Alberto Barbera is striking a warning note: “I fear that Nuclear, the new documentary by Oliver Stone, will spark controversy. But that’s okay, God forbid we should deny them.” The Director of the Venice Film Festival, now on its 78th edition (it also celebrates its 90^th anniversary since its inception in 1932), does not shirk any question and talks openly in our interview just before the opening of the famous event. 

Barbera has always spoken his mind, even expressing some doubts about certain choices in the selection of films or about cinema trends and the market in general (especially in Italy), not to mention the “state of the art” in general. 

Barbera, 72 (he was born in Biella, Piedmont, in 1950), was a film critic, film historian and journalist, before becoming the director of the Venice Film Festival, a position he has held continuously since 2012.

Mr. Barbera, on the topic of Oliver Stone’s Nuclear, do you really fear it will face protests and controversy?

Of course, because its subject matter, nuclear energy, is still sort of a taboo. I expect the “greens” to be demonstrating fiercely on the red carpet, as they usually do. Stone’s film is well documented, filled with numbers, facts, information, data. But it’s also clear that one can dispute certain pieces of information. Nobody has a monopoly on the truth about these things, it would be too simple. The thesis underpinning Nuclear, about reconsidering seriously nuclear energy, is very well elaborated and quite convincing. I myself have never been a fan of nuclear power, but I must say that Stone’s argument made me change my attitude.

Let’s talk about this year’s line-up, which looks very dense, varied and interesting.

There are many films, and there is a lot of variety.  I can say we got the most eagerly awaited films. Aside from Steven Spielberg’s The Fabelmans, which will debut in Toronto, all the others are there. But we also have many other things. Films from lesser-known directors, from new talents to the most unexpected things. As usual, our selection is anything but mainstream. It doesn’t just focus on tried-and-true names. And it responds in some way to an auteur cinema that seems a little outdated to me or that in any case belongs to the end of the last century rather than to the third millennium we are experiencing and the current cinema that it is generating. So, we are trying to keep up with these fast and deep-rooted transformations that are taking place within the film universe, and I believe that the Venice program reflects this effort.

Is it correct to say that, despite the pandemic, a lot has happened lately in the film world?

True. But that is due to the combined effect of various factors, such as the accumulation of films that had been paused due to the pandemic, and the increase in financial resources for new films. Streaming platforms are investing a lot. They have a desperate need for content. The only way to compete is to win over as many subscribers as possible. In Italy, meanwhile, we have a 40% tax credit and ministerial investments and the like. Today it’s very easy to make a film in Italy. You can make one without shelling out a single euro out of your pocket. The film is paid for before it is made.

Is that a good thing?

No, because there is a boomerang effect. You make the film because it’s easy to do, and so everyone has thrown themselves into making as many films as possible. We have generated 250 titles in one year in Italy, which is an abnormal figure compared to the usual 100 titles. But these films will have no distribution. The traditional theatrical market absorbs 80/85 films a year, no more. Some are absorbed by platforms, and others will go nowhere. The problem, as I said, is that they are already paid for and therefore no one is risking anything – even if the film does not come out, no one loses. The motivations to produce great content are therefore low.  This is disaster, it creates a bubble that risks bursting, not to mention the fact that it doesn’t do any good to the reputation of Italian cinema. If the films are of low quality, which unfortunately happens in most cases, like this year, that’s not good for anybody. You lose the audience; you lose credibility, and it will take years to regain trust.

You mean despite all these investments?

Unfortunately, yes, there is a lot of low-quality production, not only in Italy, but also around the world. There has never been so much money put into production, except in the golden years of cinema of the 50s and 60s, when crowds poured into the cinemas every day. It is a strange situation, there is worry, anxiety and uncertainty. Everyone is producing films; everyone is running around like crazy. Nobody really knows what’s going to happen to their products. It is a bizarre situation.

Does that mean you had to see more films than necessary for the Venice Film Festival’s various selections?

Yes, but the way we work has changed anyway, because the calendars have lost their meaning. Previously, when your film was ready at the end of the year, you first tried Berlin, then Cannes, then Venice. There was a sort of unwritten calendar, but one which everyone respected. Now, whoever has the film ready sends it to everyone immediately. This year we started watching movies in November – whereas before, we usually started in March – and from December onward it was a race for titles. The number of films that arrived each day was greater than the possibility of catching up with them. You can see four or five movies a day, maximum, but this year we had 10 or 15 coming in every day! Therefore, you are constantly on the run and feeling pressure. Unfortunately, this is not a good way to work, as you guys well know. You can’t wait until the end to decide which movie to select or not. You have to choose someone right away, otherwise they go somewhere else. Others you put on stand-by. I mean, choosing has become impossibly complicated.

Do you think this trend will continue over time?

I’m afraid so, at least until a new market settlement is reached, with releases that will find a sort of regularity. Films are continuing to be moved or postponed. And this generates great uncertainty. I think it will last for a while. A new balance will have to be found between theater venues and platforms. Let’s consider the Hollywood studios that have thrown themselves into building new platforms, even knowing they were creating lethal competition. This uncertainty does not only affect small independents; it affects everyone, because a fluctuation of a few percentages of Netflix subscribers is enough to generate panic on the stock market and make Netflix itself lose money. This is just to give you an idea of how volatile and uncertain the market is right now.

Does this uncertainty reflect on the films you have seen and/or selected?

Here is what I saw: I expected that after two years of pandemic and lockdowns there would be a desire to leave this period behind, with all its burden of pain and suffering. I thought there would be a longing for lightness, comedies and fun. Instead, most of the films are extremely dark. They are all issue-oriented, all aimed at exploring the various problems of contemporary life and the uncertainty about the future, all expressing great concern for finding solutions to these problems, be they individual, family or social and political. Certainly, we have very little comedy this year. I was looking for something lighter here and there. Could find none!

Not even among the Italians?

No, though Luca Guadagnino with his Bones and All and Andrea Pallaoro with Monica have certainly done beautiful works. Those are two authors who are maturing film by film, two talents to be reckoned with. The same goes for Susanna Nicchiarelli and her continued  exploration of forgotten women in history with La vita di Chiara, and Gianni Amelio with Il Signore delle formiche or Paolo Virzì with Siccità. But in terms of laughs… nothing!

We know that during the festival there will be some references to Ukraine and other hot topics: can you tell us about it?

We’ll dedicate half a day to Ukrainian artists and showing solidarity with the Ukrainian people, on the morning of September 8th. There will be discussions and videos prepared by the Ukrainians. These are “work in progress” projects that are looking for international co-productions. Then we have other initiatives to express solidarity and support for filmmakers imprisoned and condemned by the strict censorship of their tyrannical governments, including China. We see attacks on freedom of expression in many countries around the world. What’s happening in Iran is tragic. There will be panels in collaboration with the International Coalition for Filmmakers at Risk. We will not shy away from expressing our unwavering solidarity with filmmakers jailed, accused or condemned anywhere in the world.