Venice film fest for Iran

Venice film festival gives voice to Iranian opposition
The Venice film festival is providing a timely forum for Iranian works such as Shirin Neshat’s “Women Without Men” amid crackdowns on opposition groups disputing the June elections in their country.
Thursday saw the screening of “Green Days”, the second feature-length film of Hana Makhmalbaf, 21, the daughter of filmmaker Mohsen Makhmalbaf.
Made since the election, the film uses news footage including the killing of Neda Agha-Soltan, who became a symbol of martyrdom for the cause of freedom and democracy in Iran.
In “Green Days,” the central character Ava is a young woman suffering from depression who fails to catch the spark of enthusiasm for the elections. Rather, she heads out into the streets to seek dialogue with compatriots she sees as mere dreamers.
Neshat made her directorial debut Wednesday with “Women Without Men,” dissecting Iranian society at the time of the 1953 CIA-backed coup that overturned the nationalist government of Mohammed Mossadegh and installed the Shah in power.
Against that backdrop, four women — a prostitute, an activist, a cosmopolitan woman and a traditional young girl — fight for individual freedom and independence, winding up together at an idyllic orchard in the countryside.
“The four characters are who I am — every one of them carries some personal dilemma, though it is not exactly autobiographical,” the young photographer and visual artist told reporters.
Based on a novel by Shahrnush Parsipur, the film vying for the prestigious Golden Lion here is dedicated to “those who lost their lives fighting for freedom and democracy in Iran, from the constitutional revolution of 1906 to the Green Movement of 2009.”
Neshat said: “This film speaks to the Iranian people and the world. We have been struggling for over 100 years, and we will not give up. … We will get there one day.”
In the film, partisans of Mossadegh march in the streets before being crushed on the orders of Shah Mohammed Reza Pahlavi.
“Dictators have changed in form and shape and ideology, but the struggle for liberation still goes on,” said Neshat, wearing green, the colour of the Iranian reformist movement.
Amirali Navaee has two short films in the festival, “As I Was Leaving My City” and “My Atomic Beloved.”
In the first, the camera focuses on the legs of a dancing man, passing by those of a beggar, a sweeper, and someone who is being handcuffed by police.
“My Atomic Beloved” shows a young man rushing through the house of his ex-girlfriend 12 hours before an atomic bomb strikes Tehran.
The short films are part of the Venice Days section, which this year paid homage to the “resistance” of Iranian cinema.
The selection also includes “Muli,” a black-and-white animation by Marjon Farsad, about a little girl who dreams of becoming a scientist but lives with the fear of “not being able to play again, one day.”
Other Iranians featured in Venice are Hana Kamkar with “Shahrzad” and dissident Arash Irandoost with “Paper Airplane.”
And for International Critics’ Week, another Venice filmfest programme, Nader T. Homayoun offered his film noir “Tehroun” exploring the underbelly of the Iranian capital.
by: AFP

Venice film festival gives voice to Iranian opposition

neshatThe Venice film festival is providing a timely forum for Iranian works such as Shirin Neshat’s “Women Without Men” amid crackdowns on opposition groups disputing the June elections in their country.

Thursday saw the screening of “Green Days”, the second feature-length film of Hana Makhmalbaf, 21, the daughter of filmmaker Mohsen Makhmalbaf.

Made since the election, the film uses news footage including the killing of Neda Agha-Soltan, who became a symbol of martyrdom for the cause of freedom and democracy in Iran.

In “Green Days,” the central character Ava is a young woman suffering from depression who fails to catch the spark of enthusiasm for the elections. Rather, she heads out into the streets to seek dialogue with compatriots she sees as mere dreamers.

Neshat made her directorial debut Wednesday with “Women Without Men,” dissecting Iranian society at the time of the 1953 CIA-backed coup that overturned the nationalist government of Mohammed Mossadegh and installed the Shah in power.

