{"id":35148,"date":"2026-09-07T12:37:42","date_gmt":"2026-09-07T16:37:42","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=35148"},"modified":"2026-09-07T12:37:42","modified_gmt":"2026-09-07T16:37:42","slug":"venice-film-festival-imperium-rediscovers-the-soviet-union-through-italian-film-archives","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=35148","title":{"rendered":"Venice Film Festival: \u2018IMPERIUM\u2019 Rediscovers The Soviet Union Through Italian Film Archives"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\">In the Out of Competition section of the 83<\/span><span class=\"s2\"><sup>rd<\/sup><\/span><span class=\"s1\"> Venice Film Festival <b><i>IMPERIUM<\/i><\/b> \u2014 directed by Sergei Loznitsa \u2014 rediscovers an unknown Soviet Union through Italian film archives.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The filmmaker born in Belarus and raised in Ukraine, is among the most critically acclaimed directors, and his films have been screened at major international festivals. Loznitsa is not simply an archivist who finds old footage and assembles it. His editing creates new arguments from existing images. <b><i>Blockade<\/i><\/b>, <b><i>My Joy<\/i><\/b>, <b><i>In The Fog<\/i><\/b>, <b><i>Donbass <\/i><\/b>(that won the Best Director Award in the Un Certain Regard section of the Cannes Film Festival),<b><i> State Funeral<\/i><\/b>, <b><i>Babi Yar<\/i><\/b>. <b><i>Context<\/i><\/b> and<b><i> The Kiev Trial<\/i><\/b> effectively turn archives into a form of cinematic historical investigation about the Siege of Leningrad, rural Russia, Nazi-occupied Belarus during WWII, war-torn border zones, the Soviet dictator\u2019s personality cult, the remembrance and suppression of the massacre near Kyiv and the<span class=\"Apple-converted-space\">\u00a0 <\/span>Nazi collaborators and the Soviet justice system.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\"><ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-1774669342741533\" data-ad-slot=\"1211148813\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins><\/span><\/p>\n<p class=\"p4\"><span class=\"s1\"><b><i>IMPERIUM <\/i><\/b> is the result of an operation made possible by the close synergy of three Italian archives \u2014 AAMOD (Audiovisual Archives of the Workers\u2019 and Democratic Movement), Archivio Luce Cinecitt\u00e0, and Cineteca Nazionale \u2014 that collaborated for the first time on the recovery, restoration, and digitisation of previously unseen film material, pieced together by Sergei Loznitsa. The motion picture is constructed by 482 reels of 16mm color film, for a total of nearly 60 hours of footage, much of which has been lost. <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\"><div id=\"amplified_100007149\"><\/div><\/span><\/p>\n<p class=\"p4\"><span class=\"s1\">Just like in his previous films, Loznitsa connects Soviet history with the present, to demonstrate how political myths, propaganda, nationalism, collective memory and authoritarianism survive into the present. This was engrained in his upbringing, since the Soviet Union shaped his childhood while growing up in Ukraine, where he witnessed how history was rewritten to serve the interests of those in power. <\/span><\/p>\n<p class=\"p5\"><span class=\"s1\">In terms of the style his training as a mathematician, his work at the Institute of Cybernetics, and his filmmaking studies at VGIK in Moscow, have come together to forge Loznitsa\u2019s style of storytelling that intersects documentary, historical memory, political cinema and fiction. One of his defining characteristics is his refusal of the conventional documentary toolkit: talking heads, omniscient narration and overt authorial commentary. He simply places the camera somewhere and allows time to pass, so that the audience may perform the interpretation.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\"><div id=\"amplified_100007149\"><\/div><\/span><\/p>\n<p class=\"p5\"><span class=\"s1\">In <b><i>IMPERIUM<\/i><\/b> we may observe, once again, how the filmmaker reaches out to archival images as tangible traces of what really happened, regardless of subsequent interpretations or distortions. This immersive journey spans the vast territories of the Soviet Union in the early 1970s, at the height of the Brezhnev era, preserved at the AAMOD and shot by a group of Italian filmmakers led by the renowned anthropologist Diego Carpitella (also involving in various capacities Folco Quilici, Luigi Di Gianni, Giorgio Arlorio, Giuseppe Ferrara, Rudi Assuntino, and Gianni Bonicelli). This footage chronicles the daily life, traditions, cultures, and many ethnic groups of the various territories under the influence of the USSR: from the Arctic Ocean to the Carpathians, passing through the Karakum Desert in Turkmenistan, through the Caucasian republics of Georgia, Armenia, and Azerbaijan, arriving in Uzbekistan and Tajikistan, and finally the Pacific. The mundane flows for 175 minutes portraying all types of activities pertaining to each region. Farming life, toil in factories, reindeer races, camel rides, street fairs, school activities, weddings: the settings and situations are miscellaneous. Facial features change, as does the landscape, but everything is stringed together by one common covert power, that is instilled in the minds of all those belonging to the Union of Soviet Socialist Republics from a very young age.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\"><ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-1774669342741533\" data-ad-slot=\"1211148813\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins><\/span><\/p>\n<p class=\"p5\"><span class=\"s1\">The meticulously crafted soundscape, created entirely from the reconstruction of noises and sounds added in post-production, enhances the authenticity of the experience. Through editing, Loznitsa conveys the tension between the centralised power of Moscow and the persistent vitality in the various republics of the Soviet Union. Thus, <b><i>IMPERIUM<\/i><\/b> sheds light on the mechanisms of authority and censorship, inviting us to reread Soviet history as a key to understanding the current geopolitical fractures and conflicts.