Venezia 81

Lido, Venice.

The Venice Film Festival is always a sizzling event, with the glitz and glamour of numerous major stars (e.g. Antonio Banderas, George Clooney, Angelina Jolie, Nicole Kidman, Brad Pitt) gracing the red carpet and setting fans alight with hysteria. The Lido is conducive to this kind of hyperbole and for the entire duration of this often somewhat surreal event, Palazzo del Cinema, Palazzo Casinó and several other auditoriums scattered across the Venetian island become a thriving hub for cinephiles of all walks of life. Venice 81 was no different, except for the blistering heat for which organisers were clearly ill prepared. Stifling high temperatures made standing in long queues an exasperating and onerous task (risking heatstroke or dehydration). This, however, only intensified the fervour of the festival as even such oppressive conditions did not discourage what seemed like a record-breaking number of attendees. 

Wolfs

The realities of the political neglect of climate change are clearly impacting the ability to deliver such events (or at least should prompt consideration of how to adapt). While the festival might seem like the planet furthest away from such important issues, Venice 81, in fact, had a great deal to offer on this front. The tendency of the festival to lean into social realism, documentary and dramatisations denouncing a range of social injustices and global anxieties did not go unnoticed.¹ It is also no coincidence that the winner of the Golden Lion, The Room Next Door (Pedro Almodóvar) addresses the important and controversial issue of euthanasia. Moreover, on closer inspection one could easily mistake the program for a human rights film festival and many of the filmmakers did not hesitate to unabashedly promote their political or social agenda. Headline attractions such as Beetlejuice, Beetlejuice (Tim Burton) and Wolfs (Jon Watts) may have set a facetious tone (many other titles also provided quirky, fun filled, and creative entertainment) but there was a significant social consciousness threaded through many of the films on offer. Perhaps this reflects the current politically volatile climate which inspires filmmakers to address the anxieties and concerns plaguing society or, perhaps, the festival was particularly receptive to films committed to hard hitting or controversial content. Nonetheless, this made for an intriguing program that belies the media attention which tends to portray the festival as a frenzy of frivolity.

One of the presumed aims of documentary filmmaking is to educate or inform the audience and inspire activism or advocacy. As Professors Kate Nash and John Corner argue, while the civic orientation of documentary film can be questioned, the increasing emergence of strategic impact documentary “suggests an ongoing faith in the ability of documentary films to encourage if not actually instigate social change.”² When filmmakers spoke about their projects, this underlying imperative was made abundantly clear. Many films presented at Venice were aimed at giving voice to silenced or marginalised members of society or to promote greater awareness of social and political issues, especially those leading to social and political polarisation. Themes such as disinformation regarding immigration, right wing extremism, the futility and destructiveness of war, the climate emergency, environmental concerns, sexual abuse, and threats to democracy pervaded many of the films across all the various categories. While all these films were not necessarily documentaries, the stories were often told with documentary stye and aesthetics. They were frequently imbued with a sense of objectivity and truth-telling associated with the genre. The program of Venezia 81 could, in fact, be described as courting the “humanitarian gaze”, a concept that human rights practitioner and researcher Sonia M. Tascón argues positions the viewer not as saviours but as activists, encouraging engagement rather than eliciting horror or pity for the suffering of others.³ Many of the films were embracing the audience in this manner, seeking to foreclose the distance between the image and the spectator by addressing issues directly affecting the audience.

