31/07/2003 - The artistic director presents a strong line up for the landmark 60th edition, but warns: “The future lies in creating a film market”

The Venice Film Festival looks to Europe and Italy. “A strong contingent from the Old Continent during the Italian presidency of the European Union” was one of Moritz De Haldeln’s primary concerns. It was not so much a political issue, rather an acknowledgement that “something new is happening in Europe.” We must however wait until 30 August before learning precisely what that is. On that day the culture ministers of the new-enlarged 25-member European Union and the EU Commissioner for cultural affairs, Viviane Reding are scheduled to meeting to discuss audiovisual issues and how best to increase the number of European co-productions.

The 60th Mostra has lots of Italy: Marco Bellocchio, Paolo Benvenuti and Edoardo Winspeare are in competition alongside films form Portugal, Poland, France, Germany and the United Kingdom. Also taking part is a large contingent of “different films from the Mediterranean basin,” said De Hadeln. “The relationship between Islam and Judeo-Christianity is directly or indirectly subject to commonly held platitudes or misunderstandings.” An example being Le Cerf-Volant by Randa Chahal Sabbag, “a Lebanese filmmaker who brings us this love story set on the border between Israel and Lebanon” or Raja by Jacques Doillon, which was made on location in Marocco.

Most of the US films will “unfortunately screen out of competition, as requested by their respective producers.” The number of Asian films in Venice is not high: “Film production in Asia has been on hold for the last two months because of the SARS epidemic. Unfortunately we will not see Wong Kar Wai’s new film, although we do have a surprise in store: Goodbye Dragon Inn , the new film by Tsai Ming Liang whose 1994 Vive l’amour won the Golden Lion.

De Hadeln is a 20-year veteran of Berlin and he is convinced that “the future of the Mostra lies in the creation of a film market. The infrastructure is already in place. What’s missing is the money. For the moment we have the Venice Screenings, featuring numerous market screenings that people have already been asking for, plus the stands at the Excelsior. This is the beginning of a market that I hope will grow and develop in the future.”

(Translated from Italian)