Director Emanuele Crialese on Being the Girl Who Wants to Be a Boy in His Personal Penélope Cruz-Starrer ‘L’immensità’ (EXCLUSIVE)

Penelope Cruz received a special honor at the 2022 San Sebastian Film Festival this weekend!

Liza Foreman After wowing a home crowd at the opening night of the San Sebastián Film Festival on Friday, looking dazzling at 48, Spain’s best-known actress, Penélope Cruz, spoke to a packed auditorium at the city’s Tabakalera culture center on Saturday when she was honored with Spain’s National Cinematography Prize. “It is truly an honor for me to receive this National Cinematography Prize,” said Cruz speaking in Spanish.  “Cinema is and has been my passion since I was a child. Since I dreamed in the living room of my parents’ house of worlds to explore beyond our neighbourhood. The streets of my neighborhood sometimes became sets for incredible stories,” she went on. “My childhood was fantasizing about acting, living life so intensely to be able to encompass many lives through dozens of characters.”

Spain on Friday. The actress, 45, showed off her chic sense of style in a in a black dress with a plunging neckline. The tiered circle skirt flared out as she stood on the red carpet while posing for pictures.

Penelope Cruz is taken by surprise as she sees so many fans at the premiere of her new movie, On The Fringe, during the 2022 San Sebastian Film Festival held at Victoria Eugenia Theatre on Friday (September 16) in San Sebastian, Spain.

Nick Vivarelli International Correspondent Gianni Amelio’s “Lord of the Ants,” a biopic of Italian poet and playwright Aldo Braibanti, who was jailed in 1968 due to a Fascist-era anti-gay law, has reached the top spot at Italy’s box office following its launch from the Venice Film Festival. “Ants” on Monday reached the numero uno position at the local box office roster with a €483,474 ($487,000) intake from more than 300 screens following its September 8 release. While far from stellar in normal times, this result is being hailed as an encouraging sign for the country’s still sagging post-pandemic theatrical sector. Amelio’s film is now ahead of Japanese anime pic “Evangelion: 3.0 You Can (Not) Redo,” which was released as an event on Monday for a three day run, and “Minions: The Rise of Gru,” which is at the end of its run, following it’s Aug. 18 Italian outing.

Nick Vivarelli International Correspondent Prime Video has inked an overall creative deal with Italian writer-director Antonio Dikele Distefano, who is the originator of groundbreaking Netflix original series “Zero” that in 2021 marked Italy’s first show centered around the present-day lives of black Italian youth. Dikele, who was born in Italy to Angolan parents, is now making his feature film debut with an Amazon original film titled “Autumn Beat,” a coming-of-age drama about two brothers named Tito and Paco, who grew up in Milan and have the same dream: to break into the rap music world. “The duo seem destined for success—Paco is a born performer and Tito knows how to write like no other—but ambition, life, and love for the same woman will test their bond,” says the provided synopsis.

Nick Vivarelli International Correspondent Italian director Paolo Virzì (“Human Capital,” “Like Crazy”) is in Venice where his dystopic drama “Siccità,” which means drought in Italian, is premiering out-of-competition. The innovative pic, which features an A-list ensemble cast comprising Monica Bellucci, Sara Serraiocco (“Counterpart”) and Silvio Orlando (“The Young Pope”), is set amid a protracted drought caused by climate change in the Italian capital where the Tiber has dried up. Virzì spoke to Variety about how “Siccità” germinated during COVID-19 and was shot amid tight pandemic protocols. Excerpts. You worked with novelist and screenwriter Paolo Giordano on the concept and the script for this film. How did the collaboration start?

Nick Vivarelli International Correspondent With “Chiara,” Susanna Nicchiarelli’s portrait of Saint Clare of Assisi – the 13th century saint born into a wealthy family who at age 18 became a nun after hearing St. Francis preach – the Italian director completes her trilogy of female biopics, segueing from “Nico, 1988” and “Miss Marx,” which both launched from Venice’s Horizons section. With “Chiara,” she makes the leap into the main Venice competition. Nicchiarelli spoke to Variety about what drew her to portraying this prototypical feminist and directing “My Brilliant Friend” star Margherita Mazzucco in the pic’s titular role. Excerpts. What drove you to want to tell us this story about St. Clare?Well, first of all, I was always passionate about Saint Francis. I have a very strong memory when I first saw Franco Zeffirelli’s “Brother Sun, Sister Moon.” I was at school when they showed it to us and this boy, this man, taking his clothes off in front of the Bishop. That was a very strong image. Francis’ battle speaks to us just as much today because it’s a battle for poverty, against social injustice. It’s about being on the side of the poor, of those who are different, and the injustices of a society in which very few have everything and then most have nothing. So, this was their battle. The medieval society was like that. It’s not so different from the way it is now.

