Venice Film Festival, Greta Scarano: 'Conflicts and war in Gaza, do they have a place this year' - THE SPECIAL

The 83rd edition of the Venice Film Festival has opened in Venice, with political tensions shaping its opening days. The festival, which runs from September 2 to 12, has become a stage for heated debates over contemporary issues, particularly the ongoing conflict in Gaza. This year’s lineup includes films that directly address these themes, sparking discussions among critics, filmmakers, and international observers. Among them is Naza, a documentary directed by Yuval Abraham and Rachel Szor, which investigates how the Israeli military calculates civilian casualties during attacks on Gaza. The film, already known for its critical stance on the occupation, has drawn attention for its explicit political message. Political discourse has also influenced the festival's jury and its public appearances. There were initial rumors, later denied, that the jury might avoid addressing politically sensitive topics such as the war in Gaza during their press conference. These rumors followed the inclusion of several high-profile jurors who have expressed support for Palestinian causes, including Kaouther Ben Hania, whose film The Voice of Hind Rajab won the Silver Lion for Best Jury Prize. The film portrays the final moments of a Palestinian child speaking on the phone with rescuers while seeking shelter from Israeli fire. Ben Hania, who sits on the jury this year, has been vocal about her views on the conflict, adding weight to the festival’s political undertones. Meanwhile, the group Venice4Palestine, formed last year, has intensified its campaign ahead of the festival. The collective, which includes figures such as Nobel laureate Annie Ernaux, director Matteo Garrone, and actor Greta Scarano, has called on the Venice Biennale to display the Palestinian flag during the festival, suspend partnerships with entities linked to the Israeli government, and host a dedicated panel on Palestine. The group plans to unveil these demands on September 8, marking a more aggressive stance than previous years. Their call for action reflects broader concerns within the artistic community about the role of cultural institutions in geopolitical conflicts. Another point of contention involves the Russian filmmaker Ilya Khrzhanovsky, whose film Dau has been accused by Ukrainian authorities of being indirectly supported by the Russian government. Despite Khrzhanovsky’s status as a dissident against President Vladimir Putin, some in Kyiv argue that his work could still carry undue influence. The Venice Biennale has responded by asserting that Dau is an independent European production, not a Russian one, and that Khrzhanovsky has renounced his Russian citizenship and opposes the invasion of Ukraine. For the Biennale, excluding the film would mean undermining a work that challenges authoritarianism, a position that aligns with its commitment to free expression. Amid these larger disputes, there are smaller controversies as well. One such issue revolves around the film Primetime, directed by Lance Oppenheim. The movie dramatizes the life of Chris Hansen, the journalist known for exposing child predators through his show America’s Most Wanted. Some have raised questions about the legal implications of portraying Hansen, who has since passed away, in a fictionalized manner. While no formal action has been taken yet, the situation highlights the fine line between creative license and potential legal repercussions. As the festival progresses, the intersection of art and politics continues to shape its narrative. With multiple films tackling pressing global issues and a backdrop of institutional tensions, the Venice Film Festival is once again proving itself as both a celebration of cinematic achievement and a battleground for ideological debate. The coming weeks will likely see further developments as the festival navigates its complex relationship with contemporary geopolitics.