direttore Paolo Di Maira

ALBERTO BARBERA/4 Questions for the new Festival Director

What are the characterizing elements of the 69th Film Festival?
First and foremost, the change in editorial line: not only will this be a slimmer Festival but the actual sections (apart from the Competition section) will assume different features. “Orizzonti” will once again become a place of discovery. The retrospective section will change too: it will propose restored movies from the last century’s vast (and often forgotten) heritage, with a program designed for young people who will finally have a chance to get to know the works that made cinema great, so that they can plan the movies of the future.


Then there are the innovations that are not connected with the Festival itself, at least not directly.
These are two very important additions. The Market will act as a driving force on an international level. If our objective is to develop arthouse cinema, this cannot happen outside the market: so bringing producers and distributors together is essential for the Festival. Then there are the permanent activities. The Biennale College belongs to this category. It is an ambitious and risky project: it starts with an idea which it aims to turn into a movie to be screened at next year’s Festival, all in the space of just 12 months. There will be 2-3 works every year.

One Out of Competition section consists entirely of documentaries.
That was not planned. But during the selection process we found ourselves faced with many different and very interesting projects which unintentionally carved out a space for themselves. At the moment documentaries appear to be offering a new and interesting field of experimentation and expression.

How difficult was it to find 50 world premiere movies?
Venice continues to enjoy an extraordinary prestige on a global level. Many directors and producers want to present their works to us. And contrary to what people might think, despite the crisis there is currently no lack of products on the market, thanks to new technologies. Possibly the most difficult aspect is managing to balance moods and flavors, and to find really good movies. That is a very delicate part of our work.

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