Inauguration Pedro Almodóvar will open the Venice Film Festival with 'Parallel Mothers'
Parallel mothers Instagram apologizes to Pedro Almodóvar for censoring his movie poster
Dune The comic version of 'Dune', in the hands of the Spaniards Raúl Allén and Patricia Martín
Mostra 2020 'Nomadland', Golden Lion by obligation
In 2020 Cannes closed due to the pandemic. Not Venice. And, as in previous years in which
'Roma', 'La La Land
' or
'The shape of water'
could be seen at the Lido
, the Mostra returned to show the film of the year: '
Nomadland
', by Chloé Zhao . After the parenthesis of '
Parasites
', 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 '
Parallel Mothers
', by
Pedro Almodóvar,
appears on the first day of the month will simply be the cinema that it will be. Cannes 2021 has
highlighted
cinema with value thanks to titles of masterpieces such as'
Drive my car
', by
Ryûsuke Hamaguchi
,'
Memoria
, by
Apichatpong Weerasethakul
, or the award-winning '
Titane
', by
Julia Ducournau.
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 '
Dune
' with which
Denis Villenueve
appears to exorcise one of the oldest curses that the cinema drags. Neither
Jodorowsky
nor
David Lynch,
by action or omission, were able to properly adapt
Frank Herbert's
universe
. '
Dune
' 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
Javier Bardem
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
Jane Campion
to the cinema more than a decade after the hand of
'The power of the dog
' , a 'western' starring
Benedict Cumberbatch and Kirsten Dunst.
She and
Paolo Sorrentino
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
Pablo Larraín
who converts
Kristen Stewart
in Lady Di in '
Spencer
' and she does so with the firm will to offer a feminine fresco at the height of her previous '
Ema
' or '
Jackie
'. And all of them, they and '
them
' without forgetting the teacher
Paul Schrader
who insists on a story of redemption in '
The card counter
', with
Oscar Isaac
in his number three presence at this festival (he will also be seen in '
Dune
' and in the miniseries 'Secrets of a marriage' with
Jessica Chastain
).
If to all these we add, halfway between the industry and the other,
'The last duel
', by
Ridley Scott,
with
Matt Damon, Ben Affleck and Adam Driver
characterized as knights in the fourteenth century;
'Last Night in Soho'
, a '
thriller
' by
Edgar Wright
starring
Anya Taylor-Joy, Thomasin Harcourt McKenzie and Matt Smith,
and even '
Halloween Kills
', by
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
in
'Official Competition'
, by
Mariano Cohn and Gastón Duprat
(the parents of the hilarious '
Distinguished Citizen'
), could be the first great good excuse for frenzy. Or even fervor. The second, why not, the return of the Mexican
Michel Franco
with '
Sundown
' after his turbulent
'New order
' last year. Third,the directorial debut of actress
Maggie Gyllenhaal
with '
The Lost daughter'
, based on a novel by
Elena Ferrante
and starring
Olivia Colman and Dakota Johnson
. The fourth, the return of the always disturbing
Ana Lily Amirpour
who turns
Kate Hudson
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
Erik Matti
offered on
'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
Stéphane Brizé
('
Un autre monde'
), the twins
Damiano and Fabio D'Innocenzo
(
'Latin America'
),
Lorenzo Vigas
('
The box'
) or the triple appearance of the giant
Toni Servillo
in the films by Sorrentino,
Mario Martone
('
Qui rido io'
) and
Leonardo Di Costanzo
('
Ariaferma'
) 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 '
Parasites
' and the penultimate winner of the Palme d'Or,
Bong Joon Ho
, who will preside over a jury that also includes
Chloé Zhao
, now it can be said that Venice, with
Almodóvar
and everything, is the new Cannes.
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