Lido’s Chronicles


  • The words of the director and the star of Bones and All, Timothée Chalamet
  • Presentation Gian Piero Brunetta’s book La Mostra Internazionale d’Arte Cinematografica di Venezia 1932-2022 

Guadagnino looking for the “new possibility of the impossible” 

If I knew who I am, I’d be bored. Right now, my ambition is to control what I do and surrender to the privilege of working with friends who contribute, with their creativity, to a perfect result.” This was Luca Guadagnino‘s answer to the question “who are you today”. Bones and All is his first movie shot in the United States. “I’ve always been influenced by American cinema,” he adds, “but I waited until I had a more mature vision, and the opportunity arrived when I read the script. I was attracted to this story of characters looking for a new chance in the impossible. For lead actor Timothée Chamelet understanding his outcast and misfit Lee was formative: “Lee and Maren are two isolated people, they don’t have a real identity, and through the mirror of love, they find a way to grow up. Playing this character was a formative experience.” It was more difficult, on the other hand, to identify with their love story: “I am familiar with the love one has for family and friends,” he smiles, “but for the other kind of love I am still too young“.

Tiziana Leone


Gian Piero Brunetta’s book La Mostra Internazionale d’Arte Cinematografica di Venezia 1932-2022

Ninety years and sharing this long story with the world. Today was presented yesterday in the Press Conference Room of Palazzo del Casinò the English version of the volume by Gian Piero Brunetta “The Venice International Film Festival 1932-2022” (published by Marsilio with La Biennale di Venezia). An exciting chronicle of what Brunetta defines “The Mother of all film festivals” through its films (18,000), stars, directors and the public and historical-social changes that have written its history. A work of years for which the author has consulted, with the support of the most modern technologies, an impressive amount of often unpublished materials, staking not only his authority as a film historian but also his emotional experience as a spectator.

Emanuele Bucci

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