Rendering 9

The article Robert De Niro's Tribeca mission written by Ed Pilkington was published in The Guardian on April, 14. It reports at length that Robert De Niro's Tribeca film festival, formed just after 9/11, helped New York get back on its feet and now is being in progress.

There is a lot of comment on De Niro's professional career. The actor has been in the business of making films so long – his debut on the big screen was in 1965 – that his work is now being restored. And the actor is thinking about its restoring. The restoration in question is the painstaking return to its original glory of King of Comedy, Martin Scorsese's dark 1982 satire on modern celebrity obsession. The movie has been digitally remastered from the original camera negatives and will be shown later this month on the closing night of this year's Tribeca film festival, with both De Niro and Scorsese in attendance. He hasn't seen the movie in at least 20 years, and he wants to see it – it will bring back memories not just of what the actor did in the movie, but of that period in his life.

It's an open secret that King of Comedy will be one of the highlights of the 2013 Tribeca film festival, the celebration of New York and its movie-making tradition that De Niro co-founded in 2001 when the dust of the fallen Twin Towers had barely settled over Ground Zero. The first festival, in 2002, was framed as a form of economic stimulus, the aim being to attract visitors back to lower Manhattan in the wake of the 9/11 attacks.

Speaking of the festival itself it's necessary to note that each year Tribeca festival has expanded, growing international tentacles until it can now claim to have screened more than 1,400 films in 80 countries, including through its Arabic offshoot, Doha-Tribeca. In the process, it has comfortably achieved its initial objective, generating about $750m (£488m) worth of economic activity for New York.

The author also says that it remains De Niro's ambition to make the festival part of the tradition of New York; that he hopes will be what it will be in years to come, and it's partially that now. His love of the city, and of its cinematic history, remains undiminished. He might have added that the city also gave him his champion, fellow New Yorker Scorsese, who conjured many of De Niro's greatest performances in Mean Streets (1973), Taxi Driver (1976), New York, New York (1977), Raging Bull (1980), Goodfellas (1990), Cape Fear (1991) and Casino (1995).

It's very likely that Tribeca film festival's struggles with its purpose in life have been exacerbated by the proliferation of movie festivals around the world and the increasingly clogged nature of the annual calendar. Tribeca, dubbed "Hollywood on the Hudson", suffers from its timing so soon after the Oscars. Like any festival, De Niro and Rosenthal are also having to grapple with the challenge of the internet and the opportunities it offers.

Speaking of the festival in this year, it's interesting to point out that the technique will be rolled out to the UK from 16 April, with an initial slate of six of the festival's films being offered for an eight-week run on pay-per-view through Virgin Media and digital platforms. The selected titles include Greetings from Tim Buckley and Fresh Meat. As a further foray into the world of digital film-making at this year's festival, there will be a tieup with Twitter's Vine to launch a six-second film competition. This will be a competition for films lasting six seconds and posted through Twitter's hashtag.

The article draws a conclusion that Robert De Niro is thinking about  he needs to do it for himself.

In conclusion I'd like to say that Tribeca Festival is really becoming more popular than in previous years. And speaking of my favourite film for this year I was impressed by the movie of an Italian director, Claudio Giovannesi, - Alì Blue Eyes where the story of collapsing of two immigrant cultures is told.