Tag: 2022 Venice Film Festival
World War III | Review
War & Fleece: Seyyedi’s Swiftly Shifting Satire Explores the Corrupting Nature of Power
In one of the most unromanticized depictions of the filmmaking process, Iranian...
La syndicaliste | Review
Comedy of Power: Huppert Shines in Whistleblower Expose from Salomé
Making a rare appearance in a ‘based on a true story’ film, Isabelle Huppert elevates...
Love Life | Review
Love the One You’re With: Fukada Explores Love and Death as Unhappy Accidents
The instability of romance is the only real given in the intimate...
Padre Pio | Review
In the Name of the Father: Ferrara Explore Infamous Saint with Guerrilla Branded Biopic
Like many of Abel Ferrara’s projects hobbled by various production issues,...
Master Gardener | Review
That Shall He Also Reap: Schrader Sows the Seeds of Fate with Metaphorical Blossoms
The seeds of hate are sown the same as seeds of...
Monica | Review
Portrait of a Lady: Pallaoro Quietly Searches for Grace in Profound Reconciliation
There’s a relentless, nearly crushing sense of heartache girding Andrea Pallaoro’s Monica, his...
Les Enfants des Autres (Other People’s Children) | Review
Sex and Longing: Efira Shines in Zlotowski’s Portrait of Missed Opportunities
In a celebrated tradition of quietly personal characterizations French cinema is known for, Rebecca...
The Son | Review
The Tragedy of Privilege: Zeller’s Familial Identity Trilogy Continues with Maudlin Chapter
The highly revered and internationally renowned playwright Florian Zeller has a formidable talent...
Saint Omer | Review
Parallel Mothers: Diop Explores Monstrousness and Motherhood in Provocative Courtroom Drama
For her narrative feature debut Saint Omer, Alice Diop builds an agonizing and elegant...
No Bears | Review
Blow-Out: Twice Told Tales Unfold in Panahi’s Layered Docufiction
Borders and Boundaries and Bears, Oh My! The perpetually hobbled Iranian auteur Jafar Panahi continues to...
The Whale | Review
Charlie and the Tragedy Factory: Aronofsky Returns with Potent Chamber-piece on Despair and Redemption
Obesity is far from the only morbid element marinating the bleak...
The Eternal Daughter | Review
I Remember Mama: Hogg Explores Film as Memento Mori in Gloomy Ghost Story
Our own memories are the ghosts haunting us, or at least the...
White Noise | Review
Death Wishes: Baumbach Dons DeLillo’s Satirical Death March
The characters anchoring the existential narrative of White Noise have kindly stopped for death, so consumed with...
Bones and All | Review
All the Fine Young Cannibals: Guadagnino Crafts Grisly, Devouring Love Story
“It’s amazing what you can do with a cheap piece of meat if you...
All the Beauty and the Bloodshed | Review
The Nan Movie: Poitras Presents Ravages of the Opioid Crisis Through Portrait of an Artist
Academy Award winning documentarian Laura Poitras’ latest documentary All the...
Un Couple | Review
A Human Voice: Wiseman Explores Catharsis and Suppression in Tranquil Soliloquy
It’s no secret the Tolstoy household was also unhappy in its own unhappy way...
Bardo, False Chronicle of a Handful of Truths | Review
The Unexpected Virtue of Indulgence: Iñárritu Repeats Himself with Repetitive, Soulless Extravaganza
“The pure and simple truth is rarely pure and never simple,” said Oscar...
The Banshees of Inisherin | Review
When Demon Voices Wake Us: McDonagh Charts a Bad Bromance in Dark, Delightful Drama
The abrupt end to a lifelong relationship provides the basis for...
Tár | Review
Notes on a Scandal: Blanchett Swallows Berlin in Exceptional Psychological Drama from Field
It’s been sixteen years since Todd Field’s last film, the arduous Academy...
Argentina, 1985 | Review
Orders from Above: Mitre Recounts Landmark Trial in Lengthy Courtroom Procedural
In 1976, Isabel Perón, wife of the deceased Juan Perón, was deposed as the...
Don’t Worry Darling | Review
Die, Die, My Darling: Wilde Makes Utopia a Dirty Word in Sinister Thriller
“There’s beauty in control” affirms a suave Svengali at the center...
Athena | Review
The World is (Not) Yours: Gavras Clumsily Tackles Civil Unrest, Police Brutality
Recalling elements of his father Costa-Gavras’ most iconic film, Z (1969), Romain Gavras...
Blonde | Review
Eccentricities of a Blonde-Haired Girl: Dominik Explores Our Assassination of Iconicity
There’s no human who’s quite bedazzled the zeitgeist like Marilyn Monroe, the most...
Chiara | 2022 Venice Film Festival Review
Sister and Her Sisters: Nicchiarelli Salutes a Saint in Solemn, Dull Period Reenactment
The friendship between Saint Francis of Assisi and his obscured female counterpart...
