Rossellini classic leads Italian parade at Cannes

With two movies screening in competition at the Cannes Film Festival and classic pictures and documentaries running in other categories, Italy's presence on the Croisette is bigger than it has been in years.

The lineup begins Friday, two days after the festival kicks off, with a screening of Roberto Rossellini's "Rome, Open City," which won the top prize in 1946.

But the headline-grabbers are Nanni Moretti's "The Caiman," which screens Monday, and Paolo Sorrentino's "The Family Friend," which will be shown three days later -- both among the 20 films vying for the prestigious Palme d'Or.

Other new Italian films on the agenda include "Anche' libero va bene" from Kim Rossi Stuart, which will be shown Saturday during the Directors' Fortnight sidebar; Marco Bellocchio's Un Certain Regard entry "La Regista di Matrimoni" which also screens Saturday, and Mimmo Calopresti's out of competition entry "Volevo Solo Vivere" which screens May 23.

Meanwhile, "The Earth Trembles," a 1948 film from Luchino Visconti -- winner of the 1963 Palme d'Or for "The Leopard" -- is set for Sunday, and on May 27, Valerio Zurlini's 1959 "Violent Summer" and Giovanni Pastrone's 1914 classic "Cabiria" will be among the Cannes classics screened.

"Marcello A Sweet Life" -- a retrospective on the life of iconic actor Marcello Mastroianni -- will be among four documentaries on cinema shown during the festival.

"This is really a strong lineup that I think will draw a lot of attention to Italian film in general, and that can only be a positive thing for the industry," said Riccardo Tozzi, president of the independent, Rome-based Cattleya Prods. "I think interest in Italian cinema is growing around the world."

Italian films have taken home top honors 11 times since 1939, second only to the United States with 16 prizes. Winners include Vittorio De Sica's "Miracle in Milan" from 1951, Federico Fellini's "La Dolce Vita" from 1960, and 1967's "Blowup" from Michelangelo Antonioni. Italy's last Palme d'Or was for Moretti's "The Son's Room" in 2001.

"I think the message here is that there are more and more good films being made in Italy," said Sorrentino. "What is good is that Italian films are getting recognition for the growth in quality over the last few years."

Observers say that the improvement in quality in recent years can be traced to the late 1990s, when a series of new laws made it easier for new production houses to open their doors and required television networks to increase spending on films. But Moretti cautioned against talk of a trend.

"There are two films in competition and a lot of other films being shown, and it's tempting to look at that and call it a trend," he said.

"But then next year there might be just one (nominee) from Italy or maybe none, and people will ask, 'Is this the end of Italian cinema?' It is what it is, and this year it's something good."