Less than an hour ago, I'd not a clue about the Jonathan Demme-directed, Anne Hathaway-starring dysfunctional family dramedy, Rachel Getting Married, and having now watched the new trailer over at Yahoo! Movies, I find myself equally reminded of two films I felt were of opposite worth: the winning Pieces of April and the wearying Margot at the Wedding.

Following a string of documentaries, this is Demme's first feature film in four years since his remake of The Manchurian Candidate, apparently embracing a more free-form, hand-held style on this project. Hathaway, meanwhile, seems to have shed all evidence of her tough-girl persona from Get Smart as the rehab-frequenting Kym, save for perhaps her eyeliner. And it can't hurt to have Debra Winger and Rosemarie DeWitt around, playing her mother and sister, respectively.

Jeff Wells over at Hollywood Elsewhere seems to have the only opening date around, with the film going limited on October 3rd. With any luck, whatever buzz comes from its Venice and Toronto premieres (and, in all likelihood, also Telluride, Toronto, or all three) will carry it into the looming awards season.

[Thanks, Andrew!]

The consensus I've gotten from people after they've seen the red-band trailer for the Coen brothers' Burn After Reading is that nobody understands what it's about, and nobody cares, because everybody thinks it looks awesome. Well, if you thought that trailer was confusing, or at least lacking in plot synopsis, just imagine how moviegoers outside the U.S. feel after seeing this new international trailer.

As you can see, marketing to international audiences is more about selling the stars. Hence the CLOONEY, the McDORMAND, the MALKOVICH, the SWINTON and the PITT titles. As for story, there's even less revealed here than in the red-band trailer. In fact, it's almost a joke how little is said about the movie. Each actor/character maybe gets to slip in one or two words, which actually just serve as response to more intertitles telling us about the other major stars of the film: the Coens.

If you didn't know anything about the film festivals of Italy, you'd assume the one in Rome was revered and honored. I mean, come on -- it's Rome! At one point the capital city of the entire civilized world! All roads used to lead to it! Of course the Rome Film Festival is beloved and admired!

But since you do know a thing or two about the film festivals of Italy, you know it's more complicated than that. First there was the Venice Film Festival, launched in 1932, the oldest in the world. Then there's the Turin fest, also no spring chicken, having debuted in 1983.

Then there's Rome. First year of the Rome Film Festival? 2006. What time of year? October -- right in between Venice and Turin. That's not to mention the fact that there were already some major fests internationally in the fall, including Toronto and San Sebastian. In some quarters -- especially Venice -- people were kinda irritated that some johnny-come-lately was trying to horn in on the "prestigious film festival" scene.

Those feelings were revived again on Wednesday when Turin's new head, Nanni Moretti, announced this year's lineup, and used the opportunity to take a swipe at Rome.

"Rome's choice of dates -- roughly one month after Venice, and one month before us -- is simply something that we cannot pretend never happened," he said at a press conference, as reported by Variety. (I note with some interest that the press conference was held at a theater Moretti owns -- in Rome.)

The Hollywood Reporter adds this quote: "I am not looking for problems, but I am looking at the calendar, and when Rome picks a date that's one month after Venice and one month before Turin it means they want a competition."

Moretti said he's pleased with the lineup for the 25th Turin Film Festival, which runs Nov. 23-Dec. 1 -- but he added that there were some films he wanted but couldn't get because Rome had snatched them up, including Juno.

Wait, it gets better! On Friday, Rome's co-director, Mario Sesti, responded to Moretti's jab: "I'm sorry that Moretti has been limited to attacking the RomaCinemaFest as a way to attract more visibility." (That's from the above-linked Hollywood Reporter article.)

Rome patched things up with Venice by moving its start date back a few days this year, to grant more breathing room between the two fests. But now it looks like its battles with Turin are just starting. Is there enough room in Italy for another high-profile, high-glitz film festival? Does a 25-year-old fest like Turin really have that much to worry about from a 2-year-old upstart? I don't know, but I'm enjoying the argument anyway.

Last week Peter Martin told us about rumors that Ang Lee might be working on a less explicit version of his NC-17-rated Lust, Caution for release in China. Now The Hollywood Reporter confirms it's true: Moviegoers in mainland China will see a version with less lust and more caution.

(With a film called Lust, Caution, and a story about cutting out the naughty parts, the headlines practically write themselves. I apologize.)

Lee's new film, which won the Golden Lion at the Venice Film Festival and is currently showing at Toronto, got its NC-17 rating for the United States a few weeks ago -- a rating he and Focus Features didn't argue with. As Monika Bartyzel reported on Aug. 24, Focus CEO James Schamus said, "When we screened the final cut of this film, we knew we weren't going to change a frame. Every moment up on that screen works and is an integral part of the emotional arc of the characters."

