According to Alberto Barbera, the festival’s artistic director, Venice will deliver “a message of concrete optimism for the entire world of cinema”
FILM FESTIVALS are where many of the industry’s most commercially and critically successful films have their premiere. Last year, Quentin Tarantino’s “Once Upon a Time...in Hollywood” and Bong Joon-ho’s “Parasite” made their red-carpet debuts at Cannes. “Joker” and “Marriage Story” were introduced at Venice.
In July the organisers announced that they would “present certain changes” to make this possible. The Official Selection line-up has been slashed from about 80 titles to about 55; the Virtual Reality section is online, rather than on the small island of Lazzaretto Vecchio ; the Venice Classics section has been folded into a separate festival in Bologna; the experimental Sconfini section has been shelved; and two new outdoor venues have been built.
That does not mean that the movie business is returning to normal. As exciting as the prospect of the Venice’s annual “Mostra Internazionale d’Arte Cinematografica” may be, it has some obvious advantages over its competitors when it comes to adjusting to the pandemic. At Cannes, for instance, the streets teem with visitors who wait for hours at a time in the hope of spotting their favourite star.
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