The Mostra goes retro goes piano


By Etienne Sorin

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George McKay and Léa Seydoux in The beast. Carole Bethuel / Ad Vitam

Halfway through, the Venetian competition is dominated by period films without much at stake. The beastby Bertrand Bonello, is distinguished by its audacity.

Special Envoy to Venice

The winners of the 80e Mostra, issued next Saturday evening, will not reward the best costumes. The category does not exist in any film festival. A gap on the lagoon as the costumers were in the spotlight these first days. Priscillaby Sofia Coppola, confirms the abundance of period films and the impression of a Mostra resolutely turned towards the past.

We first saw Pierfrancesco Favino as a submarine captain in 1940 (Commander) Or Mads Mikkelsen as a 17th century Danish soldiere century converted into a colonist fighting against an arid land and a ic nobility (bastarden). But it was the 1950s that broke the screen. After the gleaming and funereal Ferrari of Michael Mann, there was finally dawn, by Saverio Costanzo. A post-Metoo evocation of Cinecitta, during the golden age of Italian cinema, through a peplum extra trained by a Hollywood star in a night populated by predators. A kind of babylon slow and soft.

Read alsoWith The Palace, Roman Polanski overwhelms the Mostra

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