Venice 2017

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bizarre
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Re: Venice 2017

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The awards have been handed out:

Golden Lion - THE SHAPE OF WATER (Guillermo del Toro)
Grand Jury Prize - FOXTROT (Samuel Maoz)
Special Jury Prize - SWEET COUNTRY (Warwick Thornton)
Best Director - Xavier Legrand (CUSTODY)
Best Actor - Kamel El Basha (THE INSULT)
Best Actress - Charlotte Rampling (HANNAH)
Best Screenplay - THREE BILLBOARDS OUTSIDE EBBING, MISSOURI
Marcello Mastroianni Prize for Best Young Performer - Charlie Plummer (LEAN ON PETE)

also,

FIPRESCI Prize (In Competition) - EX LIBRIS: THE NEW YORK PUBLIC LIBRARY (Frederick Wiseman)
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Re: Venice 2017

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...and it has a very good chance of winning, partly because it's probably a very good film (it hasn't been released yet) but also for becoming our Culture Minister, the divine Miss M(iri Regev)'s current pet hate - she denounced it as an anti Israeli propaganda since it doesn't portrays the IDF as the most moralistic army in the world the way it should. (Of course she admitted she hasn't seen it - she doesn't consume culture - it may interfere with her objective judgment.)
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Re: Venice 2017

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Precious Doll wrote:Foxtrot is one of five films vying for Ophir Award and the winner usually goes on to be their selected entry.
The Ophir winner IS the Israeli entry, automatically.
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Re: Venice 2017

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I think Weerasethakul is the only director with enough critical clout and name recognition to get nominated for a film with Weerasethakulist stylings.
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Re: Venice 2017

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Precious Doll wrote:Foxtrot is one of five films vying for Ophir Award and the winner usually goes on to be their selected entry.

Thailand has submitted By the Time It Gets Dark which is another film that received raves from critics. I get the impression of what little I know if it that is is in the vein of Apichatpong Weerasethakul films which gives it virtually zero hope of making the final five.
Yet, Dogtooth.....
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Re: Venice 2017

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THR on George Clooney's Suburbicon http://www.hollywoodreporter.com/review ... 17-1034831

The Wrap: http://www.thewrap.com/suburbicon-revie ... -brothers/

If these review is anything to go by it won't be an Oscar player.

Variety appears to be a little more appreciative: http://variety.com/2017/film/reviews/su ... 202544864/
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Re: Venice 2017

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Foxtrot is one of five films vying for Ophir Award and the winner usually goes on to be their selected entry.

Thailand has submitted By the Time It Gets Dark which is another film that received raves from critics. I get the impression of what little I know if it that is is in the vein of Apichatpong Weerasethakul films which gives it virtually zero hope of making the final five.
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Re: Venice 2017

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Not likely part of our Oscar discussion, unless it gets submitted for foreign film, but Foxtrot has received exceptional reviews at Venice, and would appear to be a favorite for prizes.

http://variety.com/2017/film/reviews/fo ... 202545615/

http://www.hollywoodreporter.com/review ... ew-1034783

https://www.screendaily.com/foxtrot-ven ... 18.article
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Re: Venice 2017

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Lucrecia Martel's new film Zama has gotten rave reviews from Variety & The Guardian (Xan Brooks). It begs the questions 'why wasn't it in competition'. With The Headless Woman, The Holy Girl and La Cienaga under her belt I wonder what caused the exclusion of Zama.

Interesting Annette Benning, who is the head of this years Venice Jury has noted the lack of films by female directors in the competition.

Edit: Just found this piece in The Hollywood Reporter on the Venice selections: http://www.hollywoodreporter.com/news/v ... es-1031376

Me thinks Alberto Barbera may be past it.
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Re: Venice 2017

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Yeah, the Zama slot is baffling. I'm just upset at the progressive deterioration of Venice's artistic pedigree, it's lately been a weird mix of laudable stabs at debut feature and Global South selections and English-language crap from no-longer-relevant Western auteurs that no one in America is even excited for. At least their awards and jury selections are usually more adventurous than those at Cannes.
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Re: Venice 2017

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bizarre wrote:This is a really uncreative lineup (and the jury looks pretty bland, too). Ten of these films (that I know of) are in English and five are by American directors, the four Italian films are on paper stuff that would barely qualify for a fest as insipid as, say, Montréal World, and there's only one woman in competition. Nice to see Wiseman there and interesting to have Ai Weiwei in competition (Venice definitely likes cross-pollinating into the art and music worlds with both comp and jury selections, which is refreshing).

