Venice will receive Argentine cinema as a great protagonist

The notable presence that the


Argentine cinema
at the next Festival de


Venice
Dean of the major cinematographic exhibitions of the annual calendar, consolidates a trend that seems to strongly affirm: 2018 appears as a year of extraordinary presence for the national production in the big windows of the international cinema. Already arrived in Berlin and Cannes and, as he could know
LA NACION After Venice, there will also be a very important place for Argentine cinema at other top-level festivals such as Toronto and San Sebastián, next September.

After a long time, Venice (29 from August to September 8) will have in this season a very important presence of the most recent Argentine cinema, with six films in different sections. In the most prominent place, it seems
Accused written and directed by Gonzalo Tobal (Villegas) with Lali Espósito, Inés Estévez, Leonardo Sbaraglia, Gerardo Romano, Daniel Fanego and Gael García Bernal, who will participate in the main competition of León de Oro. The film will arrive in Argentina on September 13th.

Outside the competition, two of the most anticipated titles of local cinema will be presented in Venice:
My masterpiece and
Quiet . The first, directed by Gastón Duprat and produced by Mariano Cohn (
The illustrious citizen ,
The man next door ), tells the special relationship between a specialist in art (Guillermo Francella) and a famous artist in decline (Luis Brandoni), created in Argentina August 16th. As for
Quiet which marks the return to Venice of Pablo Trapero after having won the prize of the best director in 2015
The Clan is an intimate family drama with Martina Gusman, Berenice Bejo, Edgar Ramirez, Joaquín Furriel and Graciela Borges (premiere in Argentina, August 31)

Also out of competition, Venice included documentaries in his programming
Introduzione All & # 39; Oscuro, by Gastón Solnicki (
Papirosen ,
Kékszakállú ), and
El Pepe, a supreme life directed by Emir Kusturica and co-produced between Argentina and Uruguay on the life of former Uruguayan President Jose Mujica.

The Argentine presence is completed by
The night of 12 years, another Argentinian-Uruguayan coproduction directed by Álvaro Brechner (
Bad day to fish,
Mr. Kaplan ), which will be seen in the Orizzonti section, which also oddly tells the real story of Mujica, but in this case a fiction, adapted from the book of Mauricio Rosencof and Eleuterio Fernández Huidobro
Stories of the dungeon. It stars Chino Darín and the Spanish Antonio de la Torre. It will be published in Argentina on September 27th.

To celebrate the 75th anniversary of the Mostra, Barbera has included in the competition for the Golden Lion titles that are already ringing in the upcoming season of awards as the world's first
Suspiria by Luca Guadagnino (
Call me by your name ), remake of Dario Argento's horror clbadic, in addition to
July 22 by Paul Greengrbad;
The favorite of Yorgos Lanthimos;
Peterloo by Mike Leigh; Rome, by Alfonso Cuarón;
Sunset by Laszlo Némes (
The son of Saú (l), and
At Eternity & # 39; s Gate by Julian Schnabel, with Willem Dafoe under the name of Vincent Van Gogh.

Also participating in the contest
The Scruggs Buster Ballad Joel's new film Ethan Coen, an anthology of western themes made in several episodes and digitally filmed. This is one of the six original titles of Netflix chosen this year to participate in Venice, with the film Cuarón and two projects related to Orson Welles: the world premiere of his latest project as a director,
The other face of the wind, nearly half a century after its production, and the documentary
They'll love me when I'm dead directed by Morgan Neville, on the relationship between Welles and this movie. Venice is installed as well as on the other side of Cannes, which this year faced Netflix in support of French exhibitors.

Barbera, meanwhile, spoke of the lack of female-directed films in the official competition. "Scheduling a movie in the official competition just because it's directed by a woman could be very offensive to a filmmaker," Barbera said.
The Hollywood Reporter -. I prefer to lose my job than having to select a movie forcefully because it was directed by a woman. Of course, I would like to include more women in the festival, but that's a subject that does not depend on me. The problem is that there is still a lot of prejudices in the industry. My job is only to decide if a movie is good or not. "