The line-up of the 75th Venice Film Festival’s Restored Films is out: read the full list of “Venezia Classici” movies.
The 75th Venice International Film Festival is approaching, and we can’t wait to find out which films Alberto Barbera (the festival’s Artistic Director) and Paolo Baratta (La Biennale‘s chairman) have chosen to show us at the Lido from August 29 to September 8.
And while we will have to wait a little longer for the whole festival programme to be released, exciting news are already starting to emerge on the Biennale website. The entire list of restored classic films that will be shown in Venice as part of the Venezia Classici section of the festival has been posted yesterday, and we were thrilled to read so many familiar titles.
The Jury of Cinema History Students, chaired by Italian director Salvatore Mereu (Pretty Butterflies, Three Steps Dancing) will award the Venezia Classici Award for this year’s Best Restored Film at the Venice Film Festival: the competition will be tough, as they will have to choose between classics such as Ermanno Olmi’s Il Posto (1961), Alain Resnais’ Last Year in Marienbad (1961), Kenji Mizoguchi’s Street of Shame (1956), Paolo and Vittorio Taviani’s The Night of the Shooting Stars (1982) and even crowdpleaser and worldwide sensation Some Like It Hot (1959) by Billy Wilder.
Here is the list of films, which can also be found on the official Biennale website (English page here /Italian page here), together with more information on Venezia Classici’s Documentaries section and Salvatore Mereu.
THEY LIVE
by JOHN CARPENTER (USA, 1988, 94’, COL.)
restoration: Studiocanal
IL PORTIERE DI NOTTE (THE NIGHT PORTER)
by LILIANA CAVANI (Italy, 1974, 120’, COL.)
restoration: CSC-Cineteca Nazionale and Istituto Luce – Cinecittà
THE NAKED CITY
by JULES DASSIN (USA, 1948, 96’, B/W)
restoration: Brook Productions and Master Licensing
KHESHT O AYENEH (BRICK AND MIRROR)
by EBRAHIM GOLESTAN (Iran, 1964, 130’, B/W)
restoration: Ecran Noir production (Mitra Farahani) and Ebrahim Golestan in collaboration with Cineteca di Bologna
AKASEN CHITAI (STREET OF SHAME)
by KENJI MIZOGUCHI (Japan, 1956, 86’, B/W)
restoration: Kadokawa Corporation
IL POSTO
by ERMANNO OLMI (Italy, 1961, 95’, B/W)
restoration: Cineteca di Bologna and Titanus
L’ANNÉE DERNIÈRE À MARIENBAD (LAST YEAR IN MARIENBAD)
by ALAIN RESNAIS (France, Italy, 1961, 94’, B/W)
restoration: Studiocanal with the support of Centre National du Cinéma et de l’image animée and Chanel
EL LUGAR SIN LÍMITES (THE PLACE WITHOUT LIMITS)
by ARTURO RIPSTEIN (Mexico, 1977, 110’, COL.)
restoration: Cineteca Nacional México and Imcine
ADIEU PHILIPPINE
by JACQUES ROZIER (France, Italy, 1962, 103’, B/W)
restoration:
Cinémathèque française and A17 with the support of Centre national du
cinéma et de l’image animée. In collaboration with Les Archives
audiovisuelles de Monaco, La Cinémathèque suisse and Extérieur Nuit.
VOSKHOZHDENIYE (THE ASCENT)
by LARISA SHEPITKO (Russia, 1976, 110’, B/W)
restoration: Mosfilm (producer of the restoration Karen Shakhnazarov)
THE KILLERS
by DON SIEGEL (USA, 1964, 102’, COL.)
restoration: Universal Pictures
THE KILLERS
by ROBERT SIODMAK (USA, 1946, 95’, B/W)
restoration: Universal Pictures
LA NOTTE DI SAN LORENZO (THE NIGHT OF THE SHOOTING STARS)
by PAOLO E VITTORIO TAVIANI (Italy, 1982, 107’, COL.)
restoration: CSC-Cineteca Nazionale and Istituto Luce – Cinecittà
KOI YA KOI NASUNA KOI (LOVE, THY NAME BE SORROW aka THE MAD FOX)
by TOMU UCHIDA (Japan, 1962, 109’, COL.)
restoration: Toei Company, Ltd.
MORTE A VENEZIA (DEATH IN VENICE)
by LUCHINO VISCONTI (Italy, France, USA, 1971, 130’, COL.)
restoration: Cineteca di Bologna and Istituto Luce – Cinecittà in collaboration with Warner Bros. and The Criterion Collection
NOTHING SACRED
by WILLIAM A. WELLMAN (USA, 1937, 74’, COL.)
restoration: The Museum of Modern Art
SOME LIKE IT HOT
by BILLY WILDER (USA, 1959, 121′, B/W)
restoration: Park Circus in collaboration with Metro Goldwyn Mayer and The Criterion Collection