Separated

Separated (Errol Morris), a quasi-documentary presented out of competition, portrays the heartbreaking cruelty of US migration policy which chose to separate children from their parents as a form of deterrent. The numerous and often repentant accounts of officials involved in such state sectioned psychological torture reveals how this was imposed primarily on very young and vulnerable children. The interviews with whistle-blowers and bureaucrats are chilling in the nightmarish scenarios described, the distress caused and the sense of guilt which lingers in many of the testimonies. Such accounts are a compelling appeal to rethink the growing tendency of aggressive policies towards asylum seekers. Marco (Aitor Arregi & Jon Garaño), presented in the Orizzonti (Horizons) category, touched on the importance of truth telling related to holocaust memories. The film is based on the true events related to Enric Marco, leader of the Spanish Association of Holocaust Victims. Marco was a very charismatic figure who falsely claimed to have been held captive in a concentration camp. Despite overwhelming evidence of his lies, he continued to insist that he was a victim of Nazi Germany till the day he died. This was not the only film wishing to reflect on Europe’s devastating history of war and fascism. Riefenstahl (Andres Veiel) is a documentary about the infamous filmmaker whose convenient denial of the horrors of the Nazi regime (which her imagery often glorified) was interrogated and tested. The filmmakers expressed surprise and consternation at the ample evidence they uncovered of Riefenstahl wilfully ignoring the horrific realities emerging in Germany. This out of competition film pointed to the dangers of not opposing autocratic regimes and politics. Campo di Battaglia (Battlefield, Gianni Amelio), a film which was in competition, broached similar political themes from an entirely different perspective. Set in a military hospital, it deals with the experience of frontline soldiers in WWI. The futility of war is eerily emphasised via a rising incidence of self-harm among the wounded (as means to avoid being returned to the battleground). However, the emergence of the Spanish flu creates an even darker shadow over the events and reiterates the notion that history has an awful tendency to repeat itself. The reference to recent events could hardly be overlooked in many of these films.

Israel Palestina på Svensk TV 1958-1989 (Israel Palestine on Swedish TV 1958-1989)

The notion that modern civilisation persists in failing to learn from past errors is most emphatically conveyed in Israel Palestina på Svensk TV 1958-1989 (Israel Palestine on Swedish TV 1958-1989, Göran Hugo Olsson). This out of competition film has a running time of 206 minutes and is comprised entirely of Swedish Television archives on the conflict.⁴ The coverage during this period is unique due to the constant presence of reporters and the depth with which the conflict was covered. Olsson describes it as “by far the most painful film that I – we – have ever done” and when I asked him to elaborate on this comment his anguish was palpable: “I am totally depressed; I am totally in despair… honestly I can’t talk about it without crying… I can’t see any hope in this.” Olsson viewed thousands of hours of material and selected reports which gave equal attention to both sides of the story, “We did make an effort to put something [together] that was representative of the material at large.” The film has astonishing amounts of detailed archival footage of key figures such as PLO leader, Yasser Arafat, and Israeli prime minister, Golda Meir. Olsson suggests, “If we are promoting something it is the notion of peace and coexistence… however naive that may sound you should keep that notion alive.”⁵ The earlier news reports in the film display a sense that a peaceful resolution could be found with a genuine political will to do so. As the reports progress over time the point of view becomes more jaded and reflects a sense of hopelessness, especially given more recent events in the region. Olsson allows the material to speak for itself without making any specific demands on the audience, which is a refreshingly raw approach to a film with a social justice agenda. This highly unusual documentary is a vibrant example of filmmaking which operates with the desire to primarily incite critical thought and dialogue.

The festival program was particularly comprehensive in its coverage of a range of issues. Manas (Marianna Brennand) which screened as part of the Auteur Days (Giornata degli Autori) category tells the story of Marcielle (Jamilli Correa), a 13-year-old who finds herself trapped in a cycle of sexual abuse in a remote Amazonian forest. It is based on actual accounts of similar stories of women being abused at home and simultaneously sexually exploited on commercial barges. The director states, “Through Manas, I want to give a voice to these women and girls… I see cinema as a compelling vehicle for social and political transformation and hope that Manas will be able to mobilize viewers’ empathy and break the enormous taboo surrounding this difficult reality.”⁶ The film was awarded the GdA Director’s Award which acknowledges the extraordinary power of this deeply disturbing story.

