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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

Photo of Beth Hanna By Beth Hanna | Thompson on Hollywood July 15, 2013 at 1:15PM

Claudia Cardinale will be the guest host of Venezia Classici, the program devoted to classic film restorations, at the 70th Venice International Film Festival. This year's program includes Roberto Rossellini's "Paisan," Jean Renoir's "La bete humaine" and a Satyajit Ray program. (William Friedkin's "Sorcerer" was previously announced, and will open the series.)
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"Paisan"
"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

This article is related to: Festivals, Venice Film Festival


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.