How many names, and nicknames, of women in the titles of the next Venice Film Festival, the 79th: Chiara, Monica, Amanda, Tàr (Lydia’s surname), Princess, Le favolose, (House) Susanna and, finally, the Blonde in absolute, that Marilyn Monroe told in the most anticipated film, which already promises to be very scandalous, played by Ana de Armas and based on the book between truth and fiction by Joyce Carole Oates (blondeThe Ship of Theseus).
The protagonists emerge from the tenacious silence of history, almost always in the form of memory, voice in the first person, but at a dance pace so as not to make Venice sad, which, after all, the director Alberto Barbera underlined, “can only be a window on a wounded world ». Just like that of Marilyn, who died alone in her villa in Brentwood-Hollywood on August 4, 1962, sixty years ago, amid an excess of barbiturates, many mysteries and dark signs of politics, an immense star with the stigmata of a desolate childhood and violated have become the symbol of his cult and of the many events that at the Lido will tell of sexual identities in the making, even as children (The immensity Crialese, with Penelope Cruz), and radical choices like the real one by Tooba Gondai, from model student to jihadist recruiter in Benedetta Argentieri’s film The matchmakeror the lucid portrait of the woman who killed her little daughter, a true French chronicle in Saint-Omer by Alice Diop, in which maternal loneliness takes the form of a chilling and tragically current confession.
Ana de Armas / Marilyn in the trailer of the film she cries and then laughs at that laugh of hers that seemed a bit silly to most people and instead was real humor with a desperate aftertaste and in the film, after months of vocal coach, she will sing and dance revisiting musicals such as Men Prefer Blondes. But she will not be the only protagonist of the exhibition who, despite mutations, discrimination and violence, seems to find this freedom among the notes. To counterbalance Monica’s difficult path, in the film by Andrea Pallaoro interpreted by the transalpine actress Trace Lysette already revealed in Transparentthey will in fact be the friends of The fabulous by Roberta Torre, where between fantasy and documentary a group of transsexual women unravel the ball of their real, raw and happy events singing and dancing like in a small 1950s aquatic musical, between references to ghosts and the evocation of those dazzling female families forbade even in death. The leader of the group is Porpora Marcasciano, an activist from Mit (Trans identity movement), known for books with clear titles L’aurora delle trans malice and Favolose narranti.
Memories and photos of trans communities also in Susanna Housebecause, like in the movie Princess by Roberto De Paolis, the feminine memoir takes up space in the exhibition, almost always lightened by a suspicion of a musical. The sisters gathered in poverty around the Saint of Assisi in Clare celebrate their radical truth with choral choreography and religious songs. Cate Blanchett in Tàr plays the first, imaginary, conductor Lydia Tàr, actually Eva Brunelli’s alter ego who in 1923 was really the first woman to get on the podium of the Berliner Philharmoniker.
The clues in music, at least the ones we know, run after each other: Elodie is highly anticipated in her first role as a leading actress in I eat your heartvery tough theme, while Stefania Sandrelli will be a former diva of the smooth in Water and anise, road movie from the 70s dance hall. Venice thus reminds us that, in the hostile world, there has always been a secret, saving song in the hearts of women.
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