Our Ties (Les Miens) | 2022 Venice Film Festival Review
Fit to Be Tied: Zem Scuffles with Family Matters in Slight Drama
For his sixth film as director, celebrated actor Roschdy Zem assembles a notable...
The Listener | 2022 Venice Film Festival Review
Phone Call from a Stranger: Buscemi Conducts a Conduit of Trauma in Striking One-Woman Show
Conjuring everything from Jean Cocteau to T.S. Eliot, Steve Buscemi...
The Damned Don’t Cry | 2022 Venice Film Festival Review
A Boy’s Best Friend is His Mother: Boulifa Explores Complex Symbiosis in Mother-Son Drama
Although it’s cribbing the title of a 1950 Joan Crawford starrer,...
IONCINEMA x Sala Web x Festivalscope
We are happy to partner once again with the Festivalscope folks for the Sala Web - which returns to the 79th Venice International Film...
Beyond the Wall | 2022 Venice Film Festival Review
Blind Man’s Bluff: Jalilvand Plays Cheap Tricks with Overwrought Melodrama
To crib from (of all people) Margaret Thatcher, no one would remember the Good...
Lord of the Ants (Il signore delle formiche) | 2022 Venice Film Festival Review
Triumph of the (Court's) Will: Amelio Delves into Infamously Homophobic Italian Court Case
Perennial Italian auteur Gianni Amelio goes back to the contentious political climate...
When the Waves Are Gone | 2022 Venice Film Festival Review
When Fair is Foul: Diaz Attempts Neo-Noir in Interminable Derivatives
In the twenty plus features Filipino auteur Lav Diaz has premiered over the past two...
Wolf and Dog (Lobo e Cão) | 2022 Venice Film Festival Review
Dog Gone: Varejão Explores the Stifling Conditions of Traditions in the Portugal Archipelago
Portuguese documentary filmmaker Cláudia Varejão crosses completely into narrative territory with her...
Ordinary Failures | 2022 Venice Film Festival Review
It’s Only the End of the World: Groșan Navigates a Triptych of Displaced Women in Pre-Apocalyptic Intersection
What’s perhaps most fitting about the commonalities between...
L’immensità | 2022 Venice Film Festival Review
This Boy’s Life: Crialese Cuts Corners in Well-Meant Trans Coming-of-Age Drama
Director Emanuele Crialese explores the slow disintegration of a dysfunctional family in 1970s Rome...
Blue Jean | 2022 Venice Film Festival Review
Personal Best: Oakley Exhumes the Terror and Trauma of Life in the Shadow of the Iron Lady
For her directorial debut, Blue Jean, Georgia Oakley...
Casa Susanna | 2022 Venice Film Festival Review
The Enchanted Cottage: Lifshitz Salvages a Segment of Transgender History
Although he began his directorial career in the vein of free-spirited indie narratives navigating the...
A Man (Aru Otoko) | 2022 Venice Film Festival Review
The Good Thief: Ishikawa Explores the Tenuous Reality of Identity
As its elemental title suggests, Kei Ishikawa’s fourth film, A Man, asserts we can only...
Dirty Difficult Dangerous | 2022 Venice Film Festival Review
Done Dirt Cheap: Charaf Chafes at Exploited Migrants in Scanty Drama
For his sophomore film, Dirty Difficult Dangerous, Lebanese/French director Wissam Charaf presents an indictment...
Princess | 2022 Venice Film Festival Review
Grimm Fairy Tale: De Paolis’ Neo-Realist Exploration of Migrant Sex Work Brazen, Bewildering
Life’s anything but a fairy tale for the titular character at the...
2022 Giornate degli Autori: Ferrara, Buscemi, Wissam Charaf, Cristina Grosan, Cláudia Varejão, Bendimerad+Ounouri Among Selections
After Venice Comp reveal, it was now up to the Giornate degli Autori sidebar (Venice Days) to unveil their line-up and if there was...
2022 Venice Film Festival: Alice Diop, Poitras, Panahi & Iñárritu Among Front-Runners for the Golden Lion!
With only one title left to be unveiled (for the time being, let's call it the August 30th pre-opener as it will be actually...
2022 Venice Intl. Film Critics’ Week: Debuts Films From Philippe Petit & Yasmine Benkiran
Announced very early this morning, we've had some time to take the plunge into the lucky seven feature films (plus opener and closer) selections...
2022 Venice Film Festival: 70 Predictions (Part II) Aroonpheng, Lindholm, Hogg & Rolf de Heer
Only hours before TIFF unveil what should be a sizeable amount of their line-up (and in the same sweeping motion confirm a lot of...
2022 Venice Film Festival: 70 Predictions (Part I) Iñárritu, Dominik, Zlotowski & Escalante
This week we throw ourselves into predicting the world premiere options for both the Venice and Toronto International Film Festivals. We begin by looking...
2022 Venice Film Festival: Céline Sciamma Tapped as President of Giornate degli Autori Jury
While we eagerly anticipate the unveiling of the films that will make up all parts of the Venice Film Festival, one person who will...
