L’eco delle polemiche sul verdetto veneziano arriva al NYT

Il contestatissimo verdetto della giuria di Venezia 67 e le polemiche in merito ai presunti favoritismi del presidente, Quentin Tarantino, raggiunge le colonne del New York Times, che dedica un articolo all’affaire italiano, citando Paolo Mereghetti e indicando tutti i motivi del legittimo scontento.

Lo stesso risalto viene dato anche sull’influentissimo sito Deadline.com

Jury president Quentin Tarantino faced charges of favoritism Sunday after he handed out two major awards at Venice film festival to his friends, including best picture to his ex partner Sofia Coppola’s “Somewhere.”

Another friend and mentor Monte Hellman landed a special career award, and Spanish entry “Balada Triste de Trompeta,” which picked up the director and screenplay prizes for Alex de la Iglesia, was widely panned by critics on the Lido waterfront.

Add to that a best actor award for Vincent Gallo in “Essential Killing,” during which he uttered not a single word, and no prizes for Italian films, and Saturday’s closing ceremony was one of the most unpredictable in years.

Il Times punta il dito non solo sul Leone d’Oro, ma sulle scelte complessive della giuria, incapce di riconoscere le eccellenze di un concorso pieno di felici sorprese:

Balada Triste de Trompeta (The Last Circus) was ranked 17th out of 24 competition films in an informal critics’ poll published for journalists in Venice.

The ultra-violent horror movie, which doubles as a metaphor for fascist Spain, was described in reviews as “the demented Spanish circus movie” and “loud, tedious and unattractive in every sense,” although it had a handful of avid supporters.

A prize for Gallo’s speechless turn as a suspected Taliban fighter on the run from U.S. troops came as less of a surprise, although it highlighted his bizarre behavior at the festival…

Some of the competition’s best liked films and performances were overlooked, including that of Natalie Portman, who won praise for her powerful turn as a disturbed dancer in “Black Swan.”

Also popular with critics were “Venus Noire,” the true story of a woman brought from South Africa to Europe in 1810 and turned into a freak show, and Chile’s “Post Mortem,” which looks at the 1973 military coup through the eyes of a morgue employee.

“Potiche,” a 1970s comedy starring Catherine Deneuve and Gerard Depardieu, left empty-handed as well.

Peccato che la Mostra sia stata rovinata da un verdetto sbagliato e su cui si addensano dubbi e sospetti. Il lavoro pregevole di Marco Mueller non meritava un finale così amaro…

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