Lido’s chronicles


  • Gianni Ippoliti’s “wall”
  • The stars of Dead for a Dollar: Hill, Dafoe, Waltz
  • Biennale College Cinema. A decade of avant-garde cinema


That (hilarious) “wall” for comments and complaints

“But is it possible to watch a movie about normal people?” “Because movies can be three hours long doesn’t mean they have to be three hours long.” “I’m not cannibalistic, but I’d taste a slice of Chalamet’s butt.” “Olivia Wilde, Worry Darling.”  It’s the wall of weeping, put up by Codacons, run by Gianni Ippoliti, just behind the Palazzo del Cinema. In this free space, anyone can give his opinion about the Festival. Of course, the best comment will take home the Give us back our money Award, coveted for years. There is no limit to complaints, except those against the screening booking systems. And there is also room for the old feud between the accredited people and the Lido residents. “Why don’t you take off your damn badge when you’re not at the Festival? You are irritating.” The answer is written on the same sheet. “At least we distinguish ourselves from the least hospitable people in Italy.” Alongside those who complain, because like every year their bicycle has been stolen, there is no shortage of those who throw it into politics, inviting Giorgia to see The Whale screaming “W diversity.” But it is for godmother Rocio Munoz Morales the longest dedication:  “Why?” in all the world languages. 

Tiziana Leone

The stars of Dead for a Dollar: Hill, Dafoe, Waltz

Walter Hill on the western genre: “I don’t know exactly why western always come back in my films. I like the genre. There are horses, the landscapes. Western conveys a sense of nostalgia for a period in American history around which a mythical, poetic idea revolves. Plus, Westerns are fun to make.”

Willem Dafoe: “I first worked with Walter 40 years ago, in Streets of Fire. He is an intelligent director, frank. When he asked me to make a Western, a genre he loves, I immediately said yes. I found the same person I met 40 years ago.”

Christoph Waltz: “I believe that discipline is the starting point for a film: discipline in actions, thoughts and emotions. You also need discipline in a script to be respected.”

Biennale Cinema College. A decade of avant-garde cinema 

One of the most remarkable and courageous innovations introduced by the Biennale in its long history.” This is how moderator Peter Cowie described Biennale Cinema College during the international panel Biennale College Cinema. A Decade of Cutting-Edge Cinema, dedicated to ten years of the advanced training workshop aimed at emerging filmmakers, who are guided in developing and making feature films, then presented at the Venice Film Festival. This year’s titles are: Like Turtles, Mountain Onion, Palimpsest and Banu. They were discussed at the meeting, in the presence of the respective directors and producers, and with speeches by critics Fabien Baumann, Sara Ehnholm Hielm, Glenn Kenny, Michael Phillips, Chris Vognar and Stephanie Zacharek, as well as Savina Neirotti, who has headed the Biennale College Cinema program since 2012 and the Biennale College Cinema Virtual Reality program since 2017. A reality that, she said, can now fully call itself “a community.”

Emanuele Bucci

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