Well, apparently in China, about 30 minutes' worth of moments aren't quite as integral to the characters' emotional arcs. That's how much Lee has cut from the film's 156-minute running time to appease Chinese censors. (There's no rating system in China, so every film has to be generally acceptable for all audiences.) Lee reportedly has done the editing himself to maintain artistic integrity, and he's satisfied with the new version.

Which brings up a question: If the film works just as well when it's 30 minutes shorter and containing less sex and violence, why not release that version in the U.S., too, and avoid the box office death that an NC-17 rating all but ensures? I'm speaking from a purely financial standpoint. Obviously, if cutting stuff out harms the film's message or impact, leave it in and keep the rating. I suspect the film really isn't as good in its shorter form, and that Lee is doing what he has to in order to secure the lucrative Chinese box office. Sometimes you have to make tough decisions like that when art and commerce intersect.

Jimmy Carter may not have gotten a lot of respect when he was president -- maybe the fact that he was called "Jimmy" had something to do with it -- but he's enjoyed a resurgence in recent years as his humanitarian efforts have reminded Americans what they liked about him in the first place. He's not a great politician, but he's an honest, good-hearted man with noble intentions.

And now filmmaker Jonathan Demme (Talking Heads: Stop Making Sense, Neil Young: Heart of Gold) has scored with a documentary about him, called Man from Plains. Now playing at the Toronto International Film Festival, it was at the Venice fest, too, where it picked up three prizes last weekend.

The international critics' jury give the film its top award, while the Human Rights Film Network gave it a prize for best feature film. It also received the Collateral Award for Best Biography, which is presented by the Bologna Film Festival in conjunction with the Venice fest.

Sony Pictures Classics is releasing the film theatrically in October. It follows Carter on his recent tour for his book, Palestine: Peace Not Apartheid, which caused a stir with its controversial subject matter.

Demme is perhaps best known as a director of fictional films, including Philadelphia and The Silence of the Lambs (for which he won an Oscar). But his documentaries have been widely acclaimed, too. Many people consider his Talking Heads and Neil Young movies to be among the best concert films ever made. So his portrait of Jimmy Carter promises to be interesting -- and apparently the people in Venice think so, too.

Ridley Scott, or Sir Ridley Scott depending on how you feel like addressing him, made a fairly provocative comment at the Venice Film Festival on August 30th. The occasion was the 25th anniversary of the release of Blade Runner, in yet another director's cut, in anticipation of a 5 (five!) disc DVD release of the same this fall by Warner Brothers. (The previous link includes some reviews of the newest version at the Venice festival, including EW's Owen Gliberman's comment that Blade Runner is "the only science-fiction film that can be called transcendental." Hey, Owen, what about this Fritz Lang classic, or this Russian masterpiece, or even this small-scale but extremely effective version of the Ursula K. Leguin novel ... eh, what's the use.) To get back to the original point about sweeping generalizations, Scott was in a no doubt expansive mood, and started to discuss the great films of sci-fi.

Here's how it went down, according to The Times of London on-line. In Scott's opinion, science fiction films are not just dead, they're "as dead as westerns...there's nothing original. We've seen it all before. Been there. Done that." Scott celebrates 2001: A Space Odyssey as the pinnacle of sci-fi and says that "over-reliance on special effects" and weak story lines are the culprit. Responses from the blogosphere came fast and furious; one correspondent, Donald Smith, pointed out that Shane Carruth's small-scale film Primer had been "low-key and highly intelligent" while being completely without high-tech bloat. What I haven't been seeing is someone making the point that Blade Runner is film noir dressed in a sci-fi costume, just like Scott's other famous sci-fi film Alien, is a monster movie set in outer space. When it comes to the essential matter of sci-fi -- what humans are, where we are going, and when will we cease to exist -- Scott is only slightly interested ... especially when compared to the Philip K. Dick novel upon which Blade Runner is based. Watching it, you have to recall Pauline Kael's comment that almost everyone in the film would flunk the Voight-Kampff empathy test that ferrets out skin-jobs. As the director of such a high-tech, low-emotion film, is Scott really in a position to nail shut the coffin of an entire genre?

Two of the movies I'm most looking forward to this fall are Woody Allen's Cassandra's Dream and Julie Taymor's Across the Universe. My interest in them has nothing to do with their being reportedly problematic (Cassandra's apparently wasn't suitable for Cannes; Universe has had some editing issues), but the rumors have made me more curious. Fortunately, I now have an opportunity to get an advance heads up on both movies, as they're set to screen at next month's Toronto International Film Festival (Sept. 6-15). This is what I love most about the fall festivals (since I don't attend them): the chance to hear the buzz about a possibly troubled or possibly redeemed film long before I have to make up my mind about buying a ticket. For Cassandra's Dream, we'll actually get an earlier report when the film officially premieres at the Venice Film Festival a week prior -- Cinematical's Ryan Stewart will be on the scene with that scoop. As far as I know, Toronto will have the first public viewing of Across the Universe.

