| 
				
				 Gosling's "First Man", in which he plays pioneering astronaut 
				Neil Armstrong, opens a festival that has recovered from a 
				period of decline and is increasingly seen as the first showcase 
				of the season for potential Oscar winners. 
 That prestige - in addition to Netflix's decision to boycott the 
				Cannes festival in May over a dispute about streaming versus 
				theatrical distribution - has lured an array of A-list actors 
				and directors to Venice.
 
 "The number of talents and stars is so huge that it's impossible 
				to remember all their names now," said artistic director Alberto 
				Barbera.
 
 He has rebuilt the festival's reputation in recent years by 
				screening a raft of Hollywood arthouse pictures, such as 
				"Gravity", "The Shape of Water" and "La La Land", that went from 
				Venice to Oscars glory.
 
 "Now the Mostra is back again as much as it was in the past," 
				Barbera told Reuters, using the Italian name for the festival.
 
				
				 
				The Mostra opens on Wednesday with "First Man", which reunites 
				Gosling with Damien Chazelle, who won Best Director for "La La 
				Land", the musical that was initially awarded Best Picture in 
				the notorious mix-up during the 2017 Oscars ceremony where the 
				actual winner was "Moonlight".
 Chazelle, 33, has said his new film is "about the Moon and the 
				kitchen" - aiming to show the personal side of the epic space 
				adventure that saw Armstrong, as a member of the 1969 Apollo 11 
				mission, become the first person to walk on the Moon.
 
 "That's one small step for (a) man, one giant leap for mankind," 
				Armstrong said as he alighted on the lunar surface.
 
 It is one of 21 movies from Europe, Japan, Australia and the 
				Americas competing for the Golden Lion, Venice's top prize.
 
 GARLAND, STREISAND, GAGA
 
 Lady Gaga brings pop glamor as the leading lady in "A Star Is 
				Born", acting opposite first-time director Bradley Cooper in a 
				film premiering out-of-competition.
 
 In her first major film, Gaga follows movie-music giants Judy 
				Garland and Barbra Streisand - who played in 1954 and 1976 
				versions - in the role of an aspiring singer mentored by an 
				older performer as his own career crumbles.
 
			[to top of second column] | 
            
			 
			Netflix, which snubbed Cannes due to French rules that ban 
			simultaneous streaming of films shown in movie theaters, brings six 
			movies to Venice, some of them frontrunners for prizes. 
			Alfonso Cuaron, whose last film, "Gravity", won him Best Director 
			Oscar, has made a Spanish-language, black and white, 
			autobiographical drama "Roma", set in his native Mexico - something 
			he has said traditional Hollywood studios were unlikely to fund.
 The Coen brothers, who initially planned to make "The Ballad of 
			Buster Scruggs" as a Netflix series, have instead produced it as a 
			movie anthology of Western stories, with Liam Neeson and Tom Waits 
			among the cast.
 
 Paul Greengrass, director of the Jason Bourne action movies, returns 
			to the real-life terror of his 9/11 film "United 93", with a drama 
			about the attack by Norwegian neo-Nazi Anders Behring Breivik on 
			teenagers at a summer camp in 2011.
 
 And if three living A-list directors were not enough for Netflix, it 
			is bringing back one from the dead with "The Other Side of the 
			Wind", a completed version of a film Orson Welles began in the 1970s 
			but had not finished by the time of his death in 1985.
 
 The only woman director with a film in the main competition is 
			Australian Jennifer Kent, following up her 2014 psychological horror 
			"The Babadook" with grisly drama "The Nightingale".
 
 Horror fans are also looking forward to a remake of the cult 1977 
			gore-fest "Suspiria".
 
			
			 
			With a jury headed by "The Shape of Water" director Guillermo del 
			Toro, the Venice Film Festival runs from Aug. 29 to Sept. 8.
 (This version of the story has been refiled to correct date in 
			dateline.)
 
 (Additional reporting by Hanna Rantala; Writing by Robin Pomeroy; 
			Editing by Mark Heinrich)
 
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