{"id":6848,"date":"2019-09-02T05:07:58","date_gmt":"2019-09-02T03:07:58","guid":{"rendered":"https:\/\/www.queerlion.it\/?p=6848"},"modified":"2019-09-05T17:08:17","modified_gmt":"2019-09-05T15:08:17","slug":"out-of-competition2019","status":"publish","type":"post","link":"https:\/\/www.queerlion.it\/en\/out-of-competition2019\/","title":{"rendered":"13. Queer Lion Award: out of competition"},"content":{"rendered":"

Synopses, cast & credits of the movies of LGBT interest, presented at the 76. Venice International Film Festival, and schedule of all the screenings<\/em><\/p>\n

CALENDAR WITH THE SCREENING SCHEDULE<\/p>\n

LES \u00c9POUVANTAILS
\nAug 28 | 14:30 Sala Casin\u00f2 (Lido) | Press, Industry
\nAug 29 | 21:00 Sala Giardino (Lido) | Tickets
\nfollowing: Q&A
\nAug 29 | 21:00 Sala Web<\/a>
\nAug 30 | 09:00 Sala Giardino (Lido) | Tickets, All Accreditations
\nAug 30 | 18:30 Cinema Rossini (Venezia) | Tickets
\nAug 30 | 18:30 IMG Cinemas Candiani (Mestre) | Tickets<\/p>\n

SEULES LES B\u00caTES
\nAug 28 | 17:00 Sala Perla (Lido) | Tickets, All Accreditations
\nfollowing: Q&A
\nAug 30 | 21:30 Cinema Rossini (Venezia) | Tickets
\nAug 30 | 21:30 IMG Cinemas Candiani (Mestre) | Tickets
\nAug 31 | 22:00 Sala Perla 2 (Lido) | All Accreditations<\/p>\n

MUJERES AL BORDE DE UN ATAQUE DE NERVIOS
\nAug 29 | Sala Grande (Lido) | Tickets, All Accreditations<\/p>\n

MasterClass: Pedro Almod\u00f3var
\nAug 30 | 15:00 Sala Perla 2 (Lido) | Tickets, All Accreditations<\/p>\n

DARLING, LE COUP DES LARMES e GUO4
\nAug 29 | 16:30 PalaBiennale (Lido) | Tickets
\nSep 06 | 17:15 Sala Giardino (Lido) | Tickets
\nSep 07 | 16:30 Sala Giardino (Lido) | Tickets<\/p>\n

JI YUAN TAI QI HAO
\nSep 01 | 19:30 Sala Darsena (Lido) | Press, Industry
\nSep 01 | 22:00 Sala Perla (Lido) | Press, Industry
\nSep 02 | 17:00 Sala Grande (Lido) | Tickets, All Accreditations
\nSep 02 | 20:00 PalaBiennale (Lido) | Ticktes
\nSep 03 | 08:30 PalaBiennale (Lido) | All Accreditations<\/p>\n

VICTOR VICTORIA
\nSep 02 | 14:00 Sala Grande (Lido) | Tickets, All Accreditations<\/p>\n

A conversation with Julie Andrews
\nSep 03 | 15:00 Sala Perla 2 (Lido) | Tickets, All Accreditations<\/p>\n

BU SAN
\nSep 03 | 11:00 Teatro delle Tese (Venezia) | Tickets
\nfollowing: Improvisations on the Memory of Cinema Live Performance by Tsai Ming-liang
\nSep 03 | 15:00 Teatro delle Tese (Venezia) | Tickets
\nfollowing: Improvisations on the Memory of Cinema Live Performance by Tsai Ming-liang
\nSep 04 | 14:15 Sala Giardino (Lido) | Tickets, All Accreditations
\nfollowing: Q&A<\/p>\n

CRASH
\nSep 05 | 14:30 Sala Giardino (Lido) | Tickets, All Accreditations
\nfollowing: Q&A
\nSep 06 | 09:00 Sala Volpi (Lido) | Tickets, All Accreditations<\/p>\n

SYNOPSES, CAST & CREDITS<\/p>\n

Les \u00e9pouvantails <\/strong>(The Scarecrows) by Nouri Bouzid with Nour Hajri, Afef Ben Mahmoud, Joumene Limam (Tunisia, Morocco, Luxembourg, 98′, 2019)
\nIn late 2013, Zina and Djo, both in their twenties, come back to Tunisia from the Syrian front where they were sequestrated and raped. Zina was separated from her two-month-old child and Djo finds out she\u2019s pregnant and plunges into mutism and expresses her Syrian horror only in the novel she is writing. Tunisian lawyer Nadia and Dora, a humanitarian doctor, assist them in their hard and lengthy reconstruction; impeded by the violence of their close circles, the harsh view on the social networks and their angst. Nadia, also Driss\u2019 lawyer, a 21-year- old persecuted homosexual who\u2019s been banned from all school establishments, asks him to help Zina in the hopes that their stirring meeting will allow them to open their black boxes, to assume themselves and stand up to the unjust society.
\nPresentato nella sezione Sconfini<\/em><\/p>\n