Time to retire both Fremaux and Barbera, I think - Berlin is the only one of the big three that still makes maverick selection decisions in my opinion.
I find it more appealing than the Cannes lineup. My 'looking forward to' includes: del Torro, Payne, Schrader, Guediguian, Wiseman, Hirokazu, Thornton & Haigh from the competition. I know some of their recent films have not been up to par with their best (Payne, Wiseman & Haigh being the exceptions) but one can't help but live in hope of what they may deliver. I'm still surprised Martel didn't make the competition but we'll see what the reviews alike. Wouldn't be surprise to see the 'artistic creator' with pie on his face over that omission.
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
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Re: Venice 2017

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Kechiche probably can't ever show his face in Cannes again after he pawned his Palme D'Or and all, but he's definitely a big enough name to warrant a spot here. Will be interested in the reaction to this one.
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Re: Venice 2017

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This is a really uncreative lineup (and the jury looks pretty bland, too). Ten of these films (that I know of) are in English and five are by American directors, the four Italian films are on paper stuff that would barely qualify for a fest as insipid as, say, Montréal World, and there's only one woman in competition. Nice to see Wiseman there and interesting to have Ai Weiwei in competition (Venice definitely likes cross-pollinating into the art and music worlds with both comp and jury selections, which is refreshing).

Time to retire both Fremaux and Barbera, I think - Berlin is the only one of the big three that still makes maverick selection decisions in my opinion.
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Re: Venice 2017

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I'm disappointed that Lucrecia Martel's new film Zamma is showing out of competition.

It was widely tipped for Cannes competition but once Pedro Almodovar was announced as Head of the Jury there was no way it could be shown in competition as he is one of the producers of Zamma.

Still it's an interesting line-up, more interesting than Cannes was.
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Venice 2017

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Venice Announces 2017

Lineup, Including ‘The Shape of Water,’ ‘Suburbicon,’ ‘mother!,’ and Many More
The crowded fall festival season kicks off with the opening of Venice, and this year's lineup looks to be another strong batch of big contenders.

Will 2017 be the year that Venice gets its king-making mojo back? After a steady run of debuting recent best picture winners — from “Spotlight” to “Birdman” — the festival missed out on last year’s big winner, “Moonlight,” which bowed at Telluride. This year’s lineup is a promising one, and while it’s still very early in the process, it’s difficult not to pick through today’s announcement of the festival’s slate and not search for the big contenders.

As was previously announced, the festival will open with Alexander Payne’s social satire “Downsizing,” starring Matt Damon and Kristen Wiig. The festival will also play home to the premiere of the Netflix original “Our Souls at Night,” as part of their planned tribute to stars Robert Redford and Jane Fonda. Annette Bening will lead the competition jury, ending an 11-year succession of male jury chiefs.
Venice will debut a slew of awards contenders, including Guillermo del Toro’s “The Shape of Water,” George Clooney’s “Suburbicon,” Darren Aronofsky’s “mother!,” and Martin McDonagh’s “Three Billboards Outside Ebbing, Missouri.” Though it’s (extremely) early in the awards race, those titles are the ones already garnering the most buzz, and many of them will also bow at TIFF (and, in some cases, Telluride).

As unsurprising as those picks might be, the competition section does include a few unexpected offerings, including Andrew Haigh’s Cannes debut “Lean on Pete,” Paul Schrader’s “First Reformed,” and Frederick Wiseman’s doc “Ex Libris — The New York Public Library.”

Other premieres of note include “Woodshock,” the Kirsten Dunst-starring directorial debut of sisters Kate and Laura Mulleavy, along with Anne Fontaine’s Isabelle Huppert-starring “Marvin,” Nancy Buirski’s in-competition documentary “The Rape of Recy Taylor,” the Errol Morris series “Wormwood,” and a number of compelling out of competition documentary offerings.
Now in its 74th year, Venice is still looking to innovate, and 2017 will mark the first year the festival offers a VR competition, with a jury led by John Landis. The inaugural competition section packs 11 titles.

The Venice Film Festival runs August 30 – September 9 in Venice, Italy. This year’s festival will face two uncomfortable overlaps with its primary competition, as its final days will coincide with the opening of both Telluride (September 1 – 4) and TIFF (September 7 – 17).

As ever, the big fall events will undoubtedly double (or even triple) up on certain titles, but it’s always compelling to see where films hit and where they miss…and how that shapes the awards season to come.

Below are the first additions to the Venice 2017 lineup, including “Downsizing,” “Suburbicon,” “mother!,” and more. Stay tuned for more programming announcements in the days to come.