Against that backdrop, four women — a prostitute, an activist, a cosmopolitan woman and a traditional young girl — fight for individual freedom and independence, winding up together at an idyllic orchard in the countryside.

“The four characters are who I am — every one of them carries some personal dilemma, though it is not exactly autobiographical,” the young photographer and visual artist told reporters.

Based on a novel by Shahrnush Parsipur, the film vying for the prestigious Golden Lion here is dedicated to “those who lost their lives fighting for freedom and democracy in Iran, from the constitutional revolution of 1906 to the Green Movement of 2009.”

Neshat said: “This film speaks to the Iranian people and the world. We have been struggling for over 100 years, and we will not give up. … We will get there one day.”

In the film, partisans of Mossadegh march in the streets before being crushed on the orders of Shah Mohammed Reza Pahlavi.

“Dictators have changed in form and shape and ideology, but the struggle for liberation still goes on,” said Neshat, wearing green, the colour of the Iranian reformist movement.

Amirali Navaee has two short films in the festival, “As I Was Leaving My City” and “My Atomic Beloved.”

In the first, the camera focuses on the legs of a dancing man, passing by those of a beggar, a sweeper, and someone who is being handcuffed by police.

“My Atomic Beloved” shows a young man rushing through the house of his ex-girlfriend 12 hours before an atomic bomb strikes Tehran.

The short films are part of the Venice Days section, which this year paid homage to the “resistance” of Iranian cinema.

The selection also includes “Muli,” a black-and-white animation by Marjon Farsad, about a little girl who dreams of becoming a scientist but lives with the fear of “not being able to play again, one day.”

Other Iranians featured in Venice are Hana Kamkar with “Shahrzad” and dissident Arash Irandoost with “Paper Airplane.”

And for International Critics’ Week, another Venice filmfest programme, Nader T. Homayoun offered his film noir “Tehroun” exploring the underbelly of the Iranian capital.

by: AFP

Praise for Moore’s new film

Sideshow: Much praise for Moore’s new film

Michael Moore says his film Capitalism: A Love Story is dedicated to “good people . . . who’ve had their lives ruined” by the quest for profit.

After success at Cannes, Moore’s film was to premiere yesterday in his first appearance at the Venice Film Festival. It was warmly received at a press showing Saturday and won positive reviews. Variety called it one of Moore’s “best pics.”

“I am personally affected by good people who struggle, who work hard and who’ve had their lives ruined by decisions that are made by people who do not have their best interest at heart, but who have the best interest of the bottom line, of the company, at heart,” he said yesterday.

The film features plenty of examples of lives shattered by corporate greed, but also some inspiring tales of workers who have rebelled.

Moore said he considered himself a proxy for the “millions of Americans who would like to be placing crime scene tape around Wall Street.”

“There are many things that have happened in the last 20 years that are just utterly surprising, so that I now believe anything can happen. People can revolt in good ways.”

Capitalism: A Love Story is competing for the Golden Lion, which will be awarded Saturday.

Elsewhere at the multiplex . . .

The Venice Film Festival’s red carpet was festooned with balloons yesterday to mark the lifetime achievement award for director and producer John Lasseter and his crew of Pixar directors. They were rewarded for their work creating a new generation of childhood film memories.

It is the first time in festival history that the award honors not just one filmmaker but an entire studio.

Lasseter said he was “tremendously honored” that the award goes to the team of five directors, including Brad Bird (Ratatouille and The Incredibles), Pete Docter (Up and Monsters Inc.), Andrew Stanton (Finding Nemo and Wall-E), and Lee Unkrich (Toy Story 3). Lasseter directed the first two Toy Story movies and Cars.

It’s all fine, just fine

Saturday Night Live’s Lorne Michaels has dropped cast member Michaela Watkins after just one year, during which time she gave birth to such memorable characters and impersonations as bitchpleeze.com blogger Angie Tempura and Today’s Hoda Kotb. Casey Wilson was also axed.

