 15, 2016.
“For nearly 50 years, the American Film Institute has served the nation by upholding and advancing the art of filmmaking,” said Bob Gazzale, AFI President and CEO. “We began in the White House Rose Garden, and since that day have trained thousands of filmmakers whose stories have graced screens throughout the world. Working with the White House, we are honored to encourage and help the youngest of storytellers bring their voices to the art form.”
Since the festival began in 2014, AFI has worked on President Barack Obama’s program as an advisor and producer, reviewing submissions and creating a two-day celebration that includes educational opportunities for the selected young filmmakers. This year, that partnership continues as the White House Student Film Festival highlights both the Administration’s commitment to public service and AFI’s ongoing mission to nurture the next generation of storytellers.
Submit your film to the White House Student Film Festival today!
ATTENDEES OF THE FIRST VENICE FILM FESTIVAL – PHOTO
1932: the public of the first Venice International Film Festival at the Chez Vous at the Hotel Excelsior, in the garden of the Fontane Luminose at the Lido di Venezia. The first film to be screened in the history of the Venice Film Festival, which appeared on the screen at 9:15 pm on August 6th 1932, was Dr. Jekyll and Mr. Hyde by Rouben Mamoulian. Though it was not yet a competition, the Venice Film Festival presented important titles that would then become classics in the history of cinema such as It happened one night by Frank Capra, Grand Hotel by Edmund Goulding, The Champ by King Vidor, Frankenstein by James Whale, Zemlja (Earth) by Aleksandr Dovzenko, Gli uomini che mascalzoni… (What Scoundrels Men Are!) by Mario Camerini, A nous la liberté by René Clair. The major stars of the era appeared on the screen, from Greta Garbo to Clark Gable, from Norma Shearer to James Cagney, from John Barrymore to Joan Crawford, to the Italian superstar Vittorio De Sica.
DANCING AT NIGHT AT THE TABARIN AT THE EXCELSIOR – PHOTO
Dancing at night at the Tabarin at the Excelsior, in 1934: starting with the second edition, the Venice Film Festival becomes a competition. The programme also features Everybody’s Woman by Max Ophüls, It Happened One Night by Frank Capra and Little Women by George Cukor.
III Esposizione internazionale d’arte cinematografica (1935)
Count Volpi di Misurata, president of the Biennale, confers the awards: the Coppa del Duce for the two Best Films (the Golden Lion did not exist yet) go to Casta Diva and Anna Karenina, the Istituto Nazionale Luce wins the Coppa della Biennale for Best Italian Documentary for Riscatto, “inspired by one of the most glorious Fascist endeavours, the redemption of the Agro”, says the announcer.
ISA MIRANDA IN VENICE – PHOTO
Isa Miranda, just barely twenty-six, in Venice in 1935 as the star of Passaporto rosso by Guido Brignone: at her right is her husband Alfredo Guarini. In 1935 the Venice Film Festival becomes a yearly event and the prize for best actor and actress takes the name that it has maintained to this day: Coppa Volpi.
IV Mostra internazionale d’arte cinematografica (1936)
In the film clip from the Luce Archives, summer resort images of the Lido and the description of the awards that year: “The Coppa del Duce for Best Foreign Film was won by Der Kaiser of California (The Kaiser of California), produced by Trenker, and the Coppa del Duce for Best Italian Film was won by Squadrone bianco (The White Squadron), produced by Roma Film. The Coppa Volpi for Best Actor was awarded to Paul Muni for The Story of Louis Pasteur. The Istituto Luce with Il cammino degli Eroi won the Coppa del Partito for best political and social film and the award from the National Institute for Educational Cinema for best scientific film”.
PALAZZO DEL CINEMA – PHOTO
1937: the Venice Film Festival had grown in success and attendees, and left the terrace of the Excelsior Hotel heading to the new Palazzo del Cinema, designed in a modernist style by engineer Luigi Quagliata and built in a record-breaking time. It is still today, apart from the 1940 to 1948 editions, the main facility of the Festival.
Two Nepali films have been selected for the 73rd Venice International Film Festival. Deepak Rauniyar’s feature length film ‘White Sun’ and ‘Dadyaa’, a short film directed by Pooja Gurung and Bibhusan Basnet, will represent Nepal in Venice this year. The Venice Film Festival is one of the oldest and major international film festivals of the world.
This is the second consecutive year that Nepali films are represented at the festival. Min Bahadur Bham’s ‘Kalo Pothi’ had its world premiere there last year.
