Bro On The World Film Beat, The Venice Film Festival Report: 'Fiddling While Rome Burns - And Venice Sinks!' Arts Express Paris Correspondent, Sorbonne Professor Dennis Broe, on location over at the Venice Film Festival. Reporting as well on films there opening in US theaters later this year, and what to see - or not. Including the stinging, take no prisoners documentary delving into black politics, poverty and protest in New Orleans, 'What You Gonna Do When The World's On Fire.'
Broe delves beyond the glitz of the cinematic offerings, like First Man - dubbed 'whitey on the moon' - into the rise of right wing leadership surrounding the Festival, and 'evoking the iconography of Mussolini.' While class prejudice by the filmmakers on screen is readily validated by the critics in attendance.
It was again extraordinarily hot in Rome this summer, so hot tourism really halts mid-afternoon to early evening. Meanwhile, the city of Venice continues to sink with the Moise project which is supposed to save it poised to go online, so to speak, next year but with much of the money to fund an enviromentally iffy project already depleted through acts of corruption that forced the last mayor from office...
Bro on the World Film Beat
** "Godard in voiceover announces 'War Is Here.' His answer to this chaos and destruction is a title that harkens back to his work in the period of worker and student strikes in May '68 - 50 years ago to the day. And that title reads, There Must Be A Revolution."
The Cannes Film Festival Report 2018
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There are three big stories at the festival and in each the work of the artists, the film directors featured at Cannes, is countering or deepening the official story.
The first is the MeToo anti-harassing and women’s rights campaign which two extraordinary films, one contemporary, Woman At War, and other a progressive blast from the past, Blow for Blow, take beyond its sheltered confines and open up to women in general. The second is the move to revalidate traditional movie going with the forbidding of Netflix, countered by Godard and the Chinese director Jia Zhangke’s embracing of cinema in its multi-formats and distribution patterns.
Finally, the presence of Saudi Arabia as a purveyor of money and a new, supposed modernity as a means of erasing its part in drawing the Middle East region into a war with a supposedly terrorist Iran, contrasted with the plethora of Iranian directors and their humanist concerns utterly giving the lie to this characterization.
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