Controversy hung like a cloud over the judging proceedings at the “Venice Film Festival” but in the final analysis everyone seemed to agree with the way juror Michael Mann resolved the dilemma as “Pieta” win ended the crisis.
South Korean director Kim Ki-duk’s twisted thriller “Pieta,” depicting the mysterious relationship of a cruel loan shark who softens up after meeting a middle-aged woman who claims that she is his mother, mixing Christian symbolism and highly sexual content, ended up winning best film at the Venice festival on Saturday, with the eccentric director breaking into song on stage to celebrate the Golden Lion award.
This bleak morality tale of a diabolical loan shark who prowls the alleys and clapped-out workshops of a district of Seoul that is being redeveloped captivated the judges.
Kim said that his film was intended to be a denunciation of “extreme capitalism”, adding that money was the “third protagonist” in the movie.
The director, whose personality seems far from the darkness of his protagonists, surprised and delighted the audience at the awards ceremony by belting out the Korean folk song “Arirang” on stage to thank the jury headed by Michael Mann.
The loan shark in the film is played with skin-crawling intensity by Lee Jung-jin and the woman is a haunting presence played by Cho Min-soo.
The film’s title was inspired by Michelangelo’s famous “Pieta” statue in the Vatican of the Virgin Mary holding the corpse of her son Jesus Christ.
“I’ve been to the Vatican twice to admire this masterpiece by Michelangelo. The image of this embrace has stayed with me for many years. For me it is an embrace of humanity,” the pony-tailed director told reporters earlier.
Actor Lee spoke of his apprehension when taking the part of the loan shark, saying: “I was a bit afraid because he works with darkness, with difficulty but it all went very well… I was not asked to play beautiful scenes but to play true scenes.”
The 51-year-old Kim is no stranger to the Venice film festival, where he won the best director award in 2004 for his “Bin-jip” (“3-iron”) about the relationship between a young drifter and an abused housewife.
Hollywood producer and director Michael Mann who presided at this year’s jury said all the 18 films in competition had been “stunning”, “diverse” and “innovative” but that “Pieta” in particular “seduced you viscerally.”
But while “Pieta” took Venice’s top nod, Paul Thomas Anderson’s “The Master” came away with the most prizes, sparking some controversy over this year’s prize giving method.
The best actor prize went jointly to Joaquin Phoenix and Philip Seymour Hoffman for their performances in the Scientology-inspired “The Master” by Paul Thomas Anderson, who also picked up the award for best director.
Phoenix plays an alcoholic World War II veteran who becomes a disciple to the charismatic Hoffman, playing the leader of a nascent movement called “The Cause” in Anderson’s beautifully shot movie set in the 1950s.
Phoenix and Anderson were not present and the prizes were collected by a disheveled-looking Hoffman, who said he had just stepped off a plane.
“Joaquin Phoenix is a life force in the film and I kind of rode it in the film and that was my performance. It was something untamable. My job was to try to and it was almost impossible,” Hoffman said.
Receiving the award for Anderson, he said: “He happens to be one of the great filmmakers in the world. I think he’s the best.”
The award for best actress was picked up by Hadas Yaron who plays a fragile but passionate young girl becoming a woman in an Orthodox Hasidic community in Israel in Rama Burshtein’s “Lemale Et Ha’Chalal” (“Fill the Void”).
The jury also awarded a special prize to Austrian director Ulrich Seidl’s “PARADIES: Glaube” (“PARADISE: Faith”) — a controversial film about a disturbed woman whose Catholic faith turns into a sexual obsession.
French director Olivier Assayas also picked up an award for best screenplay for his “Apres Mai” (“Something in the Air”) about a group of politically engaged youngsters growing up in France in the early 1970s.
The world’s oldest film festival has brought Hollywood veterans like Robert Redford and new stars Selena Gomez and Vanessa Hudgens as well as art house auteurs from around the globe to the seaside resort of the Venice Lido.
Among the line-up was the eagerly awaited “To the wonder” by Terrence Malick starring Ben Affleck and Javier Bardem, which however disappointed many critics with its overtly auteurish visual story of love in its many forms.
The festival featured dozens more films, including several new talents from an Arab world in upheaval and a strong focus on the social and moral fallout from the economic crisis sweeping Europe and the United States.
The fact that “The Master” scored multiple prizes, suggests it was the subject of complex negotiations among jurors, as Mann indirectly confirmed.
During the closing ceremony Mann first praised Ki-duk’s “Pieta,” saying it stood out in particular because it “seduced you viscerally.”
He then said the jury tried to “cast the right picture to the right award,” without considering the prizes a strict hierarchy.
Mann further elaborated at the post-awards presser noting that Venice fest rules do not allow a pic to win the Golden Lion and also score acting prizes.
“So we decided that a good way to give ‘The Master’ its fullest recognition was, according to a non-hierarchical principle, to give it the prize for best director and also for the actors,” Mann said.
The festival included several new talents from an Arab world in upheaval and a strong focus on the social and moral fallout from the economic crisis sweeping Europe and the United States. They were warmly received by festival officials.
Contributor D. Chandler