Orson Welles’ much-anticipated The Other Side of Wind will have its world premiere at the historic Sala Grande on the Venice Lido on Friday, August 31, at 2:15 p.m.
The companion documentary by Oscar winner Morgan Neville, They’ll Love Me When I’m Dead, will be shown to the public on September 1 at the Sala Giardino at 2:30 p.m.
Neville’s documentary will screen alongside the previously unknown A Final Cut for Orson: 40 Years in the Making. The 38-minute behind-the-scenes short on post-production comes from producers Frank Marshall and Filip Jan Rymsza, who have been chronicling their completion of The Other Side of Wind since Welles’ negative left Paris in March 2017. Ryan Suffern, who heads up documentaries for The Kennedy/Marshall Company, helmed the featurette.
Venice Film Festival Director Alberto Barbera tweeted Wednesday morning that he would be revealing the 75th annual festival’s full schedule on Friday. However, the festival’s online box office jumped the gun and posted the release times and locations for the entire 11-day festival as part of a pre-sale offer.
The Venice Film Festival website lists the running times for The Other Side of the Wind and They’ll Love Me When I’m Dead as 122 minutes and 98 minutes respectively. (Barbera has informed FormaCinema and Wellesnet via Twitter that The Other Side of the Wind will be shown on DCP, rather than 35mm.)
Netflix will begin streaming The Other Side of the Wind, as well as They’ll Love Me When I’m Dead, on November 2. (The release dates were posted, and later removed, from the streaming giant’s press website on July 25.)
The two films will be available to 125 million Netflix subscribers in 190 countries.
The Other Side of the Wind takes place at the 70th birthday party of maverick director Jake Hannaford (John Huston), who is struggling to complete his comeback film during the rise of New Hollywood. Attending the party are successful young directors, like Brooks Otterlake (Peter Bogdanovich), hangers-on and critics. Hannaford dies at the conclusion of the party. Welles’ movie recounts Hannaford’s final hours using a mix of 16mm and 35mm color and black-and-white film shot at the party, along with scenes from his unfinished movie.
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