Nick Vivarelli International Correspondent Italian director Stefano Sollima, who is known in Hollywood for “Sicario: Day of the Soldado,” “Without Remorse” and TV show “Gomorrah,” is back behind camera on a contemporary Rome-set crimer titled “Adagio.” Shooting started Sept. 5 on “Adagio” which features an ensemble cast of Italian A-listers comprising Pierfrancesco Favino (“Nostalgia”), Toni Servillo (“The Great Beauty”), Valerio Mastandrea (“Perfect Strangers”) and Adriano Giannini (“The Ties”). “I am eager and full of enthusiasm about finally returning to depict my city after all these years. Rome has changed, and so have I,” Sollima said in a statement for Variety. He went on to describe “Adagio” as a dark story of revenge and redemption, which will be the last chapter of my Roman criminal trilogy.”

Tilda Swinton takes over the red carpet in a dazzling lavender gown at the premiere of The Eternal Daughter during the 2022 Venice International Film Festival on Tuesday (September 6) in Venice, Italy.

printed with the double C emblem, a black and white bouclé tweed waistcoat and matching jacket, platforms, aviators, and statement logo earrings. Naturally, Cruz is a fan of Chanel’s classic quilted bags, and she carried a smart circular clutch with a chain handle for her moment in the spotlight.Penélope Cruz in Chanel jeans on September 5.Cruz has been a Chanel ambassador since Karl Lagerfeld’s tenure (she attended her first show in 1999), so it’s become customary practice for her to fly the flag for the brand.

Nick Vivarelli International Correspondent Prominent arthouse sales company The Match Factory has closed multiple sales on Italian auteur Gianni Amelio’s Venice competition title “Lord of the Ants” ahead of its Venice premiere on Tuesday. The Match Factory has sealed deals on Amelio’s latest work – which is a biopic of Italian poet, playwright and director Aldo Braibanti, who was jailed in 1968 due to a Fascist-era anti-gay law – that will ensure the film’s theatrical release in: Australia/New Zealand (Palace Films); Japan (Zazie Films); Spain (Surtsey Films); Sweden (TriArt Film) and Greece (Ama Films). Further deals are in negotiation, the company said. Braibanti was convicted after a complaint from his partner’s father, who later forced his son to be treated with electroconvulsive therapy in an ill-conceived attempt to rid him of his homosexuality. The Fascist-era law that punished Braibanti, which made it a crime to lead innocent or unwary people “morally” astray, was repealed in 1981.

Not all of the amazing fashion at the 2022 Venice Film Festival will be seen on the red carpet!

Nick Vivarelli International Correspondent Last year Andrea Scrosati – who is group COO and continental Europe CEO of Fremantle – was at Venice with two films. This year Fremantle’s got six pics launching from the Lido, three of them in competition, which is a larger contingent than any of the U.S. studios or streamers.  Fremantle’s business model, which involves a cluster of companies mostly across Europe that they either fully own or are majority investors in, has been bearing fruit on their film side. Their output has grown “from 8 to 32 delivered movies in two years,” Scrosati says.  And the multi-pronged company’s Venice lineup – which includes Luca Guadagnino’s “Bones and All,” Emanuele Crialese’s “L’Immensità,” and Joanna Hogg’s “The Eternal Daughter” – is a reflection of that.

Even before the title flashes up for Venice Film Festival competition entry L’Immensita, we know that Penelope Cruz is the most fun mom – most likely the only fun mom – in town. She doesn’t just set the table for dinner; she puts on music, leads the kids in a choreographed dance and singalong as they pass plates and cutlery, emoting into a passing fork as if it were a microphone. Adults bore her. At a birthday dinner for an ancient relative, she slips under the table to join her children in removing and mixing up everyone’s shoes. “I want to play!” she says, eyes gleaming.

What a knotty task, to detach instinctive overtures of motherly love from the traditional structures that perpetuate the restraining of gender roles, offering love freely without conforming.

Penelope Cruz turned heads in two amazing looks at the 2022 Venice Film Festival this weekend!

Guy Lodge Film Critic “L’Immensità” is director Emanuele Crialese’s first feature film in 11 years, and only his fifth in a quarter-century: The gifted Italian, best known to international audiences for his splendid, richly felt Ellis Island immigrant saga “Golden Door,” has never been one for unconsidered or impersonal projects. At first glance, then, one might wonder what drew him out of hibernation for a film that, with its trim runtime and small-scale domestic narrative, belies a title that translates as “immensity.” This 1970s-set story of a 12-year-old navigating his gender identity while his mother battles mental health demons is too palpably pained and heartfelt to be called slight, but it’s sensitive and peculiar in ways that feel fragile — occasionally splintered and swamped by an elaborate setpiece, or the outsize star magnetism of arguably its secondary lead, one Penélope Cruz. 

Nick Vivarelli International Correspondent In Italian director Emanuele Crialese’s new drama “L’Immensità,” which is set in 1970s Rome, Penélope Cruz plays a mother of three who, while contending with a violent Italian husband, winds up in a psychiatric institution. “I don’t think my character is crazy at all,” Cruz said. “She is trapped in her family. Trapped in her home, in her body. In the situation in which she finds herself living. She doesn’t have a plan B. There is no escape,” she added. “She’s not crazy at all. She’s oppressed in many different ways. And she simply can’t take it anymore.

Emanuele Crialese put in a buoyant performance at the Venice Film Festival Sunday, during which he discussed how his identity informed his Golden Lion contender L’immensità.