This year’s Venice Film Festival will, for 10 days, be the most star-studded event on earth, with Joaquin Phoenix and Lady Gaga in “Joker: Folie à Deux,” Cate Blanchett in Alfonso Cuarón’s TV series “Disclaimer” and Daniel Craig in Luca Guadagnino’s “Queer” all gracing the Lido. But Alberto Barbera , the festival’s artistic director, promises that Venice still has a raw edge beneath the glamour.

Barbera’s mandate at Venice has been extended through 2026 by new Biennale president Pietrangelo Buttafuoco, a right-wing journalist and author appointed by Italy’s ruling coalition. But Barbera makes it clear he has been given free rein at a time when top festivals are becoming “important tools” in discussions about the most persistent problems facing the world. The 81st edition features movies that delve into two major geopolitical crises. “We’ve never backed down from dealing with thorny issues that can cause controversy,” Barbera says. “This year, we’ve got documentaries about both sides of the Russia-Ukraine conflict” — “Russians at War” from exiled Russian director Anastasia Trofimova and “Songs of Slow Burning Earth” from Ukrainian filmmaker Olha Zhurba. “And there are Israeli and Palestinian films that reflect on the contradictions of this conflict.”

Barbera talked to Variety about the political climate of Venice 2024, the challenges of confronting Italian political history in a festival selection about Benito Mussolini and the resurgence of eroticism in this year’s lineup — a different style of hard-hitting filmmaking.

Are you worried about the drop in global box office?

The decline in box office revenue is a direct consequence of the pandemic and its aftermath. For years, audiences were confined to their homes, unable to go to movie theaters. This resulted in a significant shift on the production side, leading to film cancellations, production delays, and slower release schedules. As a result, the habit of going to the movies needs to be re-established. This requires investment, creativity, and more. It's a process that will take some time.

The film industry, in many ways, operates slowly and isn't always quick to adapt. This is especially true for the part of the industry tied to major studios, which, as we know, are facing economic challenges and undergoing mergers, sales, acquisitions, and corporate restructuring. Despite these difficulties, there is definitely hope for a resurgence in the industry, possibly next year. We could see a return to normal production levels, with regular releases and fresh, strategic content. We know that audiences can be captivated.

Why are there so many long movies at Venice this year?

I believe one of the key changes happening in the film industry involves the length of movies. Traditionally, films had a standard runtime of 90 to 120 minutes, right? But now, those longer movies are the exception rather than the norm. Or, more accurately, there are two norms emerging, as cinema seems to be taking two contrasting paths.

On one hand, we're seeing a rise in incredibly short films, lasting just a few minutes. These are directly uploaded to platforms like TikTok and YouTube, reaching millions of viewers. It's a common sight for people to watch these films on their commutes, whether on the subway, bus, or train. This phenomenon is particularly prevalent in China, which is quite ahead of us in this regard.

On the other hand, the longer running times are due to several factors. One is the influence of TV series. Another is the theatrical sector's attempt to counter the competition from streaming services by offering viewers more complex, enriching, and extended experiences in the movie theater.

You’ve pointed out that erotic cinema is back in Venice “in all its forms.” What’s the most erotic work playing at the festival?

The most provocative piece at Venice — I don't want to spoil too much — is the Alfonso Cuarón-directed TV series “Disclaimer,” starring Cate Blanchett. The fourth episode is truly intense.

How do you think the Israeli-Palestinian conflict is going to play out at Venice?

Of course, there isn't a Palestinian film specifically about the war in Gaza. But there is a kind of immediate documentary by Dani Rosenberg, who created “Of Dogs and Men,” filmed right after the Oct. 7 terrorist attack by Hamas. It tells the story of a young girl who returns to her kibbutz searching for her dog and her mother, who was likely abducted by Hamas. The kibbutz is a short distance from the Gaza border, and the film allows us to connect the horrors of Hamas terrorism with the horrors of the consequences of the Israeli bombings that occur nearby. It's a film that, within this challenging and complex context, manages to maintain a painful yet clear and somewhat objective perspective.

Then there's a Palestinian film, “Happy Holidays” by Scandar Copti, that explores another type of conflict — the clash between two cultures that are unable to reach an understanding and give each other some leeway when it comes to the weight of social norms. So it's the story of a Palestinian family residing in Israel, whose son has gotten an Israeli girl pregnant. He desires to marry her but encounters resistance from both families.

Do you think the series “M. Son of the Century,” which chronicles Benito Mussolini’s rise to power, can help Italy contend with its dark fascist past?

Absolutely. The series is directed by Joe Wright — whose film about Churchill, “Darkest Hour,” is a classic — and brings a fresh perspective from an outsider's point of view. This is an advantage, as it offers a more objective look at what transpired during those years.

I've always been fascinated by history and thought I knew most of the events of postwar Italy. But this series unearthed things I'd either overlooked or completely forgotten. It's a chance for in-depth analysis that goes beyond any potential controversies. There's no reason for them, as it's a meticulously documented historical reconstruction that affects us all, not just Italians. And, I must add, the period it covers bears striking resemblances to our present day.