<\/span><\/p>\n<p class=\"p5\"><span class=\"s1\">Sergei Loznitsa\u2019s reinvention of the historical documentary constitutes his cinematic philosophy, which is the opposite of judgmental. The way collective behaviour is revealed leads to address a disturbing question: What happens to an individual when he or she becomes part of a crowd? Sergei Loznitsa rarely tells you whom to admire, whom to condemn or how to feel. Instead, he constructs situations in which the contradictions are visible and spectators draw their conclusions. This exercise in ethical intellect reaches its peak in the monumental <b><i>IMPERIUM<\/i><\/b>, that through its title epitomises the magnitude of the mechanisms of power under examination.<\/span><\/p>\n<p class=\"p5\"><span class=\"s1\">Final Grade: A<\/span><\/p>\n<p class=\"p8\"><span class=\"s1\"><i>Photos credits: \u00a9\u00a0IMPERIUM\u00a0by Sergei Loznitsa<\/i><\/span><\/p>\n<p class=\"p5\"><span class=\"s3\"><a href=\"https:\/\/cinemadailyus.com\/author\/chiara-spagnoli-gabardi\/\">Check out more of Chiara\u2019s articles<\/a><\/span><span class=\"s1\">.<\/span><\/p>\n<p class=\"p5\"><span class=\"s1\"><div id=\"amplified_100007149\"><\/div><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the Out of Competition section of the 83rd Venice Film Festival IMPERIUM \u2014 directed by Sergei Loznitsa \u2014 rediscovers an unknown Soviet Union through Italian film archives. The filmmaker born in Belarus and raised in Ukraine, is among the most critically acclaimed directors, and his films have been screened at major international festivals. Loznitsa&#8230;<\/p>\n","protected":false},"author":6,"featured_media":35149,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20471,19],"tags":[24945,24783,24784,7087,20652,2308,31498,31490,31486,31491,10160,31496,31493,31494,31482,31485,31499,31492,31484,31503,31495,31483,24787,31488,31502,31489,31500,31487,31497,31501,328],"class_list":["post-35148","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pick-up","category-reviews","tag-arctic-ocean","tag-armenia","tag-azerbaijan","tag-babi-yar-context","tag-blockade","tag-cannes-film-festival","tag-carpathians","tag-diego-carpitella","tag-donbass","tag-folco-quilici","tag-georgia","tag-gianni-bonicelli","tag-giorgio-arlorio","tag-giuseppe-ferrara","tag-imperium","tag-in-the-fog","tag-karakum-desert","tag-luigi-di-gianni","tag-my-joy","tag-pacific","tag-rudi-assuntino","tag-sergei-loznitsa","tag-soviet-union","tag-state-funeral","tag-tajikistan","tag-the-kiev-trial","tag-turkmenistan","tag-un-certain-regard","tag-ussr","tag-uzbekistan","tag-venice-film-festival"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Venice Film Festival: \u2018IMPERIUM\u2019 Rediscovers The Soviet Union Through Italian Film Archives | Cinema Daily US<\/title>\n<meta name=\"description\" content=\"The film directed by Sergei Loznitsa, created through a monumental work with archival footage, arrives as the 83rd Venice Film Festival.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cinemadailyus.com\/?p=35148\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Venice Film Festival: \u2018IMPERIUM\u2019 Rediscovers The Soviet Union Through Italian Film Archives\" \/>\n<meta property=\"og:description\" content=\"The film directed by Sergei Loznitsa, created through a monumental work with archival footage, arrives as the 83rd Venice Film Festival.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cinemadailyus.com\/?p=35148\" \/>\n<meta property=\"og:site_name\" content=\"Cinema Daily US\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-07T16:37:42+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2026\/08\/IMPERIUM.png\" \/>\n\t<meta property=\"og:image:width\" content=\"834\" \/>\n\t<meta property=\"og:image:height\" content=\"587\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Chiara Spagnoli Gabardi\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Chiara Spagnoli Gabardi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cinemadailyus.com\\\/?p=35148#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cinemadailyus.com\\\/?p=35148\"},\"author\":{\"name\":\"Chiara Spagnoli Gabardi\",\"@id\":\"https:\\\/\\\/cinemadailyus.com\\\/#\\\/schema\\\/person\\\/1e4cad8d4708cb53e3944d993adf68e5\"},\"headline\":\"Venice Film Festival: \u2018IMPERIUM\u2019 Rediscovers The Soviet Union Through Italian Film Archives\",\"datePublished\":\"2026-09-07T16:37:42+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cinemadailyus.com\\\/?p=35148\"},\"wordCount\":803,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/cinemadailyus.com\\\/?p=35148#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cinemadailyus.com\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/IMPERIUM.png\",\"keywords\":[\"Arctic Ocean\",\"Armenia\",\"Azerbaijan\",\"Babi Yar. 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With a degree in Political Sciences, a Master\u2019s in Screenwriting &amp; Film Production, and studies at the Lee Strasberg Theatre &amp; Film Institute, Chiara has been working in the press since 2003. Italian by blood, British by upbringing, fond of Japanese culture since the age of 7, once a New Yorker always a New Yorker, and an avid traveller, Chiara collaborates with international magazines and radio-television networks. She is also a visual artist, whose eco-works connect to her use of language: the title of each painting is inspired by the materials she upcycles on canvas. Her \u2018Material Puns\u2019 have so far been exhibited in four continents, across ten countries. She is a dedicated ARTivist, donating her works to the causes and humanitarians she supports, and is Professor of Phenomenology of Contemporary Arts at Istituto Europeo di Design in Milan.","sameAs":["https:\/\/www.cinemadailyus.com"],"url":"https:\/\/cinemadailyus.com\/?author=6"}]}},"_links":{"self":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts\/35148","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=35148"}],"version-history":[{"count":0,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts\/35148\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/media\/35149"}],"wp:attachment":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=35148"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=35148"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=35148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}