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 THE CENTOAUTORI MOVEMENT HOSTED AT THE AUTHORS VILLA 05/09/2008 Venice Days welcomed the CentoAutori movement in order to talk about the identity of indie cinema and how is neglected by the cinema industry. During the meeting, an overview of the situation was drawn to verify the possibilities to react. Central issue consisted in the will to see more films realised and more freely too, in order to reach new market shares and new public. The director Enrico Caria explained how in Italy “the indie cinema is identified with low budget productions. A movie” he said “has its own value that sums up the work and the efforts of all the people involved in the production. Nowadays the problem is that the distribution’s choice is generally oriented to the most commercial projects”. But “it’s on the audience – he explains – that each healthy industry should primarily invest”. Andrea Purgatori (journalist and screenwriter), Giancarlo Scarchilli (director and screenwriter), Tonino Zangardi (director), Piera Detassis (Ciak’s Director); Antonio Rezza (actor and director), Marco Simon Puccioni (director), Giulia Rodano (Culture assessor of Lazio Region), Nino Russo (ANAC) were also involved in the debate. Emidio Greco (vice-president of Venice Days), closed the meeting underlining once more the difference between the Italian system and the French one: “In France 225 films per year are produced, in Italy no more than 60, and only around 30 are distributed”. The problem is linked to the penury of our cinema where the movies’ circulation is obstructed from the beginning and the life of art house movies is connected to the false hopes generated by multiplexes.