The Venice Days of the 69th Venice Film Festival have kicked off. The LUX Prize is once more developping its partnership with the festival through the 27 Times Cinema initiative. Read the following presentation text by Roberto Barzanti, the President of the Venice days.
In their ninth edition, Venice Days remain true to their proven track record, all the while expanding it through contemporary themes and language. The European dimension has always been an important one to us. The kind of Europe which today writes and produces the films that we select is more cosmopolitan, less proud of itself, more aware of others, more diverse and less identity-driven. This kind of Europe is the kind that is needed within the current unstoppable processes of globalisation.
While the general public continues to be shocked and stressed by daily, undecipherable financial manoeuvres, the best thing to do is to develop texts that create a thirst for knowledge and inventions, are realistically crude and not afraid of showing garish excesses. It is no coincidence that one of the themes discussed at this year’s edition will be the sustainability of creativity, project which the European Union is about to launch.
From this, a crucial dilemma will inevitably reemerge: is creativity to be considered an uninterested party, separate from the demanding logic of quick turnover and profit? Or is it rather a workshop where projects are determined by the rule of economic markets?
Finding a balance between these two polar opposites is beyond complex. The young men and women coming from countries all around Europe who will be with us - thanks to a forward-thinking European Parliament – will give voice to cultural pluralism and their very own vision of sensitivity. Obviously, Venice Days will also pay attention to the current hardship in Italy. Out of the twelve selected films, three are Italian.
The first film, a new, yet faithful take on Pinocchio, which aims to go back to a pure and bare narrative, is an emblem, full of meaning. Speaking of creativity: Carlo Collodi had no idea the global success his book would be met with when he was solitarily, working hard on it.
There will be many opportunities to engage in debates: what lies in the future of institutions, schools, the centres which sustain and enabled Italian Film to build its reputation: Cinecittà, Cineteca nazionale, Centro Sperimentale and Anac. But also the one hundred authors and the feisty organizations which promote Venice Days activities keeping their critical stance and research independent. They are all at the centre of a project that has taken on its own, well-defined function publicizing ambitious projects which push for a rethinking of aesthetics, poetics, politics. This is referred to as the “Cinema degli Anni Zero”, or noughties’ cinema.
We are proud of this, and we want to express our renewed and profound gratitude to all those who made it possible. Thanks to those who have confirmed their firm contribution, starting with the Direzione Cinema del Ministero per i Beni e le Attività Culturali. A warm welcome to Miu Miu, our creative partner who is joining our team for the first time. Our relationship with the Biennale presidency has been increasingly systematic and well integrated.
There is surely no need to add how touched, I and the rest of the Venice Days Assembly are to see the amount of passion, tenacity and enthusiasm Venice Days director Giogio Gosetti and his colleagues have brought to their task. Thanks to them, Venice Days has become an unmissable event for all those who believe that quality film, in an age when audiovisual communication has been invaded by oblique messages and continuous manipulations, still has a clear, important role to play.
Roberto Barzanti, Venice Days President