Both Nepali films will compete in the ‘Orizzonti’ (Horizons) section, which falls under the festival’s “official selection” line-up. Bham’s ‘Kalo Pothi’ was screened under the ‘International Critics’ Week’, an autonomous section separately organized by Italy’s critics’ association.
Set during the Maoist Insurgency, the 87 minute long ‘White Sun’ tells the story of two brothers with conflicting ideologies. The protagonist Chandra returns home after a decade, for his father’s final rites. The course of his journey is complicated by the harsh reality of his village.
The film stars Dayahang Rai, Asha Magrati, Rabindra Singh Baniya, Sumi Malla and Amrit Pariyar. “Getting selected for Venice will bring Nepali movies one step forward in the international arena,” Rauniyar said. “I believe this will not only promote Nepali films but Nepal as well.”
A conversation between a former guerilla and a soldier that Rauniyar witnessed eight years ago was the genesis of the movie. “I made this film to portray Nepal after the civil war and the discourse that has since followed,” he added.
‘White Sun’ has been backed by producers from USA, Netherlands and Qatar. Rauniyar’s debut feature film ‘Highway’ was screened at the 62nd Berlin Film Festival in 2012.
Bibushan and Pooja’s second short film ‘Dadyaa’ is shot in Sinja valley, Jumla. Their first short film ‘The Contagious Apparition of Dambarey Dendrite’ had a successful run in international film festivals.
‘Dadyaa’ depicts the struggles of an old couple spending an isolated life in remote Jumla. It has a runtime of 17 minutes. “Our selection in Venice shows that international audience is starting to show interest in Nepal,” said Pooja.
The eleven day long festival will start from August 31. The organizer said that the ‘Orizzonti’ section will celebrate the latest aesthetic and expressive trend in international cinema. It is a competitive section.
The first “Esposizione d’Arte Cinematografica” came into being in 1932 as part of the 18th Venice Biennale (from 6 July to 21 August 1932) under the auspices of Count Giuseppe Volpi di Misurata, President of the Biennale, the sculptor Antonio Maraini, General Secretary, and Luciano De Feo, General Secretary of the International Institute for Educational Cinema, based in Rome. Luciano De Feo was the very first director-selector.
Italy’s highest authorities gave their approval to what would rightly be considered the first international event of its type. The 1932 Festival was held on the terrace of the Hotel Excelsior on the Venice Lido, and while at that stage it was not a competitive event, it included foremost films which became classics in the history of cinema: It Happened One Night by Frank Capra, Grand Hotel by Edmund Goulding, The Champ by King Vidor, Frankenstein by James Whale, Zemlja by Aleksandr Dovzenko, Gli uomini, che mascalzoni! by Mario Camerini and A nous la liberté by René Clair. The list of directors included leading names such as: Raoul Walsh, Ernst Lubitsch, Nikolaj Ekk, Howard Hawks, George Fitzmaurice, Maurice Tourner, and Anatol Litvak. The top stars of the moment appeared on the screen, from Greta Garbo to Clark Gable, Fredric March to Wallace Beery, Norma Shearer to James Cagney, Ronald Colman to Loretta Young, John Barrymore to Joan Crawford, and Vittorio De Sica, attracting over 25 thousand spectators.
The very first film to be shown in the history of the Festival was Rouben Mamoulian’s Dr. Jekyll and Mr. Hyde, that was screened at 9:15 p.m. on 6 August 1932. In the report taken from ‘La Gazzetta di Venezia’ we learn that “the screening of the film” was followed by a grand ball in the Hotel Excelsior and “colourful comings and goings of the most exquisite attire”. As there were no official awards, an audience referendum was conducted: best director was the Soviet Nikolaj Ekk for Putjovka v zizn, while the best film was René Clair’s A nous la liberté.
The second Festival was held from 1 to 20 August 1934 and for the first time it included a competition. 19 countries took part with over 300 accredited journalists. The “Coppa Mussolini” was introduced for best foreign film and best Italian film; however there was no actual jury.
The awards were assigned by the President of the Biennale, after listening to the opinions of both experts and audiences, and in accordance with the “National Institute for Educational Cinema”, a branch of the Society of Nations based in Rome. Other awards were the “Great Gold Medals of the National Fascist Association for Entertainment” to best actor and actress. The prize for best foreign film to Flaherty’s Man of Aran, was a confirmation of the taste of the time for auteur documentaries.
