Russian director Aleksander Sokurov’s Faust, a new take on the German legend about the quest for knowledge at all cost, has won the Golden Lion prize at the Venice Film Festival.
Faust tells the tale of a professor, played by Johannes Zeiler, who craves knowledge and sells his soul for the love of Margarete, played by Isolda Dychauk. The Mephistopheles character is played by Anton Adasinskiy.
Dense and difficult to watch, Faust was nevertheless one of the critics’ top choices among the 23 in-competition films at Venice this year. It marks the final chapter in Sokurov’s four-film look at the relationship between man and power that began with Moloch in 1999 about Hitler, Taurus a year later about Lenin and the 2005 film The Sun about Japanese Emperor Hirohito.
Photo: Reuters
At a post-award news conference Saturday, Sokurov made an impassioned plea for governments to continue supporting culture with state funds.
“Culture is not a luxury! It is the basis for the development of the society,” he said, adding that he had even raised the issue with Russian Prime Minister Vladimir Putin in a phone call just after he won. “And so I am making an appeal to the Italian minister of culture: Thank you for existing! Insist with all methods you have on keeping culture.’’
Sokurov said working with the German cast was one of the most impressive experiences he has had in years, even if he still wonders whether a German director would have been better suited for the task.
“German culture is a fundamental one in Europe,” he said.
Venice’s best actor award went to Michael Fassbender for his portrayal as a sex addict in Steve McQueen’s Shame, while the best actress award went to Deanie Ip (葉德嫻), who plays an aging domestic servant opposite her master in Hong Kong director Ann Hui’s (許鞍華) A Simple Life (桃姐).
“I can’t believe how young and beautiful and sexy this woman is!’’ jury chair Darren Aronofsky gushed of Ip after the awards ceremony. He said the jury, which included David Byrne and Andre Techine, was moved by the message of Hui’s film.
“It’s an issue we deal with in every part of the world and ... to see a journey from health to death with such generosity was very touching,” he said of A Simple Life.
Ip, for her part, said the film made her realize that she wasn’t getting any younger.
“I don’t want to be a burden to anybody, and I really don’t want to go to a senior home, so I will start planning when I go back to Hong Kong,” she said.
Fassbender said he never had a doubt about taking on the graphic role of Brandon, a 30-something Manhattanite obsessed with sex. He said he had full faith in McQueen after taking part in his 2008 film Hunger, which won the new director’s prize in Cannes.
“He mentioned this to me in 2008 but I didn’t need a script,” Fassbender told reporters. “I was always going to jump on board with Steve. He always addresses the elephant in the room, and it was a matter of me not letting him down.”
The Silver Lion prize for best director went to this year’s surprise entry at the Lido, Beijing-based Shangjun Cai (蔡尚君) for People Mountain People Sea (人山人海). And the special jury prize went to the Italian-French production Terraferma, about the influx of migrants to a tiny Italian island, by Emanuele Crialese.
All contenders at the world’s oldest film festival were world premieres.
The Winners
Russian director Alexander Sokurov’s Faust, loosely based on Goethe’s classic German text, won the Golden Lion for best picture at the Venice Film Festival on Saturday. Following is a list of all the main prize winners decided by a jury led by US director Darren Aronofsky.
BEST FILM GOLDEN LION: Faust, by Alexander Sokurov (Russia)
BEST DIRECTOR SILVER LION: Shangjun Cai (蔡尚君), for People Mountain People Sea (人山人海) (China)
SPECIAL JURY PRIZE: Terraferma, by Emanuele Crialese (Italy)
BEST FIRST FEATURE: La-Bas, by Guido Lombardi (Italy)
BEST ACTRESS: Deanie Ip (葉德嫻), for A Simple Life (桃姐) (Hong Kong)
BEST ACTO: Michael Fassbender, for Shame (Britain)
EMERGING PERFORMER: Shota Sometani and Fumi Nikaidou, for Himizu (Japan)
BEST SCREENPLAY: Alpis (Alps), by Yorgos Lanthimos (Greece)
BEST CINEMATOGRAPHY: Wuthering Heights, directed by Andrea Arnold (Britain)
Source: Reuters
In late October of 1873 the government of Japan decided against sending a military expedition to Korea to force that nation to open trade relations. Across the government supporters of the expedition resigned immediately. The spectacle of revolt by disaffected samurai began to loom over Japanese politics. In January of 1874 disaffected samurai attacked a senior minister in Tokyo. A month later, a group of pro-Korea expedition and anti-foreign elements from Saga prefecture in Kyushu revolted, driven in part by high food prices stemming from poor harvests. Their leader, according to Edward Drea’s classic Japan’s Imperial Army, was a samurai
The following three paragraphs are just some of what the local Chinese-language press is reporting on breathlessly and following every twist and turn with the eagerness of a soap opera fan. For many English-language readers, it probably comes across as incomprehensibly opaque, so bear with me briefly dear reader: To the surprise of many, former pop singer and Democratic Progressive Party (DPP) ex-lawmaker Yu Tien (余天) of the Taiwan Normal Country Promotion Association (TNCPA) at the last minute dropped out of the running for committee chair of the DPP’s New Taipei City chapter, paving the way for DPP legislator Su
Located down a sideroad in old Wanhua District (萬華區), Waley Art (水谷藝術) has an established reputation for curating some of the more provocative indie art exhibitions in Taipei. And this month is no exception. Beyond the innocuous facade of a shophouse, the full three stories of the gallery space (including the basement) have been taken over by photographs, installation videos and abstract images courtesy of two creatives who hail from the opposite ends of the earth, Taiwan’s Hsu Yi-ting (許懿婷) and Germany’s Benjamin Janzen. “In 2019, I had an art residency in Europe,” Hsu says. “I met Benjamin in the lobby
It’s hard to know where to begin with Mark Tovell’s Taiwan: Roads Above the Clouds. Having published a travelogue myself, as well as having contributed to several guidebooks, at first glance Tovell’s book appears to inhabit a middle ground — the kind of hard-to-sell nowheresville publishers detest. Leaf through the pages and you’ll find them suffuse with the purple prose best associated with travel literature: “When the sun is low on a warm, clear morning, and with the heat already rising, we stand at the riverside bike path leading south from Sanxia’s old cobble streets.” Hardly the stuff of your