Ainda estou aqui (I’m Still Here)

 Anul Nou care n-a fost (The New Year That Never Came, Bogdan Mureşanu), which screened as part of the Orizzonti category, is unequivocal in its warning against autocratic regimes and the resulting cultural fallout. Set on the eve of the 1989 Romanian revolution, the film quizzically follows six seemingly disconnected lives showing how they are all irreversibly and profoundly affected by the unfolding events. The lacklustre energy of the regime in its dying days is especially conveyed with both irony and poignancy. It received the award for best film in its category. Ainda estou aqui (I’m Still Here, Walter Salles), which was in competition, is an incredibly compelling dramatisation of a true historical event. The film is based on the book written by Marcelo Rubens Paiva about the politically motivated disappearance of his father. It chronicles the incredible resilience and dignity which characterises the way his mother, Eunice Paiva, dealt with the heartbreaking brutality of the Brazilian military dictatorship (1964-1985). While the film was being made, Brazil came dangerously close to reliving this political dystopia, making the film even more powerful. It received well deserved recognition through the award for Best Screenplay. Vermiglio (Maura Delpero), also a film in competition, explores the impact of war time culture on a remote alpine village and shows how far reaching its effects can be. Although set during the last year of WWII and the fighting seems a long way off, the core of the soul of each character is unmistakably altered. It is yet another film determined to open old wounds and relive a painful European past. It was awarded the Grand Jury Prize and also managed to secure an American distribution deal.⁷ 

Qing Chun: Gui (Youth: Homecoming)

Qing Chun: Gui (Youth: Homecoming, Wang Bing) which was the only documentary to screen in competition, provides a remarkably grim picture of working-class youth in China. The very uncomplimentary portrayal of the working and living conditions of teenagers and young adults working in the textile industry is disturbing. This film is third in a trilogy {Qing Chun: Chun (Youth, (Spring), 2023) and Qing Chun: Ku, (Youth: Hard Times, 2024)} where Bing explores the hardships of young people facing a very precarious future. Five years in the making, Bing effectively captures the intensity of their hardships. Overall, Venezia 81 provided ample examples of politically engaged films and rewarded them without hesitation.

One of the most anticipated films in competition was Queer (Luca Guadagnino). Interestingly, this imaginative and explicit adaptation of William S. Burroughs’ novel did not receive any awards. The story of the expat’s infatuation with a young student is a very sensual exploration of homosexual desire and many critics hailed Daniel Craig’s exuberant performance. The presence of films with such sensitive content is an indicator of a commitment towards equality and inclusivity; a commitment echoed in a great deal of the content of the screenings. The festival is also increasing its visibility as an important industry and professional networking event.

Queer

The program included short films, immersive cinema experiences, as well as Venice Production Bridge (VPB) sessions, which enjoyed a significant increase in participation.⁸ The sessions encompassed topics such as international co-productions, the role of streaming platforms and gender equality. La Biennale hosted the Annual Seminar on Gender Equality and Inclusivity with Eurimages (European Cinema Support Fund) and Women in Film, Television & Media, Italia and has been gathering data on gender equity for several years. All the statistics presented in this session suggested some improvement in women’s participation in the industry both on and off screen, especially in the last seven years. However, all agreed the pace of progress is still painfully slow. Anecdotally, the promise hailed in the statistics translates to greater attention to the work of women. This year’s jury was chaired by the French actress Isabelle Huppert, an icon of European cinema.⁹ In addition, Sigourney Weaver was awarded the Golden Lion for Lifetime Achievement. As Film Festival Director, Alberto Barbera, states, “She won over the great film-going public with Alien, directed by Ridley Scott, soon becoming an emblematic figure of the 1980s. During the course of that decade, she forged the image of a heroine unprecedented in the action film genre, able to victoriously rival the male models who… had dominated epic and adventure movies.” Weaver dramatically changed the landscape of commercial genre cinema for women via her unconventional femininity.¹⁰ Acknowledging the importance of her career reflects La Biennale’s genuine commitment to a more equitable industry. 

Venezia 81 offered a number of unexpected and surprising aspects, and even offered a moment of national pride through Peter Weir’s Golden Lion Award for lifetime achievement. This highlighted the importance of Australian cinema and films such as The Cars that Ate Paris (1974) and Picnic at Hanging Rock (1975). This also affirms the festival’s extensive global reach in the way it attracts and celebrates filmmakers with enduring talent and integrity.

Biennale Cinema
27 August – 7 September 2024
https://www.labiennale.org/en/cinema/2024

Endnotes