Venice sets stage for film fests
Movie events vie for stars, awards buzz
VENICE, ITALY — It’s a sure sign that summer’s over and the awards season is around the corner — the feast of fall film festivals.
The 72nd Venice Film Festival opens Wednesday, running to Sept. 12, followed later in September by movie extravaganzas in Toronto, Telluride and New York.
As well as celebrating the best of global cinema, the festivals battle one another to snag the biggest stars and hottest awards prospects. London’s festival, coming in early October, has just announced Helen Mirren, Benedict Cumberbatch and Maggie Smith among the British stars attending.
Venice, the oldest and stateliest of the bunch, brings 11 days of red carpets, cameras, parties and premieres to the canal-crossed Italian city.
Here are five highlights, trends and themes to look out for:
HIGH-ALTITUDE OPENER
Venice’s opening slot has developed a formidable hitmaking reputation. In 2013, it sent the space saga Gravity into orbit, and on to seven Academy Awards.
Last year’s opener, the midlife crisis comedy Birdman, scooped up four Oscars, including best picture, and revived Michael Keaton’s career.
This year’s festival opens with Baltasar Kormakur’s thriller Everest, which stars Jake Gyllenhaal, Robin Wright, Emily Watson and Jason Clarke in the fact-based story of peril on the world’s highest peak. Producers’ hopes are as high as a Himalayan summit.
Festival director Alberta Barbera says the opening film had to strike a balance between artistry and audience-pleasing.
“We need to find a film which is at the same time spectacular, with a lot of emotion (and) good characters the audience can relate to,” he said. “So it’s not easy.
“I think Everest is more or less in the same vein as the previous two.”
HOLLYWOOD HEAVYWEIGHTS
Some of Hollywood’s biggest names will be walking the red carpet on Venice’s Lido island — and hoping it’s a rehearsal for Oscar night.
Among potential prize contenders are Johnny Depp, all but unrecognizable as a Boston mobster in Scott Cooper’s Black Mass; Eddie Redmayne transformed into a transgender woman in Tom Hooper’s The Danish Girl; and Idris Elba as an African warlord in Cary Fukunaga’s Beasts of No Nation.
The combination of Tilda Swinton, Dakota Johnson and Ralph Fiennes could make waves in Luca Guadagnino’s drama A Bigger Splash, while Kristen Stewart and Nicholas Hoult find love in a dangerous time in Drake Doremus’s futuristic feature Equals.
And last year’s Venice hero, Keaton, returns alongside Mark Ruffalo and Stanley Tucci in Tom McCarthy’s Spotlight, about Boston Globe journalists investigating sexual abuse in the Catholic Church.
GLOBAL GIANTS
Venice is offering up meaty fare from heavyweight global auteurs among the 21 films that Mexican director Alfonso Cuaron and his jury will consider for the festival’s top prize, the Golden Lion.
Israel’s Amos Gitai depicts the traumatic 1995 assassination of Prime Minister Yitzhak Rabin in Rabin, The Last Day, while Russia’s Aleksandr Sokurov — a previous Golden Lion winner — tells the story of the Louvre museum, and of Europe, in Francofonia and Italy’s Marco Bellocchio bites into the vampire-themed Blood of My Blood.
Among the quirkier-sounding offerings are Charlie Kaufman and Duke Johnson’s animated feature Anomalisa and musician Laurie Anderson’s canine-themed feature debut Heart of a Dog.
REAL-LIFE DRAMA
Tragic and transformative real-life events loom large in the festival’s strong slate of documentaries.
Zhao Liang’s Golden Lion contender Behemoth shows giant mines gouging the Chinese steppe, while Evgeny Afineevsky’s Winter On Fire charts the mass demonstrations that toppled Ukraine’s government in 2014.
Amy Berg’s Janis traces the short, sensational life of singer Janis Joplin, while aerial-photography master Yann Arthus-Bertrand celebrates humanity in the kaleidoscopic Human, which has premieres in Venice and at the United Nations in New York on Sept. 12.
CINEMA CONTROVERSY
No festival would be complete without a soul-searching debate over the future of cinema. This year’s comes courtesy of streaming service Netflix, which is moving into fiction films with Beasts of No Nation.
Netflix plans to release the African child-soldier drama simultaneously on-demand and in cinemas in October, a development that has alarmed distributors and movie theatre owners. Barbera is philosophical. “We cannot avoid that the Internet and the new digital platforms are there, and they are competitors with the traditional theatrical circuit,” he said.
“It doesn’t make any sense trying just to fight this trend. We have to find a way to collaborate.”