Martone’s “Scherzetto”, in cinemas today, centres on a very young protagonist, whilst “Naza” by Abraham and Szor tells the story of the ‘collateral’ victims

Short films, long talks and a plate of risotto (very good, with orange zest) eaten voraciously

Work and family take centre stage in the films by Brizé and De Angelis. The things that most easily weigh us down in our daily lives also haunt us at the Lido – thank goodness there’s room for manga 

“Bunker”, starring Javier Bardem and Penélope Cruz, and Casey Affleck’s “Company” seem like concept stores. Looking at “Una storia”, however, it comes as no surprise that the women end up disappointing in Venice

A practical guide to surviving Luca Guadagnino’s endless and magnificent new work, “Joie de vivre. Notes, thoughts, words, reflections, faces and visions on Bernardo Bertolucci and 20th-century cinephilia that no longer exists”, whose title is worthy of its length 

 Strippoli has penned a fine horror story set in broad daylight, whilst Zizek mocks "The Forgotten". To understand what’s going on in the world, outside of film clubs, it would be worth taking a look every now and then at the box office takings of the films we don’t go to see 

Over the years, he has built up a public persona that also acts as a guardian of his own films. A Morettian ‘moral police’ whereby, ultimately, it is no longer the critics who judge the director, but he who judges the critics.

As far as its public image is concerned, Italian cinema may well be at the mercy of the times we live in, but when it comes to celebrating, no war or threat to democracy can stand in the way 

The film (starring Robert Pattinson) tells the true story of television journalist Chris Hansen and his hugely successful investigative programme in the United States. He sees himself as a hero, but his reputation is tarnished. Does that remind you of anything?