In a weekend interview, Entertainment Weekly’s Michael Ausiello asked Watkins what she thought Michaels was thinking. She said, “The only explanation I got from him – and he’s not known to say things just to make people feel better – was that he felt deep down that I should have my own show. And I agreed.”

Nice they were on the same page.

A thank-you note

The son of the late Massachusetts Sen. Edward Kennedy is expressing gratitude to his Rhode Island constituents for their support and sympathy after his father’s death.

Rep. Patrick Kennedy took out a half-page ad in yesterday’s Providence Journal to say that his family is overwhelmed by the outpouring of condolences, which have strengthened the family through the difficult times.

Edward Kennedy died of brain cancer Aug. 25. He was 77.

The horror!

Fear has trumped romance at the box office over Labor Day weekend. The Warner Bros. fright flick The Final Destination remained at No. 1 for the second straight weekend with $12.4 million for the first three days of the long holiday weekend, raising its 10-day total to $47.6 million.

It beat Sandra Bullock’s romantic comedy All About Steve, a 20th Century Fox release that debuted in second place with $11.2 million from Friday to yesterday. Bullock plays a woman pursuing her soul mate.

Among other new movies, Lionsgate’s Gamer, starring Gerard Butler in a thriller about humans controlled by players in lethal games, debuted at No. 4 with $9 million. Opening at No. 10 with $4.2 million was Miramax’s comedy Extract, starring Jason Bateman as a businessman whose personal life heats up just as he’s trying to sell his flavor-extract company.

Studios will release estimates for the four-day weekend today.

by: www.philly.com

Fear for port works

Group fears port works will sink Venice

port_veniceItalian authorities plan to expand Venice’s port into a bustling shipping hub, further endangering the fragile lagoon and contributing to the sinking of the treasured city built on water, a conservation group said Monday.

Venice in Peril, a British fund that works to preserve Venice, said a report it obtained from the local port authority showed plans to accommodate more and bigger ships in a bid to compete with other European harbors.

The Venice port authority confirmed it had written the report, but insisted the works will respect the environment and are necessary to deal with the growing flow of tourists and goods.

The debate illustrates the complex and often controversial balancing act between protecting the UNESCO world heritage site and exploiting a sea port that gives easy access to prosperous areas of northern Italy and central Europe, as well as rapidly developing markets in the Balkans.

The report drawn up for the Italian Senate outlines ongoing and future works including the continued dredging of passages in the shallow lagoon to allow larger vessels in and the construction of a new shipping terminal in the long-declining mainland industrial zone of Porto Marghera.

The port authority is spending at least euro260 million ($370 million) to dredge inlets and navigation channels to allow the passage of ships of up to 400 meters (1,300 feet) in length.

This is particularly concerning for conservationists because dredging and heavy ship traffic are seen as one of the causes of the rising sea level in the lagoon, which threatens the low-lying islands on which the historic city is built.

“The fact that big ships have access to the lagoon has important consequences for its health,” said Jane da Mosto, a researcher for Venice in Peril. “Apart from environmental concerns … the problem of high tide is accentuated, so it means more flooding for Venice.”

Under the combined effect of rising water levels and settling of the land, Venice has sunk 23 centimeters (nine inches) in the last century.

Most experts agree that the waves generated by large ships and the currents that run through the deep passageways play a big part, displacing and dragging out to sea the sandbanks and other sediments that help keep water out.

In winter, Venice periodically goes through bouts of “acqua alta” (high water), when strong winds and high tides conspire to push the sea into streets and piazzas, forcing tourists and locals alike to don rubber boots and teeter along impromptu bridges.

The rising sea level has increased the frequency of the floods, and in December, Venice suffered its worst deluge in 22 years. Experts warn the problem could further worsen in the coming decades as climate change causes sea levels to rise globally.

The port authority report dismisses environmental concerns by declaring them solved thanks to a project to build towering movable barriers designed to rise from the seabed and prevent flooding.

