Venice 2023: Roman Polanski's "The Palace" and more...

by Elisa Giudici

"The Palace"

Venice is experiencing an absence this year: the middle-ground movies. While there are some mind-blowing films and quite a few terrible ones, those good yet imperfect titles are notably missing. This 80th edition of the festival has been quite the rollercoaster, with moments of brilliance followed by real disappointments. Some movies have sunk so low that they become oddly memorable. Let's take a closer look at a few of the disappointments witnessed in Venice recently.

THE PALACE by Roman Polanski
It might be too early to pass judgment, but Polanski's latest film is a disaster of such magnitude that I hope the title of the worst movie in competition won't fall to an Italian entry...

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Venice 2023: Mongolia's "City of Wind" and Michael Mann's "Ferrari"

by Elisa Giudici

"City of Wind"

The first surprise in Venice, City of Wind, was a delightful one. It's incredibly rare to come across a Mongolian film, so I made sure to set aside 104 minutes for a teen romance and shamanic party time adventure;xTime well spent! Keep an eye on this title for both the Orizzonti Palmares and the Best International Movie Oscar race. And speaking of Oscar hopefuls, Ferrari also pulled up on the Lido...

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Venice 2023: Opening film "Comandante" and the latest from Liliani Cavani

by Elisa Giudici

Edoardo De Angelis & Pierfrancesco Favino on the set of "Comandante"

Opening the Venice Film Festival is a daunting enough challenge. Now imagine being called in as a last-minute replacement for Luca Guadagnino’s new film starring Zendaya. Yet, Edoardo De Angelis managed to uphold the honor of Italian cinema admirably. His new film Comandante stands as a notable piece of filmmaking, injecting an interesting angle into the war subgenre of submarine films. To put it in perspective, it holds its own against the likes of The Wolf's Call, a recent European film of similar ambition from 2019, which boated a budget twice the size of Comandante.

A budget of 14 million euros isn't trivial within the national cinematic landscape, where the majority of yearly productions hover around the 1 to 2 million euro mark. This significant financial backing primarily went into meticulously recreating the interior and exterior spaces of the Cappellini submarine. Surprisingly, this endeavor was complicated by the scarcity of photographic references for the original ship or its close counterparts. De Angelis's film underscores a poignant historical reality: the majority of Italy's 120 submarines utilized during World War II met their demise, their crews were lost at sea, resting beneath coral crosses...

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Elisa hits Venice once again!

Our favourite Italian journalist Elisa Giudici has arrived at the Lido for the 80th annual Venice Film Festival. I had the pleasure of attending with Elisa two years ago and though I couldn't make it this year, Elisa will do her usual wonderful job of filling us in on the details. Elisa's first review will be up tonight. In the meantime do follow Elisa on Instagram. 

Once Elisa is done at Venice, the festivals continue across the ocean. This year Claudio will be our man on the ground at TIFF for the first time, so stay tuned. 

Queering the Oscars: Best Actor "A Special Day"

by Eric Blume

Marcello Mastroianni’s 1977 Best Actor Oscar nomination for Ettore Scola’s film A Special Day was one of the first examples of a straight actors being recognized for playing a gay role.  Prior to that, we’d only had Peter Finch in Sunday Bloody Sunday and Al Pacino in Dog Day Afternoon, and neither of those actors had such an entrenched persona of the “macho lover” as did Mastroianni.   

A Special Day gives us not just one Italian cinema icon playing against type, but two...

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