at the Venice Film Festival, "The Truth" softens the mores


Hirokazu Kore-eda, Catherine Deneuve and Juliette Binoche opened the 76th edition of the film festival on a background of controversy, around the parity and the presence of the platforms.

By Thomas Sotinel Posted today at 06h00, updated at 09h21

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Juliette Binoche and Catherine Deneuve at the opening ceremony of the Mostra, Wednesday, August 28.
Juliette Binoche and Catherine Deneuve at the opening ceremony of the Mostra, Wednesday, August 28. Joel Ryan C / Joel C Ryan / Invision / AP

Just before the beginning of August 28, the projection of The truth, of Japanese director Hirokazu Kore-eda, opening film and first feature film in competition for the Golden Lion of the 76e Mostra internazionale d'arte cinematografica the biennale di Venezia, the Italian film festival offered a nice trompe l'oeil. Around the mistress of the ceremony, the actress Alessandra Mastronardi, were joined three directors, Argentina Lucrecia Martel and the Italians Susanna Nicchiarelli and Costanza Quatriglio, who respectively chair the juries of the competition, the Orizzonti section and the program Venezia Classici devoted to heritage. There was only one man on the stage of the Palazzo del Cinema, Emir Kusturica, at the head of the jury to reward the best first work.

It was only an illusion. During the day, the press conference of the jury resulted in a pass between Lucrecia Martel and the artistic director of the Mostra, Antonio Barbera. This one has retained only two films made by women – The Perfect Candidate, Saudienne Haifaa Al-Mansour, and the first feature film by Australian Shannon Murphy, Babyteeth – out of 21 films competing for the Golden Lion.

20% of submissive films directed by women

Moreover, Antonio Barbera repeated to the envy that 20% of the films that had been submitted to him were made by women. Arithmetic is irrefutable: if there are only 10% in competition, it is that they are in his eyes half as good. Speaking to the artistic director, Lucrecia Martel asked him to imagine "That the proportion is 50/50. Are you sure the quality would be lower? Unless the industry is deeply transformed.

President and Director were also asked about the presence in competition of I accuse, the film that Roman Polanski devoted to the Dreyfus affair. In the United States and France, several feminist associations have protested against the director's presence, which US courts still consider a fugitive after his conviction for rape by a California court in 1978. Alberto Barbera argued that it was necessary to distinguish the man of the work while Lucrecia Martel expressed his solidarity with the victim.

Announcing his intention not to attend the dinner given in honor of the director of Chinatown she spoke for the participation of her film in the competition. The artistic director was also questioned about the presence ofAmerican Skin, from Nate Parker, in the Sconfini section. In the United States, the release of Parker's first feature film, Birth of a nationhad been obscured by the controversy surrounding an old rape case in which the filmmaker had been acquitted.

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