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Claudia Cardinale Guest of Honor for Venice Film Festival's Classic Film Lineup; Includes Rossellini, Renoir, Friedkin's 'Sorcerer' and More

Festivals
by Beth Hanna
July 15, 2013 1:15 PM
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"Paisan"
·         Le mani sulla città (Hands Over the City)

by Francesco Rosi (Italy, 1963, 105’, B/W)

restoration: Csc – Cineteca Nazionale

(pre-opening film in Campo San Polo)

·         Paisà (Paisan)

by Roberto Rossellini (Italy, 1946, 134’, B/W)

restoration: Fondazione Cineteca di Bologna, Csc – Cineteca Nazionale, Coproduction Office and Istituto Luce Cinecittà

·         Pane e cioccolata (Bread and Chocolate)

by Franco Brusati (Italy, 1973, 100’, Colour)

restoration: Fondazione Cineteca di Bologna, Csc – Cineteca Nazionale and Lucky Red

·         Quién sabe? (A Bullet for the General)

by Damiano Damiani (Italy, 1966, 119’, Colour)

restoration: Csc – Cineteca Nazionale

·         Vaghe stelle dell’Orsa… (Sandra)

by Luchino Visconti (Italy, 1965, 105’, B/W)

restoration: Sony Pictures Entertainment in collaboration with the Historic Archives of the Contemporary Arts (ASAC)

·         La proprietà non è più un furto (Property Is No Longer a Theft)

by Elio Petri (Italy, 1973, 126’, Colour)

restoration: Fondazione Cineteca di Bologna, Museo Nazionale del Cinema of Turin and Titanus

·         La bête humaine

by Jean Renoir (France, 1938, 100’, B/W)

restoration: Studiocanal

·         Providence

by Alain Resnais (France, 1977, 110’, Colour)

restoration: Jupiter Communications in collaboration with the director of photography Ricardo Aronovich

·         Chantal Akerman programme (total length 106’):

Hotel Monterey

by Chantal Akerman (Belgium, USA, 1972, 65’, Colour)

restoration: Cinematek in Brussels

Le 15 d’Août (The 15th of August)

by Chantal Akerman (Belgium, France, 1973, 41’, B/W)

restoration: Historic Archives of the Contemporary Arts (ASAC) in collaboration with Cinematek in Brussels

·         Il bacio di Tosca (Tosca’s Kiss)

by Daniel Schmid (Switzerland, 1984, 87’, Colour)

restoration: La Cinémathèque Suisse in collaboration with the director of photography Renato Berta

·         White Rock

by Tony Maylam (Great Britain, 1977, 76’, Colour)

restoration: International Olympic Committee, Lausanne

·         Furyo (Merry Christmas Mr. Lawrence)

by Nagisa Oshima (United Kingdom, Japan, 1983, 123’, Colour)

restoration: Hanway Films

·         Sjećaš li se Dolly Bell (Do You Remember Dolly Bell?)

by Emir Kusturica (Yugoslavia, 1981, 107’, Colour)

restoration: Sarajevo Film Centre in collaboration with the Historic Archives of the Contemporary Arts (ASAC)

·         Moy Drug Ivan Lapshin (My Friend Ivan Lapshin)

by Aleksey Guerman Sr. (Urss, 1984, 100’, B/W)

restoration: Gosfilmofond, Boris and Ināra Teterev Foundation,  Open World Fund

·         Satyajit Ray programme (total length 134’):

Mahapurush (The Holy Man)

by Satyajit Ray (India, 1965, 65’, B/W)

restoration: RDB Organization

Kapurush (The Coward)

di Satyajit Ray (India, 1965, 69’, B/W)

restoration: RDB Organization

·         Nidhanaya (The Treasure)

by Lester James Peries (Sri Lanka, 1973, 110’, B/W)

restoration: World Cinema Foundation

·         Yangguang Canlan de Rizi (In the Heat of the Sun)

by Jiang Wen (China, Hong Kong, 1993, 140’, Colour)

restoration: Orange Sky, Golden Harvest Entertainment in collaboration with Jiang Wen

·         Tian mi mi (Comrades: Almost a Love Story)

by Peter Ho-sun Chan (Hong Kong, 1996, 118’, Colour)

restoration: We Pictures in collaboration with Warner Bros. Pictures and Peter Ho-sun Chan

 ·         Dogfar nai mae marn (Mysterious Object at Noon)

by Apichatpong Weerasethakul (Thailand, 2000, 89’, B/W)

restoration: World Cinema Foundation, Austrian Film Museum

·         Higanbana (Equinox Flower)

by Yasujiro Ozu (Japan, 1958, 118’, Colour)

restoration: Shôchiku, Co. LTD

·         Yoru no henrin (The Shape of Night)

by Noboru Nakamura (Japan, 1964, 109’, Colour)

restoration: Tokyo Metropolitan Government, Arts Council Tokyo and Tokyo Culture Creation Project (Tokyo Metropolitan Foundation for History and Culture), and TOKYO FILMeX Organizing Committee in collaboration with Shôchiku, Co. LTD   

·         Let’s Get Lost

by Bruce Weber (USA, 1988, 120’, B/W)

restoration: Little Bear Inc.

·         Little Fugitive

by Ray Ashley, Morris Engel, Ruth Orkin (USA, 1953, 80’, B/W)

restoration: RIPLEY'S FILM and Orkin and Engel Film and Photo Archive in collaboration with the Museo Nazionale del Cinema in Turin, the Historic Archives of the Contemporary Arts (ASAC) and Carlotta Films

·         My Darling Clementine

by John Ford (USA, 1946, 97’, B/W)

restoration: 20th Century Fox Film in collaboration with Cineric

·         Sorcerer

by William Friedkin (USA, 1977, 121’, Colour)

restoration: Warner Bros. Pictures

·         The Adventures of Hajji Baba

by Don Weis (USA, 1954, 94’, Colour)

restoration: 20th Century Fox Film in collaboration with Cineric

·         The Most Dangerous Game

by Irving Pichel, Ernest B. Schoedsack (USA, 1932, 63’, B/W)

restoration: Mk2, Lobster Films and L.E. Diapason

Festivals
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