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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

' or

'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 '

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


cinema with value thanks to titles of masterpieces such as'

Drive my car

', by

Ryûsuke Hamaguchi



, by

Apichatpong Weerasethakul

, or the award-winning '


', 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 '


' with which

Denis Villenueve

appears to exorcise one of the oldest curses that the cinema drags. Neither



David Lynch,

by action or omission, were able to properly adapt

Frank Herbert's


. '


' 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 '


' 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

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 '


' 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,


Matt Damon, Ben Affleck and Adam Driver

characterized as knights in the fourteenth century;

'Last Night in Soho'

, a '


' by

Edgar Wright


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


'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 '


' 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



) 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

Chloé Zhao

, now it can be said that Venice, with


and everything, is the new Cannes.

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