at least did appear to be available for its two morning screenings when I checked at 7AM. Venice operates a tiered system for delegates in which red pass holders take priority over those with blue and green passes. For these and other screenings this weekend, those with the lower-tiered passes have reported not being able to book tickets at all, even if they logged on precisely 74 hours before the start of screenings, which is when the first round of tickets become available.
I’ve also heard that even films’ producers have struggled to add to their allocation of tickets, and a festival source reported that while their special access to the system has its privileges, it cannot muster tickets out of thin air for struggling delegates. Technical issues too have been reported, with a small number being issued tickets for incorrect venues, or having tickets canceled after they appeared to be secured.
These reports are often anecdotal, and many attendees who haven’t faced these issues say they prefer pre-booked digital tickets to the long and sweaty queues of old. Venice has also managed to avoid the serious traffic management issues of the booking system that plagued Cannes, which opened booking for an entire day of screenings in the early morning of the previous day, causing huge logjams that often crashed the site entirely.
This is a new fact of life at post-pandemic festivals, and Venice remains at the forefront of this planning, as it collects a second year of data with which to better strategize next year’s event. It, along with every other film festival that strives to preserve an in-person experience, continues to adjust to the reality that Covid isn’t going to disappear any time soon.
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