Venice Chief Alberto Barbera on Israeli-Palestinian Conflict, Film Length, and Fest’s Sexiest Project

This year’s Venice Film Festival will be the starriest place on earth for 10 days, with performances from Joaquin Phoenix and Lady Gaga in “Joker: Folie à Deux,” Cate Blanchett in Alfonso Cuarón’s TV series “Disclaimer,” and Daniel Craig in Luca Guadagnino’s “Queer.” However, festival’s artistic director, Alberto Barbera, assures that Venice still maintains its gritty essence beneath the glamour.

Barbera’s mandate at Venice has been extended through 2026 by new Biennale president Pietrangelo Buttafuoco, a right-wing journalist and author appointed by Italy’s ruling coalition. Despite this, Barbera emphasizes his autonomy at a time when festivals are crucial tools in addressing the world’s most pressing issues. This 81st edition features films exploring two major geopolitical crises. “We’ve never shied away from tackling controversial subjects,” Barbera notes. This year includes documentaries on both sides of the Russia-Ukraine conflict: “Russians at War” by exiled Russian director Anastasia Trofimova and “Songs of Slow Burning Earth” by Ukrainian filmmaker Olha Zhurba. Additionally, Israeli and Palestinian films reflect on the complexities of their ongoing conflict.

Barbera discussed the political dimensions of Venice 2024, challenges related to Italian political history with a festival selection on Benito Mussolini, and a resurgence of eroticism in this year’s lineup.

The question of the drop in global box office was raised, to which Barbera attributes it to the pandemic and its aftermath. For years, audiences were confined at home, unable to visit movie theaters, creating significant disruptions in production and releases. He notes that rebuilding the moviegoing habit will take time, requiring investments and creativity.

The film industry, particularly major studios under economic strain and undergoing corporate restructuring, is inherently slow to react. However, Barbera is optimistic about a potential rebound, possibly next year, once film production returns to pre-pandemic levels, bringing regular releases and new, strategic content. He firmly believes audiences can be won back.

Barbera also observed a significant transformation in the industry’s approach to film duration. While standard movie lengths used to range between 90 and 120 minutes, shorter films are becoming more common, especially on platforms like TikTok and YouTube. This trend is more pronounced in China. Conversely, longer films are emerging due to influences like TV series and efforts by theaters to offer richer experiences to counteract streaming competition.

Discussing the return of erotic cinema at Venice, Barbera highlighted the Alfonso Cuarón-directed TV series “Disclaimer,” starring Cate Blanchett. He teased that the fourth episode of the series is particularly extreme in its eroticism.

When considering the portrayal of the Israeli-Palestinian conflict at Venice, Barbera noted that there’s no Palestinian film on the war in Gaza. However, Dani Rosenberg’s “Of Dogs and Men” deals with the aftermath of an Oct. 7 terrorist attack by Hamas. It follows a little girl who returns to her kibbutz searching for her dog and mother, kidnapped by Hamas. The film juxtaposes the horrors of Hamas terrorism with the repercussions of Israeli bombings, maintaining a painful yet objective perspective.

Another film, “Happy Holidays” by Palestinian filmmaker Scandar Copti, addresses cultural conflicts. It tells the story of a Palestinian family in Israel grappling with the son’s desire to marry an Israeli girl he impregnated, facing opposition from both families.

Regarding the series “M. Son of the Century,” which chronicles Benito Mussolini’s rise to power, Barbera believes it can help Italy confront its fascist past. Directed by Joe Wright, the series offers a foreign perspective on Italy, providing an objective look at historical events. Barbera, interested in history, acknowledges discovering new aspects of postwar Italy through the series. He views it as an opportunity for in-depth analysis beyond potential controversies, drawing parallels between the past and present.