As of 1935 the Festival became a yearly event (a clear sign of its international success) under the direction of Ottavio Croze. There was an increase in the number of films and countries participating, and the actors’ award was renamed “Coppa Volpi”. In 1936 an international jury was nominated for the first time and in 1937 the new Palazzo del Cinema was inaugurated (designed by the architect Luigi Quagliata), after a record construction time in line with the modernist trends of the era; with the exception of the years 1940 to 1948, it has hosted the Festival ever since. The Festival expanded: the number of participating countries increased as did the number of films accepted. 1938 meant the first retrospective, devoted to French cinema from 1891 to 1933. Marlene Dietrich came to the Lido, consecrating the star worship that accompanied the Festival.
As regards foreign films, selected by their respective countries until 1956, French cinema in particular, the ’30s saw masterpieces the likes of René Clair’s A nous la liberté (1932) and Duvivier’s Un carnet de bal (1937), La grande illusion (1937) by Renoir, Quai des brumes (1938) and Le jour se lève (1939) by Marcel Carnè. The Italian award-winning films between 1937 and 1942 were works of propaganda, even if by outstanding directors such as Goffredo Alessandrini and Augusto Genina. The Festival was held three times during the Second World War, from 1940 to 1942 (not counted in the total number of festivals), with screenings temporarily held at the cinema San Marco in Venice, and participation limited to the member countries or sympathisers with the Alliance.
Good news for Indian indie lovers: filmmaker Chaitanya Tamhane will be on the jury of the Orizzonti (Horizons) section of this year’s Venice International Film Festival, as per a report by Variety.
His debut film Court, a multilingual courtroom drama, had won two awards at the prestigious festival in 2014 — the Lion Of The Future for Tamhane and Best Film – Orizzonti. It later went on to win many awards at festivals all around the world before winning the National Award for Best Feature Film in 2015.
Court was officially selected as India’s entry for the Best Foreign Language Film Award at the 88th Academy Awards. However, it failed to garner a nomination.
The Horizons section at Venice, the oldest film festival in the world, is dedicated to the discovery of cutting-edge cinema. Tamhane’s fellow jury members include American film critic and historian Jim Hoberman, Egyptian actress Nelly Karim, Italian actress Valentina Lodovini, South Korean actress-director Moon So-ri, and Spanish critic Jose Maria Prado.
In June, Tamhane was selected to be mentored by Oscar-winning Mexican filmmaker Alfonso Cuarón under the Rolex Mentor & Protégé Arts Initiative for 2016–17.
*Featured photo: Writer and director Chaitanya Tamhane poses with the Orizzonti Award for Best Film and the Lion of the Future for a debut film (Luigi De Laurentis) for his movie ‘Court’ during a photocall following the awards ceremony on the closing day of the 71st Venice Film Festival on September 6, 2014 at Venice Lido. Photo credit: GABRIEL BOUYS/AFP/Getty Images
KUALA LUMPUR, Aug 2 — A co-production between Malaysia and Philippines called Singing in Graveyards is set to represent Asia at the 73rd Venice International Film Festival.
The movie, which will be making its world premiere at said festival, is the only Asian movie that will be competing at the festival’s 31st edition of Critics’ Week, In Competition.
It is also up for the Lion of the Future Award from the Main Section of the festival.
Singing in Graveyards marks the directorial debut by Malaysian producer Bradley Liew, who received the Visions Sud Est Production Support Fund to make his first feature.
This isn’t the first time for the 26-year-old filmmaker to collaborate with Filipino talents, as he also previously produced Lav Diaz’s When The Waves Are Gone, which won the Paris Coproduction Village Award at the 20th Hong Kong Asia Film Financing Forum (HAF).
Starring Filipino-British singer-songwriter Pepe Smith, Singing in Graveyards tells the story of 68-year-old Pepe, an impersonator of a Filipino rock legend who lives alone on the borders of reality, imagination and mysticism.
Also part of the cast are Filipino actors Mercedes Cabral, Susan Africa, Sunshine Teodoro, Bernardo Bernando, Matt Daclan and Joel Saracho, as well as producer Bianca Balbuena, filmmaker Lav Diaz, and singer Ely Buendia.
The 2016 Venice International Film Festival will run at Venice Lido from August 31 to September 10.
British director Sam Mendes (American Beauty, Road to Perdition, Skyfall, Spectre) will be the president of the International Jury of the Competition at the 73rd Venice International Film Festival (August 31 – September 10, 2016), which will assign the Golden Lion for best film, as well as other official awards. The decision was made by the Board of Directors of the Biennaledi Venezia, chaired by Paolo Baratta, on the recommendation of the Festival’s Director, Alberto Barbera.