Opening Night Film

“Downsizing,” dir. Alexander Payne (in competition)

Competition

“Human Flow,” dir. Ai Weiwei
“mother!,” dir. Darren Aronofsky
“Suburbicon,” dir. George Clooney
“The Shape Of Water,” dir. Guillermo del Toro
“Linsulte,” dir. Ziad Doueiri
“La Villa,” dir. Robert Guediguian
“Lean On Pete,” dir. Andrew haigh
“Mektoub, My Love: Canto Uno,” dir. Abdellatif Kechiche
“The Third Murder,” dir. Koreeda Hirokazu
“Jusqu’a la Garde,” dir. Xavier Legrand
“Ammore e Malavita,” dir. Manetti Brothers
“Foxtrot,” dir. Samuel Maoz
“Three Billboards Outside Ebbing, Missouri,” dir. Martin McDonagh
“Hannah,” dir. Andrea Pallaoro
“Downsizing,” dir. Alexander Payne
“Angels Wear White,” dir. Vivian Qu
“Una Famiglia,” dir. Sebastiano Riso
“First Reformed,” dir. Paul Schrader
“Sweet Country,” dir. Warwick Thornton
“The Leisure Seeker,” dir. Paolo Virzi
“Ex Libris – The New York Public Library,” dir. Frederick Wiseman

Horizons (Competition)

“Disappearance,” dir. Ali Asgari
“Especes Menacees,” dir. Gilles Bourdos
“The Rape of Recy Taylor,” dir. Nancy Buirski
“Caniba,” dir. Lucien Castaing-Taylor, Verena Paravel
“Les Bienheureux,” dir. Sofia Djama
“Marvin,” dir. Anne Fontaine
“Invisible,” dir. Pablo Giorgelli
“Brutti e Cattivi,” dir. Cosimo Gomez
“The Cousin,” dir. Tzahi Grad
“The Testament,” dir. Amichai Greenberg
“No Date, No Signature,” dir. Vahid Jalilvand
“Los Versos del Olvido,” dir. Alireza Khatami
“The Night I Swam,” dir. Damien Manivel, Igarashi Kohei
“Nico, 1988,” dir. Susanna Nicchiarelli
“Krieg,” dir. Rick Ostermann
“West of Sunshine,” dir. Jason Raftopoulos
“Gatta Cenerentola,” dir. Alessandro Rak, Ivan Cappiello, Marino Guarnieri, Dario Sansone
“Under the Tree,” dir. Hafsteinn Gunnar Sigurdsson
“La Vita in Comune,” dir. Edoardo Winspeare

Out of Competition Fiction

“Our Souls At Night,” dir. Ritesh Batra
“Victoria & Abdul,” dir. Stephen Frears
“Il Signor Rotpeter,” dir. Antonietta de Lillo
“La Melodie,” dir. Rachid Hami
“Outrage Coda,” dir. Kitano Takeshi
“Loving Pablo,” dir. Fernando Leon de Aranoa
“Zama,” dir. Lucrecia Martel
“Wormwood,” dir. Errol Morris
“Diva!,” dir. Franceso Patierno
“Le Fidele,” dir. Michael R. Roskam
“Il Colore Nascosto Delle Cose,” dir. Silvio Soldini
“The Private Life of a Modern Woman,” dir. James Toback
“Brawl in Cell Block 99,” dir. S. Craig Zahler

Out of Competition Documentaries

“Cuba and the Cameraman,” dir. Jon Alpert
“My Generation,” dir. David Batty
“Piazza Vittorio,” dir. Abel Ferrara
“The Devil and Father Amorth,” dir. William Friedkin
“This is Congo,” dir. Daniel McCabe
“Ryuichi Sakamoto: Coda,” dir. Stephen Nomura Schible
“Jim & Andy: The Great Beyond. The Story of Jim Carrey, Andy Kaufman and Tony Clifton,” dir. Chris Smith

Out of Competition Special Events

“Casa d’Altri,” dir. Gianni Amelio
“Michael Jackson’s Thriller 3D,” dir. John Landis
“Making of Michael Jackson’s Thriller (1983),” dir. Jerry Kramer

Cinema in the Garden

“Manuel,” dir. Dario Albertini
“Controfigura,” dir. Ra di Martino
“Woodshock,” dir. Kate Mulleavy, Laura Mulleavy
“Nato a Casal di Principe,” dir. Bruno Oliviero
“Suburra – The Series,” dir. Michele Placido, Andrea Molaioli, Giuseppe Capotondi
“Tueurs,” dir. Francois Troukens, Jean-Francois Hensgens

Special Documentary Screenings

“La Lunga Strada del Ritorno,” dir. Alessandro Blasetti
“Barbiana ’65 La Lezione di Don Milani,” dir. Alessandro G. A. D’Alessandro
“Lievito Madre, Le Ragazze del Secolo Scorso,” dir. Concita de Gregorio, Esmeralda Calabria

Biennale College

“Beautiful Things,” dir. Georgio Ferrero
“Shadeed Martyr,” dir. Mazen Khaled
“Strange Colours,” dir. Alena Lodkina

Venice Classics (Documentary)

“Light Years,” dir. Manuel Abramovich
“Evviva Giuseppe,” dir. Stefano Consiglio
“La Lucida Follia di Marco Ferreri,” dir. Selma Jean Dell’Olio
“L’Utopie des Images de la Revolution Russe,” dir. Emmanuel Hamon
“The Prince and the Dybbuk,” dir. Elwira Niewiera
“La Voce di Fantozzi,” dir. Mario Sesti
“This is the War Room!,” dir. Boris Hars-Tschachotin
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
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