(AGI) London, Sept 26 - Paolo Virzi, whose film EmotionalCapital is a candidate for best foreign film at the LondonOscars, said he was enjoying the competition but was anxiousand clearly emotional. His mother died very recently. Hethought it would be interesting to see what effect thisneo-noir thriller would have on an Anglo Saxon audience, havingalready gone down well in New York. There were several otherItalian films and dozens of foreign ones in the running, someof which were genuine rivals. He felt anxious because of theresponsibility and because Italian cinema was plagued byfinancial problems, with cinemas forced to close. Italiancinema was miraculously alive and each year a handful of reallyworthy films were made. Emotional Capital shed a very enquiringlight on Italy and the wealthy north of the country,progressing from the issue of money to distress and to stayingafloat. It shared some undercurrents with Paolo Sorrentino'sThe Great Beauty, he added, although there was no rivalrybetween them. They were close friends and he had greatadmiration for him, but they made different sorts of films, haddifferent visions, Sorrentino was more of a visionary, while hewas more of a realist, but they had far more things in commonthan not. Human Capital, set during Christmas 2010, did notportray Matteo Renzi's Italy, rather Silvio Berlusconi's swansong. The film is being screened in an Italian subsection ofthe Raindance Film Festival, a well-established event dedicatedto independent cinema, now into its 22nd edition at the Vuecinema in Piccadilly. Fabio Mollo's Il Sud e Niente is alsobeing screened, along with In Grazia di Dio, written byAlessandro Valenti, and Marco Simon Puccioni's Come il Vento.(AGI).