Venice Film Festival Under Scrutiny Over Lineup, Spotlights Groundbreaking Chinese Drama

The 83rd Venice Film Festival, under the artistic direction of Alberto Barbera, finds itself navigating significant political pressures this year, yet remains steadfast in its commitment to artistic freedom. Speaking at a press cocktail on the Lido, Barbera acknowledged the "almost normal" expectation for the festival to take political positions, especially with numerous films touching upon contentious subjects like Gaza, Palestine, Ukraine, and the challenges posed by figures like Elon Musk. Despite these calls, Barbera reiterated that neither the Biennale nor the festival would issue explicit political declarations, asserting their role as a space for free expression and a platform for dialogue between artists, the public, and critics. This stance comes amidst a backdrop of reinstated jury press conferences and calls from groups like Venice4Palestine for stronger positions on the war in Gaza.

Barbera also addressed specific controversies, firmly denying any boycott of Israeli films. He clarified that Venice received only one Israeli submission, which was not invited due to quality rather than prejudice. He emphasized the festival's neutrality, stating, "We have no prejudice against anyone anywhere in the world. If there had been a Russian film, an Israeli film of good quality, we would undoubtedly have invited it," adding that the festival was prepared to face any potential political backlash. This defense of artistic freedom also extends to filmmakers often embroiled in controversy, such as Roman Polanski and Woody Allen, whose films Venice has screened in recent years. Barbera attributes Venice's ability to host such selections without widespread scandal to "the prestige of the Biennale and the credibility that the Biennale has gained over the years" through its consistent defense of artistic freedom "without ever taking a political side."

The festival nearly featured Vincent Gallo’s latest film, “Golden State Killer,” starring James Franco. Barbera revealed that while Venice found the film compelling and was prepared for its potentially divisive nature, Gallo ultimately declined an out-of-competition berth as he sought a Golden Lion competition slot. Regarding James Franco's involvement, Barbera stated it was not a concern, given Franco's return to filmmaking in Italy without significant negative reactions. The primary issue, Barbera noted, was the provocative nature of the film's subject matter itself rather than the actors involved. When questioned about Woody Allen's potential return with his next film, Barbera quipped that it would depend on the film's quality.

Addressing the perceived decrease in Hollywood studio presence, Barbera dismissed notions of a retreat, explaining that several major U.S. titles, including films from Aaron Sorkin and David Fincher, were simply not ready in time for the festival. He acknowledged the difficulties Hollywood studios are facing—such as mergers and evolving production and distribution strategies—but expressed confidence in their return, calling Venice "a very good promotional opportunity." The festival officially opens with Danny Boyle's drama "Ink," which chronicles the birth of Rupert Murdoch's tabloid empire.

Amidst these overarching discussions on festival politics and industry dynamics, the Venice Horizons section welcomed "Big Little Things," a poignant lesbian coming-out story from director-producer duo Michelle Zhou and Chun Yu. The film's journey to Venice was a "happy dilemma," as it was initially selected for Venice Days before receiving an invitation to Horizons. This narrative is deeply rooted in Zhou and Yu's personal experiences, particularly a real-life family rift that occurred during a New Year holiday amidst the COVID-19 pandemic in Harbin, a snowy city in northern China. Their relationship, initially kept secret due to the social taboo of same-sex relationships in China, led to profound family conflict when Yu's parents deduced the truth.

The film explores critical themes of silence, deception, and the difficult pursuit of honesty within family relationships, questioning "Why do we have to lie to be close with the people we love? And why can honesty feel more dangerous than deception?" It further delves into societal and heteronormative pressures through a fictional scenario involving a fake boyfriend, highlighting the prevalence of lavender marriages within the Chinese LGBTQ+ community. A particularly powerful aspect of the film's production was the unexpected involvement of Yu's own father, Hai, who played the father's role. This act of participation became a profound opportunity for him to express unresolved emotions, leading to a significant moment of healing and understanding on set. His emotional confession, turning his back to sob and articulate the pain of a father losing his daughter, underscored the raw, personal truth at the heart of the film.

Both filmmakers are set to continue their collaborative work. Michelle Zhou's next feature, "Another Stranger," is a family comedy-drama inspired by her experience with a cousin during a COVID-19 lockdown in Thailand. Chun Yu, also a writer-director, is developing her debut feature, a Chinese diaspora story to be set in Los Angeles and a European village, currently seeking international producers.