An edition of Venice promoted with full marks until the day before yesterday, where everything worked perfectly, social distances and seat reservations included, stained by a jury that did not prove itself up to a film art exhibition (such as we will never tire of emphasizing Venice calls itself). Nomadland certainly not a masterpiece, but a good average, crafty film (would it not have been more courageous to investigate the economic crisis that pushed the protagonist to live in a camper rather than just praise nomadic life?), excellently acted but directed by a director who seems to be wondering only whether to frame a sunset or choose the sunrise.
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Not to mention the director’s award given to an inert film like the Japanese, where precisely the staging is hidden from the first to the last shot, or the Grand Prix that went to the most reactionary of all the titles in competition, where the fact that the military coup are cruelest and most ferocious murderous revolutionaries is not enough to digest a film that shows torture and torture with a complacency and empathy of evident immorality. Perhaps, instead of worrying only about inclusions and the like, it would be appropriate to return to reflect on the central themes of cinema: what is right to film and how to do it. Finally, Italy, which comes out battered by this verdict, given that the award for the best actor knows a lot of sop. Favino too intelligent not to be surprised by a Coppa Volpi that goes to a secondary character (like his) rather than to the two real protagonists, both remarkable, of a failed film. Not the first time that a jury has ruined the voucher built by the festival (Scorsese will certainly not have forgotten what happened to Those good guys) but perhaps it would be appropriate to open a slightly more serious reflection on the reasons that lead to favoring glamor instead of skills. Especially in those who have the task of awarding important prizes such as the Lions.
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12 September 2020 (change 12 September 2020 | 22:55)
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