[Venice Review] Francofonia
Who are we without museums? Supposedly a tribute to France’s artistic excellence throughout the centuries, Francofonia quickly reveals itself as an exploration ...
Tommaso Tocci
[Venice Review] Black Mass
Premiering out of competition at the Venice Film Festival, Scott Cooper’s Black Mass goes deep inside Boston’s underworld to chronicle the life of real-life gan...
[Venice Review] The Postman’s White Nights
The only Russian entry in a Venice competition with an excellent track record in unearthing gems from the region - highlights from the last decade include Garpa...
[Venice Review] Good Kill
Andrew Niccol made a name for himself with a particular brand of topical filmmaking (Gattaca, The Truman Show, S1mone, Lord of War, In Time) keen on capturing a...
[Venice Review] Pasolini
"Cinema is a never-ending long take," Pier Paolo Pasolini once said. "And death is a form of instant editing of a whole life, picking and arranging our most sig...
[Venice Review] Cymbeline
It was 2000 when Michael Almereyda debuted his Hamlet adaptation, with a young Ethan Hawke as the troubled prince and a steely, haughty Manhattan skyscraper in ...
[Venice Review] A Pigeon Sat on a Branch Reflecting on Existence
Roy Andersson's films are a rare Swedish treat, only coming after we patiently wait for him to carefully assemble those meticulous Studio 24 sets necessary to h...
[Venice Review] The Humbling
Shot over 20 days, largely in director Barry Levinson's own Connecticut house, The Humbling is an adaptation of Philip Roth's novel looking at the enigmatic fig...
[Venice Review] The Cut
After mysteriously withdrawing from Cannes a few months back, Fatih Akin's The Cut lands at the Venice Film Festival as one of the highest-profile titles in the...
[Venice Review] Manglehorn
With Prince Avalanche and Joe (also competing for the Golden Lion in Venice) audiences could feel very comfortable in their newly-repositioned set of expectatio...
