This issue of Pardolive is coming out just as
the definition of the programme is reaching
its most exciting and fascinating phase, just
before the final decisions are made about the
films that will feature in the competitions and
the Piazza Grande programme. Distancing
ourselves briefly from a direct evaluation of
the works, it is natural to query the actual role
of a festival. In a world in which communication
travels faster than the speed of frames, in
which work-in-progress screenings are multiplying,
effectively anticipating or diluting the
reception of films, in which trailers become
tools for shaping judgements and prejudices,
in which selection and viewing methods have
changed radically, what remains of the film as
such?