British Director Sam Mendes
Right from his 1988 debut as a theatrical director, Sam Mendes made a name for himself as one of the outstanding figures in British theatre, winning numerous awards. He later also established himself as one of the most highly respected film directors of recent years. His debut behind the movie camera was dazzling: in 2000, American Beauty won five Oscars, including best director and best picture. He next directed Road to Perdition, which competed at the 2002 Venice Film Festival. Since then, Sam Mendes has been a regular on London’s stages and on the sets of Hollywood films, all the way up to the extraordinary success of the 23rd James Bond movie, Skyfall, confirmed by the next in the series, Spectre, also directed by Mendes.
73rd Venice International Film Festival Director Alberto Barbera
Says Festival Director Alberto Barbera, “Sam Mendes’ work is a particularly effective and convincing synthesis of a vocation for distinctive theatre and cinema, combined with research into methods of communication with increasingly large numbers of spectators. His productions, whether destined for stage or screen, are able to reconcile the expectations of the most exacting critics with the tastes of a vast audience which seems to transcend all geographical and cultural boundaries.”
Says Sam Mendes, “I’m very honoured to have been asked by Alberto to lead the International Jury for Venezia 73. I’ve always had a strong personal connection with Venice; as a student I worked for three months at the Peggy Guggenheim Collection way back in 1984, and my happiest film festival memory is launching Road To Perdition at Venice in 2002. I am thoroughly delighted to be coming back to the Lido this year and welcoming a wealth of international filmmaking talent.”
On the final night of the upcoming 73rd Film Festival (September 10, 2016), the International Jury ofVenezia 73, chaired by Sam Mendes and composed of nine international celebrities in the spheres of film and culture, will assign the following official prizes to feature-length films in the Competition:
Golden Lion for best film
Grand Jury Prize
Best Director
Volpi Cup for Best Actor
Volpi Cup for Best Actress
Best Screenplay
Special Jury Prize
Marcello Mastroianni Award to an emerging actor or actress
Sam Mendes
In 1998 Sam Mendes directed his first film American Beauty, winning the Academy Award for Best Director and Best Picture, as well as the Golden Globe and Directors’ Guild Awards. He has since directed the Academy Award-winning Road to Perdition with Tom Hanks, Paul Newman, and Jude Law, which debuted at the Venice Film Festival, Jarhead with Jake Gyllenhaal and Jamie Foxx, Revolutionary Road with Leonardo DiCaprio and Kate Winslet, Away We Go, the BAFTA and Academy Award-winning Skyfall and Spectre, starring Daniel Craig.
Sam Mendes’s work directing theatre spans 25 years. At 24 years old he became the first Artistic Director of the Minerva Theatre in Chichester, England. At 27 he founded the Donmar Warehouse in London, which he ran for ten years, and where he directed many productions including Assassins, Translations, Glengarry Glen Ross, Company, The Glass Menagerie, Habeas Corpus, Uncle Vanya and Twelfth Night. It is now one of the world’s leading playhouses.
Sam has directed for the Royal Shakespeare Company –Troilus and Cressida with Ralph Fiennes, Richard III, The Tempest and The Alchemist; for the National Theatre –The Sea with Judi Dench, The Birthday Party, The Rise and Fall of Little Voice, Othello and King Lear; in the West End –The Cherry Orchard, London Assurance, Kean, and Charlie and the Chocolate Factory and on Broadway – Cabaret with Natasha Richardson and Alan Cumming, The Blue Room with Nicole Kidman, Gypsy, and The Vertical Hour with Julianne Moore.
In 2009 Sam founded the Bridge Project, a transatlantic theatre company, for which he directed The Winter’s Tale with Ethan Hawke, The Cherry Orchard, The Tempest, As You Like It and Richard III with Kevin Spacey. His many awards include: three Olivier Awards, three Tony Awards, the Evening Standard Award, three Critics’ Choice Awards, five Empire Awards, the BAFTA John Schlesinger Award and the Hamburg Shakespeare Prize.
In 2003 he founded Neal Street Productions, which produces three BAFTA award-winning television series – Penny Dreadful, Call the Midwife and The Hollow Crown -along with many other films and plays.
He was awarded a CBE in 2000 and the Directors’ Guild Lifetime Achievement Award in 2005.
La Biennale di Venezia and Persol are pleased to announce that American actor and director Liev Schreiber (Spotlight, X Men Origins: Wolverine, Everything is Illuminated) is the recipient of the Persol Tribute to Visionary Talent Award at the 73rd Venice International Film Festival (31 August – 10 September 2016).
The awards ceremony to confer the Persol Tribute to Visionary Talent Award 2016 to Liev Schreiber will take place on Friday September 2nd at10 pm in the Sala Grande (Palazzo del Cinema, Lido di Venezia), on the occasion of the screening Out of Competition of the film The Bleeder (USA/Canada, 93’) directed by Philippe Falardeau, starring Liev Schreiber and Naomi Watts. This biopic tells the true story of American boxer Chuck Wepner, who inspired the character of Rocky Balboa in the famous Rocky film series.