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Les \u00e9pouvantails by Nouri Bouzid<\/figcaption><\/figure>\n

Seules les B\u00eates<\/strong> (Only the Animals) by Dominik Moll with Denis Menochet, Laure Calamy, Damien Bonnard, Valeria Bruni Tedeschi (France, Germany, 116′, 2019)
\nA woman has disappeared. The day after a snowstorm, her car is found on a road leading to a plateau with with nothing but a few scattered farms. The gendarmes have nothing to go on, while five individuals well know they have something to do with the woman’s disappearance. They all keep their secrets to themselves, but no one suspects that the whole story began far from these windswept wintry peaks: on another continent, in the burning sun, where poverty doesn’t stop desire from taking the law into its own hands.
\n“All five characters are pursuing an instinctual need to be loved, even if it leads to some bad choices. The most, if not only, emotionally moving chapter in the film belongs to the dead woman, a married bisexual named Evelyne (Valeria Bruni Tedeschi). After picking up a waitress named Marion (Nadia Tereszkiewicz, very affecting) at the restaurant where she works, the two begin sleeping together. While Evelyne soon makes it clear she\u2019s in it for the sex, Marion has fallen deeply in love. Evelyne\u2019s cruel behavior toward Marion suggests that heartlessly denying a basic emotional need to another person makes you a prime candidate to get bumped off.” (Variety<\/a>)<\/p>\n

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Seules les b\u00eates (Only the Animals) photo by Jean-Claude Lother<\/figcaption><\/figure>\n

Mujeres al borde de un ataque de nervios<\/strong> (Women on the Verge of a Nervous Breakdown) by Pedro Almod\u00f3var with Carmen Maura, Antonio Banderas, Julieta Serrano, Rossy de Palma (Spain, 88\u2019, 1988)
\nPresented in competition at the 1988 Venice Film Festival, and Almod\u00f3var’s first major international success, Women on the Verge of a Nervous Breakdown is, straight from the opening credits, an instant icon of queer cinematography. The palette of vivid colours, the references to queer culture (from Jean Cocteau, whose theatrical play La voix humaine provides the basic plot for the film’s screenplay, to LGBT cult movies such as Johnny Guitar by Nicholas Ray and The Wizard of Oz by Victor Fleming), the theatrical set designs, the blatantly kitsch details like the memorable “Mambo Taxi” and its unlikely owner, the love for over the top melodrama, are all elements that become as important as the main characters of this firecracking farce.
\nPresented in the section Career Achievement Golden Lion<\/em><\/p>\n

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Mujeres al borde de un ataque de nervios di Pedro Almod\u00f3var<\/figcaption><\/figure>\n

Darling <\/strong>by Saim Sadiq with Abdullah Malik, Alina Khan, Mehar Bano, Nadia Afgan (Pakistan, Usa, 16′, 2019)
\nSet in a dance theatre in Lahore where the story revolves around a young boy and a trans girl.
\nSaim Sadiq’s Darling will be the First Pakistani Film to Screen at the Venice Film Festival.
\nPresented in Orizzonti<\/em><\/p>\n

\"\"
Director Saim Sadiq, and a sequence from his movie Darling<\/figcaption><\/figure>\n

Le Coup des larmes<\/strong> by Cl\u00e9mence Po\u00e9sy with India Hair, Sabine Timoteo (France, 20′, 2019)
\nFlorence is an actress. Preparations for her new role will challenge her in a way she could never have seen coming.
\nPresented in Orizzonti<\/em><\/p>\n

\"\"
Le Coup des larmes by Cl\u00e9mence Po\u00e9sy<\/figcaption><\/figure>\n

GUO4<\/strong> by Peter Strickland with Gyula Muskovics, Csaba Moln\u00e1r (Hungary, 3′, 2019)
\nA confrontation between two swimmers in a locker room.
\nGUO4 is a short film project by Peter Strickland in collaboration with GUO, a multidisciplinary duo formed of Daniel Blumberg and Seymour Wright.
\nPresented in Orizzonti<\/em><\/p>\n

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GUO4 by Peter Strickland<\/figcaption><\/figure>\n

