By Lindsey Bahr, Film Writer
VENICE, Italy (AP) --Hope for the future of cinema was front of mind for many as the Venice International Film Festival kicked off Wednesday on the Lido.
In the face of the delta variant, and the trials those in the global film industry weathered last year, the 78th edition of the oldest festival in the world has returned, with precautions, to celebrate the best of what's to come in film from both newcomers and established veterans, like Jane Campion and Pedro Almodóvar.
"I have the feeling and impression that everyone is willing to come back, ready to start again, ready to release the films that stayed on the shelf for two years," said festival director Alberto Barbera. "And the hope is that the audience will come back to the theaters, which is the best way to watch a movie."
Although a vocal supporter of the movie theater experience, Barbera also sees the good in streaming and again is hosting several Netflix films at the festival, including Campion's "The Power of the Dog."
"We all know that after the reopening the situation will be completely different from the past. (Streaming) platforms are there to stay, cinema, theaters will not disappear," Barbera said. "But we will face sort of a double system … theaters and platforms."
"I think it's a great opportunity for the audience and for the filmmakers as well because it means a lot of investment in terms of productions," he said. "We are already adjusting to this huge amount of money coming to the cinema industry everywhere. It's a good moment for cinema. It's never been so vital."
Bong Joon Ho, the Oscar-winning director of "Parasite" who is presiding over the main jury year, said that the last year "was a test that showed the life force of cinema."
"Filmmakers had a very tough time last year," Bong told a news conference Wednesday. "I don't believe that the history of cinema can be stopped so easily. So COVID will pass and cinema will continue."
As the head of the jury, which includes Oscar-winner Chloé Zhao and actor Cynthia Erivo, Bong and his fellow jurors have the weighty responsibility deciding which film will take home the coveted Golden Lion Award, which has launched films to Oscar glory. Last year's recipient was Zhao's "Nomadland," which took home best picture and best director.
Some of the more prominent films and filmmakers competing for the award this year include "The Power of the Dog," Paolo Sorrentino for "The Hand of God," Paul Schrader for "The Card Counter," Almodóvar for "Parallel Mothers," Maggie Gyllenhaal for "The Lost Daughter," Ana Lily Amirpour for "Mona Lisa and the Blood Moon" and Pablo Larraín for "Spencer." There are 21 total films in competition.
"I don't feel like there has to be some kind of criteria for judging," Bong said. "It's all about respecting everyone's tastes, that could be all different … We are ready, I think. We are ready to fight."
Other jurors include Romanian documentarian Alexander Nanau ("Collective"), Canadian actor Sarah Gadon ("Enemy"), French-Belgian actor Virginie Efira ("Elle") and Italian director Saverio Costanzo ("Hungry Hearts").
The festival was one of the only to attempt a 2020 gathering in-person. This year, there will be more people by half, but attending guests also are subject to checks and verification of vaccination or a negative COVID-19 test. Theaters are operating at 50% capacity and everyone is required to wear masks indoors.
"I hope this is really the reopening that was not the case last year because we had the second and the third wave and so on," Barbera said. "It will be even more safe and secure than last year."
The Venice Film Festival runs through Sept. 11.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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