Our faith in the festival
While for the Biennale Arte the process of renewal began at once, in the year following the reform of 1998, the new project for the Biennale Cinema did not get under way until 2010.
That was the year in which the suspension of work on the new Palazzo del Cinema was announced, with the result that the aging and inadequate traditional facilities were surrounded by a shut-down construction site and an extremely awkward pit. We were on the verge of a debacle. While it didn’t happen in the end, we came close to a definitive downgrade.
We planned and shaped a new reality, following a constant line and a few simple principles, while everything around us was changing. The local, domestic and international economic and political ground was shifting under our feet, with notable differences emerging with respect to previous tendencies. The technologies and the organizational and entrepreneurial structures of the production and distribution of movies were changing, and the role played by new means of transmission of data and images was growing.
We adopted a courageous plan, investing economic and human resources. With it our prime concern was to renew our faith in the festival as an exemplary mode of presentation of films, an indispensable instrument of a free and open society: a setting of particular quality for the formation of a community of people intent on devoting their attention to the works, on getting to know them, on discussing them, on considering them from a critical perspective. An extraordinary concentration of the public where it is possible to make the most of authoriality and in which the cultural mediation carried out by a public institution, in full independence, appears invaluable to the creation of conditions of expanded knowledge and awareness.