Ji yuan tai qi hao<\/strong> (No.7 Cherry Lane) by Yonfan voices by Sylvia Chang, Zhao Wei, Alex Lam, Yao Wei, Tian Zhuangzhuang (Hong Kong, China, 125′, 2019)
\nDuring the rise of the materialistic comfort of life in the 1960s, there emerges an undercurrent of danger in Hong Kong. No. 7 Cherry Lane tells the tale of Ziming, a Hong Kong University undergraduate, entangled between his amorous feelings for Mrs Yu, a self-exiled mother from Taiwan in the White Terror period, and her beautiful daughter Meiling. He takes them to different movies and through a series of magical moments on the big screen, reality and fantasy start to melt in a crescendo of forbidden passions and scenes of extreme sensuality where all inhibitions seem to drop and the actual sexual orientation of the main characters no longer matters. The era coincides with Hong Kong\u2019s turbulent times of 1967.
\nPresented in Venezia 76<\/em><\/p>\n

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Ji yuan tai qi hao (No.7 Cherry Lane) by Yonfan<\/figcaption><\/figure>\n

Victor Victoria<\/strong> by Blake Edwards with Julie Andrews, James Garner, Robert Preston (Usa, Uk, 132\u2019, 1982)
\nA whirlwind of innuendos, misunderstandings and memorable musical numbers in this smashing 1982 comedy of errors.
\nVictoria Grant is a poverty-stricken soprano trying to find work in 1934 “gay Paree”. With the help of a worldly-wise homosexual nightclub singer, she invents her alter-ego Victor, a female impersonator who is hired to sing at a fashionable night spot and instantly becomes the toast of the town. “You want me to be a woman pretending to be a man pretending to be a woman?”
\nInterwoven throughout the comedy and musical numbers are some surprisingly astute observations about gender perceptions, discrimination and the battle of the sexes.
\nPresented in the section Career Achievement Golden Lion<\/em><\/p>\n

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Victor Victoria by Blake Edwards<\/figcaption><\/figure>\n

Bu san<\/strong> (Goodbye, Dragon Inn) by Tsai Ming-liang (Taiwan, 82′, 2003)
\nDragon Inn is Taiwanese filmmaker Tsai Ming-Liang\u2019s attempt to commit Taipei\u2019s Fu-Ho movie theater, a one-time cruising spot for gay patrons, to cinematic memory before it is torn down. Pervasive in its nostalgia, the movie is interspersed with clips from King Hu\u2019s 1966 wuxia classic Dragon Inn. Playing on the theater\u2019s last night, the King Hu picture attracts only a few dozen audience members. Every one of them appears to be a lonely soul wandering in out of the pouring rain (the natural meteorological state in a Tsai film).
\nOver the course of 82 minutes, the audience comes to realize that these characters aren\u2019t interacting with living, breathing human beings but with the ghosts of Dragon Inn\u2019s actors and cinema itself.
\nThe restored version of the film Bu San (Goodbye, Dragon Inn) by Tsai Ming-Liang, presented at the Venice International Film Festival in 2003, will screen on Tuesday 3 September at 11 am and 3 pm at the Teatro alle Tese in the Venice Arsenale. At 12:30 and 4:30 pm, a live performance by Tsai Ming-liang titled \u201cImprovisations on the Memory of Cinema\u201d.
\nPresented in Special Event<\/em><\/p>\n

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Goodbye, Dragon Inn, photo by Lin Meng Shan<\/figcaption><\/figure>\n

Crash<\/strong> by David Cronenberg with James Spader, Elias Koteas, Holly Hunter, Rosanna Arquette (Canada, 100\u2019, 1996)
\nDavid Cronenberg adapts James G. Ballard’s 1973 novel of the same title, widening his personal exploration of the links between human bodies and machines: after a severe car crash, film producer James Ballard starts linking his sexual pleasure to the dangers of driving and the mutilations caused by car crashes. He therefore ends up meeting other car crashes fetishists, among them the mysterious, charismatic Vaughan.
\nDuring several sexual intercourses, the characters rarely make eye contact, Cronenberg builds cold compositions of sexual architectures, mostly shot from the back. Exception being the gay sex scene between Ballard and Vaughan containing the first kiss.
\nControversial movie, greeted by cheers and boos upon receiving a Special Jury Prize at the 1996 Cannes Film Festival, Crash has become, over the years, an undisputed cult movie and is now considered one of the fundamental titles in the filmography of Canadian director Cronenberg.
\nPresented in Venezia Classici<\/em><\/p>\n

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Crash by David Cronenberg<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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