Matteo Garrone on His African Odyssey ‘Io Capitano’: ‘I’m Italian. I’m White. This Is Not My World: There Was a Risk of Getting It Wrong’

At the age of 13, Jim Bamford embarked on an adventure he will never forget. Unaccompanied by adults, joined just by a friend three years his senior, he travelled across the North of England to see its great railways in all their glory.

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Italy has submitted Matteo Garrone’s Io Capitano as its candidate for Best International Film at the 96th Academy Awards.

John Hopewell Chief International Correspondent QuarXX’s “This Thing Inside of Me,” Caye Casas’ “Malamuerte” and maybe the biggest buzz title in the whole selection, Sean Wainsteim’s “Idaho Winter,” a multi-media mashup, feature in a robust, variegated lineup at Sitges FanPitch, which is quickly establishing itself as a key early fall global genre project platform drawing on titles from not only Spain but Europe, Latin and North America and Asia. Unspooling Oct.

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It’s interesting how the Venice Film Festival has gone from one of the festivals of the fall festival season to arguably the best film festival in the world now, even overshadowing Cannes in recent years thanks to the fact that Netflix now avoids the Croisette for the most part because of France’s theatrical laws and save their Oscar contenders for the Lido. Venice has had an amazing run, arguably since 2017 when Guillermo del Toro’s “The Shape Of Water” won the top prize and then went on to win the Oscar for Best Picture, which has happened one more time since with “Nomadland” and several key Oscar contenders since).

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French filmmaker Claire Denis has been announced as the jury president for the Official Section of the 71st San Sebastian Film Festival, running from September 22-30.

Even if the critical reactions have been mixed, Italian films have proven much stronger than usual at this year’s Venice Film Festival, with a notable resurgence of genre filmmaking in the likes of Adagio and Enea. Ironically, Matteo Garrone, the one local director in the selection whose actual stock in trade is genre of all stripes — gangster realism (Gomorrah, Dogman), satirical comedy (Reality), and baroque fantasy (Tale of Tales) — arrived this year with a blisteringly topical drama that might be his most traditional, and best, yet.

Guy Lodge Film Critic Though it’s become a convenient catch-all term for journalists covering the subject, the phrase “European migrant crisis” can’t help but leave a sour taste in the mouth — implying as it does that Europe, the destination for so many hard-up voyagers from variously ailing or hostile countries, is the disadvantaged party in all this. That bias carries through to the bulk of well-intended films on the matter, which tend to pick up migrants’ stories, however sympathetically, on European turf.

Nick Vivarelli International Correspondent Venice Film Festival artistic director Alberto Barbera is adamant about his decision to place six Italian movies in this year’s 23-title festival lineup. “Nobody accused the French of chauvinism because they had seven French films in competition in Cannes this year,” Barbera quipped to a snarky Italian reporter when the Venice lineup was announced in July, though he did concede, “It’s true that in the past I have not done this.” Indeed, Barbera’s previous limit on Italian movies in competition for the Golden Lion was five titles last year, which some local critics considered a stretch.