In 2020 Cannes closed because of the pandemic. Venice no. And, as in the previous years in which in the Lido could be seen 'Rome', 'La Land' or 'The Water Shape', the Mostra exhibited the ribbon of the year: 'Nomadland', by Chloé Zhao . After the parentheses of 'parasites', seen in the French contest in 2019, Venice was again in full rigor Covid, and as it is Rule since Alberto Barbera became with the artistic direction of the event, the most awarded movie scene, More praised, more viral and contagious.
And so until reaching the year 2021, another of the many who will come with pandemic, where we are already. If the edition of Cannes displaced to July since May was proposed to itself as the last option for a cinema and a claudican industry and brought together the most grendenly of all the live authors, the Venice burns just only two months later And ... bend the bet. The cinema that will be seen in the Veneta Lagoon since 'Parallel mothers', from Pedro Almodóvar, the first day of the month appears will be, simply, the cinema that will be. Cannes 2021 has put into value the cinema with value thanks to Titles of Masterpieces such as' Drive My Car ', from Ryûsuke Hamaguchi,' Memory, by Apichatpong Weerasesthakul, or the award-winning 'Titane', by Julia Ducournau. Venice 2021, on the other hand, will simply put the value of cinema. The nuance matters. And more now.
What will be seen in the official section, inside and out of competition, is a dazzling exhibition of expectations and all older. On the side of the industry, nothing can be compared to the 'Dune' overproduction with which Denis Villenueve appears to exorcise one of the oldest curses that drags the cinema. Neither Jodorowsky nor David Lynch, for action or omission, were able to adapt as the universe of Frank Herbert. 'Dune' is not only the great bet of Warner, it is also the biggest challenge of cinema to the big thing facing the big cinema. The fact that next to the couple Timothée Chalamet and Zendaya appears until the same Javier Bardem as the most dusty of the Fremen sum points.
And on the side of the directors, Al already cited Almodóvar that not in Balde changes his longing and frustrating Cannes by Venice, you have to add the return of Jane Campion to the cinema over 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 her most personal and hurt film. 'È Stata Hand di Dio' (has been the hand of God) is a story about destiny and family, sports and cinema, love and loss. It is simply sorrentino in its particular 'Eight and a half' Neapolitan and crazy. They and Pablo Larraín who turns Kristen Stewart into Lady Di in 'Spencer' and does so with the firm will to offer a female fresh at the height of his previous 'Ema' or 'Jackie'. And all of them, they and 'Elles' without forgetting Maestro Paul Schrader who insists on a story of redemption in 'The Card Counter', with Oscar Isaac in which it is his number three presence at this festival (he will be seen in 'Dune' and the miniseries 'secrets of a marriage' next to Jessica Chastain).
If we all add, halfway between industry and the other, 'The Last Duel', from Ridley Scott, with Matt Damon, Ben Affleck and Adam Driver characterized by gentlemen in the 14th century; 'Last Night in Soho', a 'Thriller' of Edgar Wright starring Anya Taylor-Joy, Thomasin Harcourt McKenzie and Matt Smith, and up 'Halloween Kills', by David Gordon Green, and with the indefatigable Jamie Lee Curtis de Maestra de Ceremonies, the result is unbeatable. Nothing you want to presume the year that is precipitated at its last quarter, it escapes to a movie full.
The rest of the titles that make up the most colorful part of the contest each of them hide a reason for enthusiasm. And there are many. Contemplate in the other Spanish production to the trio of suddenly comedian formed by Penelope Cruz, Antonio Banderas and Óscar Martínez in 'Official Competition', Mariano Cohn and Gastón Duprat (the fathers of the hilarious 'distinguished citizen'), could be the first great Good excuse for the frenzy. Or fervor even. The second, why not, the Return of Mexican Michel Franco with 'Sundown' after her turbulent 'new order' last year. The third, the debut at the direction of the actress Maggie Gyllenhaal with 'The Lost Daughter', based on a novel by Elena Ferrant and starring Olivia Colman and Dakota Johnson. The fourth, the return of the always disturbing Ana Lily Amirpour that turns Kate Hudson into the medium for a moral tale by murky force in 'Mona Lisa and the Blood Moon'. Recall that the Iranian-American Director returns to the Lido after his history of Postapocalyptic Postapocalyptic love "The Bad Batch 'obtained the Special Juro Award in 2016. La Quinta, the very long proposal of the Filipino Erik Matti that offers in' on The Job: The Missing 8 ', a continuation of' on the Job ', the film that caused sensation in 2013 in precisely Cannes.
The new works of Stéphane Brizé ('an Autre Monde'), of the Damian twins and Fabio d'Innocenzo ('America Latina'), of Lorenzo Beams ('La Caja') or the triple appearance of the giant Toni Serillo on the tapes De Sorrentino, Mario Martone ('Qui Rido io') and Leonardo di Costanzo ('Ariaferma') could be the sixth, seventh, octave, ninth ... Reasons for enthusiasm in a Venice all of her converted into pure frenzy.
If last we take into account that it is the director of 'parasites' and penultimate winner of the golden palm, Bong Joon Ho, is the one 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.Date Of Update: 04 September 2021, 15:25