Venice 2022, the toto-Leone goes crazy: Panahi-Diop-Poitras on pole?

Predicting is impossible, especially with the interlocking game of the prizes to the actors. Italy may have a chance with Guadagnino, Amelio and the Mastroianni Prize

Impossible to predict. Yet it would be easy enough logically. Where the logic is to reward the most deserving. But the palmares of a festival, more often than not, escape any logic.

Is it possible that the Golden Lion could return to a female director, and to a French film, one year after the choice of Anne – L’Événement by Audrey Diwan? Yes, it is possible. Because Alice Diop’s Saint-Omer (among other things, the fictional film debut for the Senegalese-born documentary maker) is a work capable of combining the “theme” with the intelligence of a form that is not the classic, linear, transposition of a story.

Is it possible instead that the most important prize will go to a director already awarded the Golden Lion, by now in 2000 (for The circle), but who this time will not be able to withdraw it due to force majeure (he is in prison)? Yes, it is possible, because the Iranian Jafar Panahi with No Bears (The bears do not exist, soon in Italy with Academy Two) has succeeded in an authentic cinematic miracle, realizing after the already remarkable Three Faces another film that through the fusion between history (in history) and language reminds once again what the primary function of this art should be, called today as never before to an ever stronger transfiguration of reality. And doing it in captivity takes on a completely different meaning.

And remaining in the “political” sphere, is it possible that the president of the jury Julianne Moore attributes the Golden Lion to a documentary? Very possible, indeed very probable: there are those who swear they saw her cry after the screening of All the Beauty and the Bloodshed by Laura Poitras, a work that not only tells Nan Goldin as a photographer but who photographs her determined, proud activism. in countering the Sackler family and the easy trade in oxycodone.

This remaining, as mentioned, in the context of logic. But rewards, we also know this, are often also a matter of the heart. And the heart cannot leave out Kōji Fukada’s Love Life (in the jury there is a certain Kazuo Ishiguro, Nobel Prize for literature), almost certainly in palmares, perhaps awarded for the screenplay, as it is difficult to imagine remaining out of The Banshees of Inisherin by Martin McDonagh, a film that really made everyone agree here on the Lido.

On the Coppa Volpi front, The Whale’s Brendan Fraser has been the favorite since the eve of the Festival, but are we so sure that Ricardo Darín (Argentina, 1985) is totally out of the game?

For the female interpretation the same goes: the Cate Blanchett of the divisive Tár is the favorite, but what if the Mostra for the first time awards a transgender actress? The Cup to Tracy Lysette (Monica) wouldn’t be so wild. At the same time, one could reward Ana de Armas’s effort as a sore Marilyn in Andrew Dominik’s Blonde. Hypothesizing an encore for Penélope Cruz (The immensity) only one year after the one won by Madres paralelas is perhaps unlikely.

Will there be a “Lion of the 90th” to celebrate the anniversary of the Festival? Probably not. But otherwise directors such as Iñárritu (Bardo) or Amelio (Lord of the Ants) might be considered.

It’s Italy? And Netflix? It seems impossible that he will stay out of everything with 4 titles in the race, perhaps a Silver Lion for the direction (Bardo) or, precisely, the cool “surprise” of Ana de Armas, but it is difficult to think of anything more.

For Italy, the matter is even more complex: maybe Bones and All by Luca Guadagnino (director with whom Moore also worked, in the short film The Staggering Girl for the Valentino maison, perhaps it should be remembered …) in the end he doesn’t grab the Lion anymore coveted, but Grand Prize or Jury Prize may come.

Much will also depend on the “political” weight that Leonardo Di Costanzo will have in the jury: let’s say that as regards the Mastroianni Prize, the one awarded to an emerging actor or actress, we play it on several tables: Margherita Mazzucco was already known for The brilliant friend, of course, but at the cinema it is her first time with Chiara. All-round debutants instead Leonardo Maltese (The lord of the ants) and Luana Giuliani (The immensity).