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Introduction by the Director of the 73rd Venice International Film Festival, Alberto Barbera

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Director of the 73rd Venice International Film Festival, Alberto Barbera

In the face of changes which could almost be defined momentous – the evolution of China’s film market (whose audience numbers have surpassed those of the American market); the threat streaming poses to the centrality of cinemas; the rampant emergence of Virtual Reality, which is taking on the dimensions of traditional film – the progressive shift in the development of the festival formula seems truly unimportant. Although the festival rite, defined by unchangeable paradigms such as its entrenchment in a physical place and the physical presence of filmmakers and producers, remains basically the same (but it would be illusory to think it could evolve into something else on its own),  it must be stressed that many things have changed profoundly in Venice over the years. The screening rooms have been restructured and now conform to the most advanced technological standards. The Biennale College has produced excellent results and, in just a short time, has become a model of reference for similar initiatives, helping to launch new filmmakers on the international circuit. The possibility to view online many of the films in the Orizzonti section as they are being presented in Venice broadens the range of potential Festival viewers, thanks to the new possibilities offered by the Web. Commercial operators who in recent years had decided to skip the festival in Venice have been lured back thanks to the creation of a “light market.” Other changes are ongoing, confirmation of the aim to follow a progressive transformation, albeit a prudent one averse to unrealistic ambitions.

The festival’s market has changed radically, starting with its new name – Venice Production Bridge – which reflects its nature as a virtual space chiefly dedicated to offering selected projects in search of financers and co-producers. Moreover, it is not limited to films but is open to the new narrative forms and the new media: documentaries, TV series, web series and Virtual Reality.  A new section has been created, which keeps the name of the successful experiment inaugurated last year –  Cinema nel Giardino – but whose size and reach have been expanded. This endeavor has been facilitated by the new screening room created after the excavation site (which for years had defaced the area in front of the Casino) was covered over, enhancing the range of structures at the festival’s disposal. This new section not only satisfies the need to host a few more films (a decision which is apparently in contradiction to the often declared desire to maintain the program as lean as possible), its intent is to stretch the limits of what can and must be shown at a festival. In its scope and horizons, the Festival has never neglected to satisfy its public, which can and must grow even further if, through our combined efforts, we are to once more close the progressively growing distance between art house films and commercial cinema – a dichotomy we had hoped to lay to rest long ago but which instead has been resuscitated in recent years by a market which is clearly struggling. The  “Cinema nel Giardino” evenings, free of charge and open to all, offer a wide-ranging choice of different and heterogeneous movies which share the more or less openly declared intention of attracting as vast an audience as possible, in turn doing away with or reducing the distance between cinephiles and those spectators who are primarily in search of singular entertainment. It has never been true that festivals – and in particular the Venice Film Festival – are exclusively interested in movies which the greater public ignores. This juxtaposition only exists in certain specious simplifications. But, if it is true that it would make no sense to dedicate the Festival’s competition to movies which don’t need the showcase and the promotion of a festival (which by definition is dedicated to the cinematographic art), then it is just as true that, today, a different consideration must be made. There is a type of cinema which does not cater strictly to the more radical authorial demands, which proposes to follow the pathway traced by a type of cinema which used to be called “regular ” and which we no longer know what to call, dedicated (perhaps in a confused manner) to searching out narrative methods which can involve a vaster public than the (increasingly limited) one which still frequents art houses. A type of cinema which does not intend to give in to rampant vulgarity, which doesn’t settle for the simplifications of a “disposable” product, which doesn’t renounce being a mirror of the present, an intelligent divertissement, a show for many. A type of cinema which, today, deserves to be supported and encouraged, defended and promoted, at least to the same degree as that which, for the sake of convenience, we continue to call auteur cinema. This, too, is something that Festivals do.
 
Alberto Barbera
Director of the 73rd Venice International Film Festival
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(Source:www.labiennale.org)
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Venice Film Festival 2016: Impressive Line-Up For Golden Lion Nominations

The 73rd Venice International Film Festival has been set in motion. The dates are out and the line-up has been released. The festival will pit twenty movies for the top prize named Golden Lion. From dramas to thrillers, the line-up is loaded with some power packed performances.

