Claudia Cardinale will be the guest host of Venezia Classici, the section devoted to restored films and to documentaries about cinema of the 70th Venice International Film Festival (28 August – 7 September 2013), directed by Alberto Barbera and organized by the Biennale di Venezia, chaired by Paolo Baratta.

Venezia Classici, the section introduced last year at the Venice Film Festival, features a selection of the finest classic film restorations – the rediscovery of neglected or underrated films of the past – completed over the past year by film libraries, cultural institutions or production companies around the world, starting with the Biennale di Venezia and the Collections of its Historic Archives of the Contemporary Arts (ASAC), which continues with these activities to enhance its heritage.

Claudia Cardinale will attend the screening of Vaghe stelle dell’Orsa by Luchino Visconti (Italy, 1965, 105’), a film awarded the Golden Lion at the 30th Venice International Film Festival (and which starred Claudia Cardinale), restored by Sony Pictures Entertainment. Vaghe stelle dell’Orsa is one of the four Classics restored this year also thanks to the valuable copies of the period conserved at the Historic Archives of the Contemporary Arts (ASAC) of the Biennale di Venezia.

In addition to Vaghe stelle dell’Orsa, the ASAC has also provided the copies of:

• Le 15 d’Août by Chantal Akerman (Belgium, France, 1973, 41’), a restoration made possible by the Biennale in collaboration with Cinematek in Brussels.

• Sjecaš li se Dolly Bell (Do You Remember Dolly Bell?) by Emir Kusturica (Yugoslavia, 1981, 110’), restored by the Sarajevo Film Centre in collaboration with the Biennale.

• Little Fugitive by Ray Ashley, Morris Engel, Ruth Orkin (USA, 1953, 80’), restored by RIPLEY’S FILMand Orkin and Engel Film and Photo Archive in collaboration with the Museo Nazionale del Cinema in Turin, La Biennale and Carlotta Films.

The film Sorcerer (1977), the masterpiece by the recipient of the Golden Lion for Lifetime Achievement William Friedkin, restored for the occasion by Warner Bros., will be the opening film (on August 29th, 2013) of Venezia Classici.

 

An important new feature this year of Venezia Classici will be the Jury, composed of Film students from various Italian Universities: 28 students of Cinema History, chosen in particular from the teachers of 13 Italian Dams university programmes and from Ca’ Foscari in Venice, will be asked to award two prizes:

• Award for Best Film of Venezia Classici

• Award for Best Documentary on Cinema

 

 

VENEZIA CLASSICI – Restored Films

 

· 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… (Vague Stars of Ursa…)

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

restoration: Sony Pictures Entertainment and Fondazione Cineteca di Bologna in collaboration with Archivio Storico delle Arti Contemporanee (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

 

· Sjecaš 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 Inara 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

 

 

A selection of documentaries on the history of cinema and on its auteurs will be featured to completion of the Venezia Classici section. The complete lineup will be announced during the Opening Press Conference of the 70th Venice International Film Festival, scheduled for July 25th.