NEWS photo gallery DIRECTORS FILMS PROGRAM PRESENTATION REGULATIONS PARTNERS CONTACTS CURRENT EDITION select news CRIALESE’S “CHILDREN” GROW UP IN MOVING DOCUMENTARY VENICE DAYS: FIFTH EDITION AN ITALIAN DISTRIBUTION FOR LANDSCAPE NO.2 100+1: BEYOND THE LIST THE DISCUSSION ABOUT THE LIST OF THE 100 MOVIES TO BE “SAVED” AND SHOWN IN SCHOOLS GOES ON IN VENICE A COUNTRY TEACHER HITS THE LIDO ADIUS: WHEN A SONGWRITER BECOMES A POET HOOKED HOOKS AUDIENCE AT ITS WORLD PREMIERE IL DIVO AND GOMORRAH : UNRELEASED EXCERPTS IN VILLA LO STATO DI ECCEZIONE: DOCUMENTARY BETWEEN MEMORY AND CINEMA . UBERTO PASOLINI’S MACHAN WINS VENICE EUROPA CINEMAS LABEL THE VISITOR BY JUKKA-PEKKA VALKEAPÄÄ TRIUMPHS AT THE INTERNATIONAL FILM FESTIVAL OF GÖTEBORG ONE DAY IN A LIFE TOOK TEN YEARS TO HIT SCREENS A WEEK ALONE LOOKS AT UPPER-CLASS ISOLATION AT THE AUTHORS’ VILLA A DISCUSSION ABOUT ARTHOUSE CINEMA AND ITS PROBLEMS, STARTING FROM FRANCE AND ITALY VENICE DAYS DEBATE ON COPYRIGHT AND CREATIVITY. THE SIAE AWARDS CEREMONY FOLLOWED JURORS’ NAMES OF THE PRIZE "LUIGI DE LAURENTIIS" FOR BEST DEBUT HAVE BEEN ANNOUNCED VENICE DAYS 2008 PROGRAM IS ON LINE EUROPA CINEMAS SUPPORTS VENICE DAYS FOR THE FIFTH YEAR VENICE DAYS FILMS SCREENED AT THE USUAL APPOINTMENTS OF “VENICE IN ROME” AND “PANORAMICA” PASOLINI’S MACHAN WINS HEARTS ON THE LIDO ITALIAN CINEMA IN CANNES: A MEETING IN VILLA MEDICI ROSA “SCRATCHES” BENEATH THE SURFACE OF MARITAL BLISS THE CENTOAUTORI MOVEMENT HOSTED AT THE AUTHORS VILLA THE PRIZE FOR BEST SECTION OF THE MOSTRA GOES TO VENICE DAYS PRESIDENT BARATTA WELCOMES VENICE DAYS VERHEYDE’S AUTOBIOGRAPHICAL STELLA SHINES BRIGHT APRAHAMIAN’S BROKEN LINES WHOLLY ENGAGING THE AUTHORS’ HOUSE BECOMES “A DIFFERENT COUNTRY” VENICE DAYS BACK AT THE CANNES FILM FESTIVAL MÖDERNDORFER OFFERS DARK LANDSCAPE OF HIS COUNTRY TOYE RETURNS TO CINEMA WITH NOWHERE MAN AUTHORS LUNCH WITH CARLOS SAURA, VITTORIO STORARO AND ANDREA OCCHIPINTI THE NEW INTERNATIONAL INITIATIVE ALLIANCE MONDIALE DU CINEMA (AMC) PRESENTED TODAY AT THE AUTHORS’ VILLA FRUITFUL PRESENCE OF VENICE DAYS IN CANNES PRESENT AND FUTURE OF DOCUMENTARY CINEMA: DOC/IT AND SOLINAS AWARD ARE GUESTS OF VENICE DAYS REZZA AND MASTRELLA TURN THE TABLE ON CRITICS ROME, CASA DEL CINEMA: PRESS CONFERENCE FOR VENICE DAYS’ FIFTH EDITION MEETINGS AT VENICE DAYS CLOSE WITH AN APPEAL: CULTURE EMERGENCY UNDER THE BOMBS: A SUCCESSFUL PREMIERE IN ROME VALKEAPÄÄ BRINGS BEGUILING VISITOR TO THE LIDO THE SECOND APPOINTMENT ABOUT REFLECTION ON CINEMA AND NEW MEDIA AT THE AUTHORS’ HOUSE WIM WENDERS, UNEXPECTEDLY, PRESENTS NOWHERE MAN NEW DELEGATE GENERAL AND EXECUTIVE COMMITTEE APPOINTED MÖDERNDORFER OFFERS DARK LANDSCAPE OF HIS COUNTRY 28/08/2008 Presented by Roberto Barzanti, president of the Venice Days Association, Slovenian writer-director Vinko Möderndorfer’s second feature film Landscape No. 2 screened to heartfelt applause today on the Lido. Part historical intrigue, part thriller, part sexfest, in the film, which Möderndorfer adapted from his eponymous novel, electrical appliance repairman Polde (Janez Hočevar) and his young assistant Sergej (Marko Mandić) break into a house of a retired general (Janez Škof) to steal a painting of one the mass graves of the many massacres of Nazi collaborators that took place in Slovenia at the end of WWII. When Sergej inadvertently also steals an important document proving who was behind this particular killing, the general calls in a former secret service agent (Bosnian actor Slobodan Ćustić), who ruthlessly goes after anyone standing between him and the document. At the post-screening Q&A, Möderndorfer called traitors “the worst kind of evildoers, relegated even by Dante to the lowest circle of Hell. Yet just as damaging are the current politicians who exploit past events, damaging even younger generations who should not be forced to keep paying for the mistakes of their forefathers.” The director knows that the film’s subject matter is just as radical as its hard-core sex scenes, and earnestly hopes they will spark debate. For that reason, he also wanted the violence in his film to be as real as possible: “I knew that only if the violence went as far as the sex, which is extreme, would audiences find the entire story plausible and authentic,” he said. The actors were also lauded for their performances. In particular, Mandić and Custić stand out as two extremes of the same spectrum: a hedonistic young man whose small betrayals (of two girlfriends) reflects the larger betrayals of a man who represents the darkest side of a nation that has yet to take responsibility for or make peace with its own past. Natasha Senjanovic        InterviewMoederndorfer.flv        Interview_Moederndorfer