The Venice Days Lineup: A Cinematic Mosaic of Voices and Visions
Every year, the Venice Film Festival brings a whirlwind of glamour, artistry, and storytelling to the Lido. But nestled within this grand spectacle is Venice Days, a sidebar that often feels like the festival’s beating heart—raw, independent, and unapologetically bold. This year’s lineup, unveiled for its 23rd edition, is no exception. Personally, I think what makes this edition particularly fascinating is its ability to honor the past while fiercely embracing the future. Dedicated to the memory of Giorgio Gosetti, the section’s late founder, it’s a testament to his vision: a platform for voices that challenge, provoke, and inspire.
A Lineup That Defies Expectations
One thing that immediately stands out is the sheer diversity of this year’s selection. With 25 world premieres, more than half directed by women, Venice Days is not just showcasing films—it’s making a statement. What many people don’t realize is that this isn’t just about gender parity; it’s about the stories being told. From Lili Horvát’s My Notes on Mars, a sci-fi-tinged mystery starring Mackenzie Davis and Rupert Friend, to Kuba Dorabialski’s Agata the Writer, featuring Mia Wasikowska as an Australian author in Sarajevo, the lineup is a mosaic of perspectives.
Horvát’s film, in particular, feels like a departure from her previous work, Preparations to Be Together for an Unknown Period of Time. Her English-language debut explores memory, identity, and the surreal—themes that resonate deeply in today’s fragmented world. If you take a step back and think about it, this film isn’t just a thriller; it’s a metaphor for our collective amnesia in the face of rapid change.
Global Stories, Universal Themes
What this lineup really suggests is that cinema is becoming increasingly borderless. Take Balcanica, the only Italian title in competition, which follows an Afghan father and son fleeing to Europe after music is banned in their country. Directed by Nicola Sorcinelli, it’s a story that feels both hyper-specific and universally relatable. In my opinion, this is where Venice Days excels—it doesn’t just showcase films; it curates conversations.
Another standout is Camouflage, Mykyta Gibalenko’s debut about a young Ukrainian in Germany whose life is upended by Russia’s invasion. What makes this particularly fascinating is how it captures the psychological toll of displacement, a theme that’s sadly relevant in today’s geopolitical landscape. It’s not just a film about war; it’s a film about survival, identity, and the search for home.
Catherine Deneuve and the Closing Film
Léa Domenach’s Man’s Skin, a queer feminist musical comedy set in the Italian Renaissance, is closing Venice Days. Starring Catherine Deneuve, it’s a film that feels both audacious and timely. From my perspective, this choice is a bold statement—a celebration of queer narratives and historical reimagination. What many people don’t realize is that Deneuve’s presence here isn’t just a casting coup; it’s a symbol of how cinema can bridge generations and genres.
The Jury and the Awards
This year’s jury, headed by Carla Simón, is all-female—a detail that I find especially interesting. It’s not just about representation; it’s about the lens through which these films will be judged. Simón, known for her intimate, character-driven films like Alcarràs, brings a unique perspective to the table. What this really suggests is that Venice Days is committed to fostering a dialogue about cinema that’s inclusive, critical, and forward-thinking.
The €20,000 GdA Director’s Award is more than just a prize; it’s a lifeline for independent filmmakers. In an industry where budgets are tight and risks are high, this kind of support can make or break a career. If you take a step back and think about it, this is what festivals should be about—not just celebrating art, but sustaining it.
Beyond the Screen: Talks, Events, and Collaborations
Venice Days isn’t just about the films; it’s about the conversations they spark. The return of #confronti, the Declaration of Filmmakers, and the collaboration with Venezia CULT are all part of a broader effort to engage audiences beyond the screen. Personally, I think this is where the festival truly shines—it’s not just a showcase; it’s a community.
The inclusion of cartoonists Leo Ortolani and Dave McKean feels like a nod to the intersection of art forms. What makes this particularly fascinating is how it blurs the lines between cinema, illustration, and storytelling. It’s a reminder that creativity isn’t confined to one medium—it’s a dialogue across disciplines.
A Festival in Transition
This year’s Venice Days feels like a festival in transition—honoring its past while boldly stepping into the future. The death of Giorgio Gosetti looms large, but his legacy is alive in every frame, every conversation, and every risk taken. From my perspective, this edition is a love letter to the power of cinema to connect, challenge, and inspire.
As we await the Venice Film Festival’s competition lineup, Venice Days has already set the bar high. It’s not just a sidebar; it’s a movement. And if this year’s selection is any indication, it’s a movement that’s here to stay.
Final Thought:
If you take a step back and think about it, Venice Days isn’t just about the films—it’s about the questions they ask. In a world that often feels divided, this lineup is a reminder of what unites us: our shared humanity, our curiosity, and our need to tell stories. Personally, I can’t wait to see where this journey takes us.
