“Venice will not be Venice without short films”. And I add Italian shorts. The beginning stolen from Jo by Louisa May Alcott is well suited to sum up the authentic, real, imaginative look of our short film in competition at the Venice Film Festival.
And especially in the selections of Orizzonti and SIC @ SIC, the Semaine de la Critique which for some years, more precisely – since – 2016, has been associated with those of Cinecittà.
The cinematographic categories that are increasingly finding fertile ground among young Italians whom the pandemic has not weakened, but rather strengthened, artistically speaking.
In competition in the international Orizzonti section, ultimately intended for very few shorts compared to the nearly 1,700 submitted to the commissions, there are two Italian films.
The genres chosen show the courage to dare: the first, that of Federico Di Corato, a Pugliese born in 1991, is called Manual of cinematography for amateurs and tells, against the backdrop of the fascist dictatorship, a man and the world created by his cameras. photo and sound manual of sound film.
Tria – Del sentimento del betare is rather Giulia Grandinetti’s first fiction film: an explosive mix of Greek references and feminine dystopia. – In SIC @ SIC, the all-Italian section, the short films, those in competition, are seven, but there are eight directors because Puiet was shot four-handed by Lorenzo Fabbro and Bronte Stahl.
Their films, young and mature, are both identical and different. Not only because they represent the future of our national production landscape, but also because, in themes and cinematic representations, they portray a different, unhomologated gaze.-
Visceral, epidermal, slow and magical love by Albertine Where are you? (the title pays homage to the homonymous character of La Recherche du temps perdu) and Come le snaache by Margherita Panizon come together, as in a transparent but existing red thread, in the not so distant future of Nostos directed by Mauro Zingarelli and in the past 1950s Reginetta by Federico Russotto.
Rather, “evoking” is the word that crosses and unites the Transylvania of Puiet, the remote places of Resti by Federico Fadiga and the dream, perhaps a healing ritual, of La Chambre lucide by Chiara Caterina.
Will short and young cinema be the real detonator of hope? For us, yes, and we hope that the cinema space, starting with the theatre, will realize this more and more.
A “Bertoluccian” scene taken from Come le snaache by Margherita Panizon, one of the short films selected by Critics’ Week.