Venice Film Festival
Luca Guadagnino’s Bones and All is a monumental statement on the beautiful powers of love bolstered by great performances.
From Venice FF, Princess and Banu are feature film efforts with strong female protagonists, both of whom are fighting very different battles in life.
It’s hard to imagine Noah Baumbach making a film about an apocalypse, yet this enigma-raveled concept perfectly encapsulates White Noise.
Despite its humorous undertones, Christos Nikou’s Apples can’t overcome a frustratingly muted and opaque style.
In The King of Laughter, Toni Servillo portrays iconic Italian actor and playwright Eduardo Scarpetta…
Rafaela Sales Ross’ coverage of the 2021 Venice Film Festival commences with a look at Harry Wootliff’s True Things.
As one of two films representing Iran in the 77th Venice Film Festival, Ahmad Bahrami’s The Wasteland wrestles with themes of class and race.
Opening the historic 77th edition of the Venice Film Festival, Andrea Segre’s Molecole is a haunting meditation on virus-lockdown Venice.
Although beautifully crafted, Théo Court‘s Blanco en Blanco is let down by the lack of restraint and direction.
Guest of Honour ultimately feels like a missed opportunity for both an intriguing character study on grief, and a compelling drama.
Despite excellent performances from Binoche and Deneuve, Koreeda’s The Truth is rather more conventionally dull.
Katrin Gebbe’s Pelikanblut is a balance of dramatically written material and an underbelly of deliciously spooky horror.
The King may not be Michôd’s best by any means, but with strong performances and cinematography, it’s a strong effort nonetheless.
Om det oändliga (About Endlessness) can be painfully slow at times, but it is superbly captured with a truly delightful aesthetic.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.