Venice Film Festival will kick start with the world premiere of La La Land. Directed by Damien Chazelle, the musical has already been the talk of the town due to the sizzling chemistry of Ryan Gosling and Emma Stone. The plot of the movie revolves around a jazz pianist who falls in love with an ambitious actress in Los Angeles.

Antoine Fuqua’s The Magnificent Seven will be showcased before the curtain closes on the festival. The movie stars Denzel Washington in a plot set for the modern retelling of the 1960 classic about outlaws in the Old West.


Talking about the festival, director Alberto Barbera says that the focus of this year’s line-up has been philosophical and existential questions that prevail in films. He says movies which steer away from brutality of reality and every day news are approached. He clarifies that the idea should not be looked upon like a sort of escapism.

 

Venice Film Festival Nomination Line-Up
Ana Lily Amirpour, The Bad Batch
Stephane Brize, Une Vie
Damien Chazelle, La La Land
Derek Cianfrance, The Light Between Oceans
Mariano Cohn, Gaston Duprat, El ciudadono ilustre
Massimo D’Anolfi, Martina Parenti, Spira Mirabilis
Lav Diaz, The Women Who Left
Amat Escalante, La region salvaje
Tom Ford, Nocturnal Animals
Roan Johnson, Piuma
Andrei Konchalovsky, Paradise
Martin Koolhoven, Brimstone
Emir Kusturica, On the Milky Road
Pablo Larrain, Jackie
Terrence Malick, Voyage of Time
Christopher Murray, El Cristo ciego
Francois Ozon, Frantz
Giuseppe Piccioni, Questi giorni
Denis Villeneuve, Arrival
Wim Wenders, Les beaux jours

The popular one among the lot, The Light Between Oceans, to be showcased at Venice Film Festival, is a story about a couple who help a baby that drifts away in a rowboat. The cast of the movie includes Alicia Vikander, Rachel Weisz and Michael Fassbender.

The Venice Film Festival will also be remembering the great work by two legendary film directors, Abbas Kiarostami and Michael Cimino, reported Euro News. Both the directors recently passed away. Venice Film Festival comes to a close on Sept. 10 2016.

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(Source: http://www.movienewsguide.com article by Ancy John)

Paolo Baratta Introduces 73rd Venice Film Festival

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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

Moon So Ri Named Juror For Venice Orizzonti

From  notclaira on Soompi.com, July 24, 2016

“Actress Moon So Ri has been named as one of the jurors for the 73rd annual Venice International Film Festival!

On July 24, her agency, C-JeS Entertainment, announced that the actor had been selected as one of the jurors for the Orizzonti section.

The festival is the oldest of its kind in the world and one of the most prestigious alongside the Cannes Film Festival and Berlin International Film Festival. The Orizzonti section is a sub-section of the festival with its own awards categories.

She is the first Korean actor to be appointed as juror for the Venice Film Festival. In 2006 director Park Chan Wook was one of the jurors for the official competition, and in 2009 director Kim Jin Ah was one of the jurors for the Orizzonti section.

Moon So Ri has previously won the Marcello Mastroianni Award for Emerging Actor or Actress at the 59th Venice International Film Festival for her 2002 film “Oasis.” Her films “Hill of Freedom” and “A Good Lawyer’s Wife” have also been shown at previous festivals.

A source from the festival said, “Moon So Ri is a brilliant actress who represents the Korean film industry. She has accomplished several milestones in Korean film and it is an honor to have her as juror following her 2002 award.”

 

Moon So Ri herself made a statement saying, “It’s always difficult to compare films and give them scores. But nothing compares to the experience of meeting filmmakers all around the world and watching films together. I have many good memories of the Venice International Film Festival and I hope to make even more this year.”

Moon So Ri has also been the juror for the Busan International Film Festival, Jeonju International Film Festival, Festival del film Locarno, and the Tokyo International Film Festival.

The 73rd International Film Festival will be held from August 31 to September 10. Meanwhile, Moon So Ri is currently filming the movie “Special Citizen.”

 

(Source: Post by notclaira on Soompi.com, July 24, 2016)