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In 2020 Cannes closed due to the pandemic. Not Venice. And, as in previous years in which
'Roma', 'La La Land
'The shape of water'
could be seen at the Lido
, the Mostra returned to show the film of the year: '
', by Chloé Zhao . After the parenthesis of '
', seen in the French contest in 2019, Venice was again in full Covid rigor, and as is the rule
since Alberto Barbera took over the artistic direction of the contest,
the scene of the most awarded film, most praised, most viral and contagious.
And so on until the year 2021, another one of the many that will come with a pandemic, where we already are. If the Cannes edition moved to July since May proposed itself as the last option for a failing cinema and industry and gathered around it the best of all living authors, Venice does the same just two months later and ... double the bet. The cinema that will be seen in the Veneta lagoon since '
appears on the first day of the month will simply be the cinema that it will be. Cannes 2021 has
cinema with value thanks to titles of masterpieces such as'
Drive my car
, or the award-winning '
Venice 2021, on the other hand, will simply highlight the value of cinema. The nuance matters. And more now.
What will be seen in the official section, in and out of competition, is a dazzling display of expectations and all higher. On the industry side, nothing can be compared to the blockbuster '
' with which
appears to exorcise one of the oldest curses that the cinema drags. Neither
by action or omission, were able to properly adapt
' is not only Warner's big bet, it is also the biggest big-time cinema challenge facing big-screen cinema. The fact that together with the couple
Timothée Chalamet and Zendaya
appears until the same
as the dustiest of the Fremen scores points.
Denis Villeneuve and Javier Bardem at one point during the filming of 'Dune'.
And on the side of the directors, to the aforementioned Almodóvar who does not change his long-awaited and frustrating Cannes for Venice, we must add the return of
to the cinema more than a decade after the hand of
'The power of the dog
' , a 'western' starring
Benedict Cumberbatch and Kirsten Dunst.
who returns with his most personal and hurt film.
'È stata la mano di Dio'
(It has been the hand of God) is a story about destiny and family, sports and cinema, love and loss. It is simply Sorrentino in his particular '
eight and a half
' Neapolitan and gaunt. They and
in Lady Di in '
' and she does so with the firm will to offer a feminine fresco at the height of her previous '
' or '
'. And all of them, they and '
' without forgetting the teacher
who insists on a story of redemption in '
The card counter
in his number three presence at this festival (he will also be seen in '
' and in the miniseries 'Secrets of a marriage' with
If to all these we add, halfway between the industry and the other,
'The last duel
Matt Damon, Ben Affleck and Adam Driver
characterized as knights in the fourteenth century;
'Last Night in Soho'
, a '
Anya Taylor-Joy, Thomasin Harcourt McKenzie and Matt Smith,
and even '
David Gordon Green
, and with the indefatigable
Jamie Lee Curtis
as teacher of ceremonies, the result seems unbeatable. Nothing that wants to show off the year that is rushing into its last quarter escapes a full show.
Rossy de Palma, Israel Elejalde, Penélope Cruz and Milena Smit in 'Parallel Mothers', by Pedro Almodóvar.
The rest of the titles that make up the most attractive part of the contest each hide a reason for enthusiasm. And there are many. Contemplating in the other Spanish production the suddenly comic trio formed by
Penélope Cruz, Antonio Banderas and Óscar Martínez
Mariano Cohn and Gastón Duprat
(the parents of the hilarious '
), could be the first great good excuse for frenzy. Or even fervor. The second, why not, the return of the Mexican
' after his turbulent
' last year. Third,the directorial debut of actress
The Lost daughter'
, based on a novel by
Olivia Colman and Dakota Johnson
. The fourth, the return of the always disturbing
Ana Lily Amirpour
into the medium for a moral tale by force murky in '
Mona Lisa and the Blood Moon
'. Recall that the Iranian-American director returns to the Lido after her post-apocalyptic cannibal love story
'The Bad Batch
' won the Special Jury Prize in 2016. The fifth, the extremely long-crafted proposal by Filipino
'On the Job: The Missing 8
', a continuation of'
On the Job '
, the film that caused a sensation in 2013 at precisely Cannes.
The new works of
Un autre monde'
), the twins
Damiano and Fabio D'Innocenzo
) or the triple appearance of the giant
in the films by Sorrentino,
Qui rido io'
Leonardo Di Costanzo
) could be the sixth, seventh, eighth, ninth ... reasons for the enthusiasm in a Venice all turned into pure frenzy.
If finally we take into account that it is the director of '
' and the penultimate winner of the Palme d'Or,
Bong Joon Ho
, who will preside over a jury that also includes
, now it can be said that Venice, with
and everything, is the new Cannes.
According to the criteria of The Trust Project
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