The euro4.3 billion ($6.13 billion) system, named Moses after the Old Testament figure who parted the Red Sea, is expected to be operational by 2014.

“The problem of the hydraulic equilibrium is solved because it will be manageable through judicious use of the Moses system,” the report says.

Not so, some experts said.

The Moses barriers block shipping so they would only be raised when an exceptionally high tide is expected. That would not lower the average sea level and stop the waters from slowly eating away at Venice’s bricks and stones, said Luigi D’Alpaos, professor of hydrodynamics at the University of Padua.

“Moses will, at best, manage the acqua alta,” he said in a telephone interview. “But the other problems are not at all addressed by the barriers.”

Officials at the Venice port authority said the dredging is needed to restore the navigation channels, which are filling up with silt, to their original depth. They said the digging will not go beyond the depth allowed by law and any expansions on land will be done within the existing port zone.

But Venice in Peril said work should be done instead to reduce the depth of the channels, where possible, or at least reconstruct the natural lagoon features that protected the city for centuries.

by: AP

Berlusconi in Venice, Italy

Camera turns on ‘Videocrat’ Berlusconi at Venice

berlusconiSilvio Berlusconi was accused Thursday of turning Italian television into a laughing stock as a searing documentary about the impact of the prime minister’s media empire premiered in Venice.

“Television has invaded the collective imagination of the country,” Erik Gandini, director of “Videocracy”, told a press conference at the Venice film festival.

“Outsiders laugh at our television, and at Berlusconi … but it has had a very notable impact on our country.”

The documentary by Gandini, who lives in Sweden but was born and brought up in Italy, takes an eye-opening look at both the output on the Italian prime minister’s three channels and how it has shaped the country’s psyche.

Game shows and variety shows featuring scantily clad women, now seen by many as a ticket to wealth, fame or power, dominate the channels operated by the Berlusconi family’s Mediaset group.

Gandini said that there was an unusually strong link between television and those who exercise power in his native land.

“In Italy, television and power are really connected in a way that’s very unusual,” he told AFP.

“Banality is presented as innocuous… but in Italy it has become a political tool,” he added.

“You can have a career without knowing how to do anything,” he said, pointing to the most prominent example of the Minister for Equal Opportunities, Mara Carfagna, a former showgirl from one of Berlusconi’s TV networks.

In the film selected for the “Venice Days” and “International Critics’ Week” sections of the festival, a young man hoping to make the big time complains that he is outnumbered by woman wanabees.

“So many girls are willing to do anything to get on the fast track to stardom,” he sighs.

Also Thursday, the 66th Mostra in the lagoon city showcased US directors vying for the Golden Lion, cult filmmaker Todd Solondz with his neurotic dark comedy “Life During Wartime,” and John Hillcoat’s post-apocalyptic drama “The Road”.

Solondz, who won the International Critics Prize in Cannes for “Happiness” (1998), said Thursday: “I have approached things always first from the point of view of the characters and their stories.”

His new film involving intersecting love stories explores tortured consciences and self-destructive lives in a heavily Jewish southern Florida locale where people are peripherally aware that the nation is at war.

Hillcoat’s film, based on the best-seller by Cormac McCarthy, while billed as post-apocalyptic, was much more about love, its creators said Thursday.

A barren world heading toward total annihilation after an unspecified cataclysm is the setting for this struggle by a father, played by Viggo Mortensen of Denmark, to ensure the survival of his son (Kodi Smit McPhee).

“I was stripped down to the essentials,” Mortensen said. “It’s about character, about how you behave… when you have nothing left but your heartbeat and the heartbeat of your son.”

The pair evade gangs who had resorted to cannibalism and enduring long stretches without food, making the father ever more desperate but kindling a protective force in the son.

“The child winds up being the teacher,” Mortensen said.

In all more than 80 films will be presented at the prestigious festival, which runs to September 12.

by: AFP