ROME — The Venice Film Festival’s independently run Venice Days section has unveiled a strong mix of name auteurs and promising newcomers in its lineup of 12 titles, 10 of which are world preems.

High-profile titles world preeming at the 8th edition of the Lido section modeled on Cannes Directors’ Fortnight include political thriller “Another Silence,” by Argentinian helmer Santiago Amigorena (“A Few Days in September”); Canadian helmer Jean-Marc Vallee’s “C.R.A.Z.Y” followup “Cafe de Flore,” starring Vanessa Paradis; and U.S. filmmaker Frederick Wiseman’s docu “Crazy Horse.”

The Wiseman docu, about the famed Parisian strip club, is screening as a special event.

Making its world bow as Venice Days opener is hotly anticipated “Love and Bruises,” by controversial Chinese helmer Lou Ye (“Suzhou River,” “Summer Palace”), about a mad Paris love affair between a brainy Chinese student girl and a French blue-collar worker played by Tahar Rahim (“A Prophet”), who is expected on the Lido. “Bruises” is flying the French flag, sold by Wild Bunch.

The Gallic contingent also comprises “All our Desires,” an economic crisis drama by Philipe Lioret (“Welcome”); and Vincent Garenq’s “Guilty,” centered on the true miscarriage of justice case of Alain Marecaux and his wife, who were wrongly convicted of pedophilia, both world preems.

Pedophilia is the theme of Italo helmer Daniele Gaglianone’s “Ruggine,” returning to Venice Days after his 1994 debut “Changing Destiny.”

The newcomers unspooling are Polish helmer Ladzek Dawid’s single-mother drama “My Name is Ki; “Historias… que so existem quando lembradas,” by Brazilian video artist Julia Murat, who is the daughter of Brazilian filmmaker Lucia Murat; Russian rape-themed thriller “Twilight Portrait,” by Angelina Nikonova; Italo documaker Andrea Segre’s feature film debut “Io Sono Li”; American-born Belgium-based helmer John Shank’s drama “Last Winter”; and U.S.-based Lebanese helmer Susan Youssef’s “Habibi,” about forbidden love on the Gaza strip.

Artistic topper Giorgio Gosetti called this year’s selection “polarized,” meaning there were either pics by established auteurs or pretty obscure first works.

Venice Days will screen the three finalists for the European Parliament’s Lux prize, which finances subtitles in 23 European languages and EU-wide distribution. They are: Greek black comedy “Attenberg,” by Athina Rachel Tsangari, Gallic drama “Les Neiges du Kilimandjaro,” by Robert Guediguian; and Swedish helmer Ruben Ostlund’s youth drama “Play.”


“Another Silence,” Santiago Amigorena (France, Canada, Brazil, Argentina)

“My Name is Ki,” Ladzek Dawid (Poland)

“Ruggine,” Daniele Gaglianone (Italy)

“Guilty,” Vincent Garenq (France)

“All Our Desires,” Philippe Lioret (France)

“Love and Bruises,” Ye Luo (France) — Opening Film.

“Historias… que so existem qyando lembradas,” Julia Murat (Brazil, France)

“Twilight Portrait,” Angelina Nikonova (Russia)

“Io Sono Li,” Andrea Segre (Italy)

“Last Winter,” John Shank (Belgium/France)

“Habibi,” Susan Youssef (Palestine, UAE, The Netherlands)


“Beyond the Glass,” Andrea di Bari (Italy), short

“Testimony,” Shlomi Elbabetz (Israel, France)

“Cuba in the Age of Obama,” Gianni Mina (Italy)

“Crazy Horse,” Frederik Wiseman (France, U.S.)

“Voi Siete Qui,” Francesco Matera (Italy) (in collaboration with Critics’ Week)


“La Penna di Hemingway,” Renzo Carbonera (Italy)

“Hit the Road, Nonna,” Duccio Chiarini (Italy)

“Mundial Olivado,” Lorenzo Garzella and Filippo Macelloni (Italy)

“Radici all’inferno e rami nel cielo,” Carlo Luglio (Italy)

“Dietro il buio,” Giorgio Pressburger (Italy)

“Piu come un artista,” Elisabetta Pandimiglio (Italy)

“Valdagno, Arizona,” Pyoor (Italy, U.S.)