Liev Schreiber has participated in the Venice Film Festival several times in the past:
as the star last year of the Oscar-winning film Spotlight by Tom McCarthy, in 2012 with the opening film The Reluctant Fundamentalist by Mira Nair, in 2004 with The Manchurian Candidate (2004) by Jonathan Demme; and as a director in 2005 with his debut film Everything is Illuminated, starring Elijah Wood. for which he won the Lanterna Magica Prize and the Biografilm Award.
The Director of the Venice Film Festival, Alberto Barbera, made the following statement in regards to this award: “My admiration for Liev Schreiber is boundless. He has the ability to fully invest his talent both in starring roles in many independent films and as a costar in many mainstream Hollywood productions, as well as in a spectacular TV series like Ray Donovan which he produced and partially directed. The solid grounding he received as a Shakespearean actor when he was starting out continues to foster some unpredictable and complex performances, imbued with deep compassion. Each time he appears on screen it is as though the film’s tone has risen, making every appearance of his something unique and memorable. His essential qualities of sensitivity, intuition and intelligence can also be found in Everything is Illuminated, the one feature he has directed to date– and I hope it will not remain the only directorial effort by this singularly talented person.”
Chiara Occulti, Luxottica Group Senior Vice President Brand and Communication Management, stated: “We are particularly proud to continue our collaboration with the Venice International Film Festival of the Biennale di Venezia, which has reached its twelfth consecutive edition this year. In 2016, the PERSOL TRIBUTE TO VISIONARY TALENT AWARD celebrates Liev Schreiber, a talent who reflects the personality of Persol to its fullest. We are proud that an artist such as Schreiber has accepted to be the recipient and to associate his talent with that of Persol.”
Liev Schreiber is considered one of the most talented actors in contemporary cinema, as well as a respected director and actor for the theatre. His biggest hits include the film Spotlight (2015) directed by Tom McCarthy, winner of the Oscar for Best Film, Salt (2010) by Phillip Noyce, X Men Origins: Wolverine (2009) by Gavin Hood, Taking Woodstock (2009) by Ang Lee, Defiance (2008) by Edward Zwick, The Manchurian Candidate (2004) by Jonathan Demme, Kate & Leopold (2002) by James Mangold alongside Meg Ryan and Hugh Jackman, A Walk on the Moon (1999) by Tony Goldwyn, The Hurricane (1999) by Norman Jewison, RKO 281 (1999) by Benjamin Ross, Big Night (1996) by Campbell Scott and Stanley Tucci and the Scream trilogy (1996, 1997, 2000) directed by Wes Craven. In 2005 Schreiber directed Everything is Illuminated, with Elijah Wood. He studied at the Royal Academy of Dramatic Art, one of the most famous drama schools in the world and one of the oldest in Great Britain, and graduated in 1992 from the Yale School of Drama. He won a Tony Award in 2005 for Best Performance by a Featured Actor in a Play for Glengarry Glen Ross, and has received two additional nominations for Best Performance by a Lead Actor in a Play for his starring roles in A View From the Bridge (2010) and Talk Radio (2007).
The 73rd Venice International Film Festival will be held on the Lido from August 31st to September 10th 2016, directed by Alberto Barbera and organized by the Biennale chaired by Paolo Baratta.
Between 1961 and 1962 the Festival successfully became a showcase for renewal in cinema. The different sections included films from free British cinema, the consecration of the nouvelle vague, and young Italian directors: Pasolini, Bertolucci and the Taviani brothers. The Lions were reliable and not lacking in courage: L’année dernière à Marienbad by Alain Resnais and the Zurlini/Tarkovskij team with Cronaca familiare and Ivan’s Childhood.
The first “Esposizione d’Arte Cinematografica” came into being in 1932 as part of the 18th Venice Biennale (from 6 July to 21 August 1932) under the auspices of Count Giuseppe Volpi di Misurata, President of the Biennale, the sculptor Antonio Maraini, General Secretary, and Luciano De Feo, General Secretary of the International Institute for Educational Cinema, based in Rome. Luciano De Feo was the very first director-selector.
La Biennale di Venezia and Persol are pleased to announce that American actor and director Liev Schreiber (Spotlight, X Men Origins: Wolverine, Everything is Illuminated) is the recipient of the Persol Tribute to Visionary Talent Award at the 73rd Venice International Film Festival (31 August – 10 September 2016).