Cassandra's Dream was shown to an audience last month in Avilés, Spain, and I'm guessing attendees of that screening include the 154 people who've given the film a 9.4 rating on IMDB.com. That's a pretty awesome score for any Woody Allen film, let alone a recent Woody Allen film (Annie Hall only has an 8.2), so obviously the Cannes rumor must be false. Sure, the rating will go down and some critics will even hate the film, but unless The Weinstein Co. screws with the thing, I anticipate enjoying the thing when it's released November 30. As for Across the Universe, I expect to love the music and the cinematography anyway, but I still want to hear from my colleagues -- Ryan, Monika and James will be covering Toronto -- about the overall quality of the film. Columbia Pictures releases that one September 28.

There's more than just a tantalizing list of films brewing for this year's Venice Film Festival. They've finally succumbed to their inner pun and created a new award, which has been 4 years in the making. After a lot of negotiating, Venice 2007 will offer the first Queer Lion award. This will go to the best full-length film, selected by a small, international jury, that features either a gay character or theme. And just what will this gay lion look like? I'm sure you can imagine. The lucky winner will get a gold plaque with the Venice Lion's winged logo, with, of course, the rainbow coloring on the wings to symbolize gay pride. Lions AND pride, it goes so well together that I can't believe it has taken this long. Gotta love a good pun.

Competition director Daniel Casagrande says: "We aren't looking for the next Brokeback Mountain. We are just looking for films that accurately portray gay characters or themes." He expects that 10-12 films will be candidates for the award in this first year, a prize which is eligible to any main competition contender. This isn't the first film fest to create such an award. Berlin has had a Teddy Award for over two decades. Well, Germany was way ahead of the times, but Venice has trumped with a better name. Who wants a teddy? It just brings to mind fat presidents and women's lingerie -- not a pair I think any of us want to think of at the same time.

Have you been reading Cinematical Indie lately? If not, here's what you've been missing ...

COLUMNS, REVIEWS, and INTERVIEWS

• Matt Bradshaw reviews Hollywood After Dark -- with the guys from MST3K!!! -- for Killer Bs on DVD.
• Nick Schager reviews Your Mommy Kills Animals
• Podcast: On The Rocchi Review, James Rocchi chats it up with Andrew Grant, the voice behind one of my fave film blogs, Like Anna Karina's Sweater, and Aaron Hillis, who reviews film for the likes of Variety The Village Voice and Premiere. Both guys are also the brains behind Benten Films, which will release Joe Swanberg's LOL on DVD August 27 28.
• Erik Davis interviews Four Eyed Monsters Co-Director Arin Crumley. The guys talked so much we had to break it into two parts, so be sure to check out both Part One and Part Two.
• Jeffrey M. Andersons 400 Screens, 400 Blows: Coming to America
• Cinematical Indie Chat: Deliver Us from Evil director Amy Berg.
• RvB's' After Images: Zouk's Lair in Mr. Arkadin.
• Review: alleyball
• James Rocchi interviews No End In Sight director Charles Ferguson.

... and more, much more, right after the jump ...

**Thanks, Aaron, for the corrections ...

Mention Venice to most North Americans, sweltering in the July heat, and romantic images of canals, gondolas and love under the stars may pop into mind. Most Italians probably think: "Eek! July! Overweight American tourists wearing tight white shorts and black socks with sneakers! Run for the hills!" But mention Venice in July to Cinematical writers, and we think: "Oh, good! The Venice Film Festival lineup will be released." That day has finally come; Variety has the details and the program looks stellar.

World Premieres include the latest from American directors Woody Allen (Cassandra's Dream), Wes Anderson (The Darjeeling Limited), Brian DePalma (Redacted), Paul Haggis (In the Valley of Elah), Todd Haynes (I'm Not There) and Ang Lee (Lust, Caution). We've covered all these hotly-anticipated titles, and personally I can't wait to hear how they turned out. European directors Kenneth Branagh, Claude Chabrol, Alex Cox, Manoel de Oliveira, Peter Greenaway, Ken Loach and Eric Rohmer will also be represented, as well as Asian helmers Takashi Miike, Takeshi Kitano, Lee Kang Shen, Im Kwon-Taek and Shinji Aoyama. Stars such as George Clooney (Michael Clayton) and Brad Pitt (The Assassination of Jesse James by the Coward Robert Ford) are expected on the red carpet.

As previously announced, Joe Wright's Atonement, starring Keira Knightley, will open the festival and Alexi Tan's Blood Brothers, produced by John Woo and Terence Chang, will close things out. In between, Tim Burton will be honored and John August's The Nines will be featured in the Critics' Week program. The festival runs from August 29 to September 8; Cinematical will be on hand to report on all the highlights.