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Venice

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    Aleksandr Sokurov's 'Faust' Wins Golden Lion At Venice Film Festival

    Michael Fassbender Takes Best Actor, Chinese Surprise Film 'People Mountain People Sea' Wins DirectorWe might have abandoned the Lido a few days ago, but somehow festival organizers felt able to go on with the final awards ceremony without us this evening. With a jury led by Darren Aronofsky that also included David Byrne, Todd Haynes, Mario Martone, André Téchiné, Ejia-Liisa Ahtila and Alba Rorwacher, it was anyone's game, although for much of the week, talk had pegged Steve McQueen's "Shame" and Yorgos Lanthimos' "Alps" as potential front-runners for the big prize, the Golden Lion. However, the winner turned out to be something of a surpris...

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    'Carnage,' 'Shame' 'March,' Tinker Tailor' & More: Our Complete 2011 Venice Film Festival Coverage

    Wrap Up Coverage From Telluride 2011 As Well, Including 'The Descendants' 'Albert Nobbs' & 'Butter'While there are two more days officially left on the Venice Film Festival schedule, for us, the Lido is now closed. Our man in the field, U.K. writer Oliver Lyttelton did a bang-up job and delivered wh...

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    Venice '11 Review: 'The Last Man On Earth' A Promising But Flawed Sci-Fi Tinged Italian Debut

    It might seem, particularly after a summer at the multiplexes like the one that we've just had, that American culture is driven entirely by the comic book. But that's not quite true; superhero movies might be all the rage, but comic books themselves remain a relatively niche passion -- this July, only "The Amazing Spider-Man" sold more than 100,000 copies, and it remains tainted by associations of geekdom, generally confined to comics shops. In Europe, in particular France and Italy, things are different; it's almost impossible to walk into a paper stall or tabac without seeing a book like Blueberry, Largo Winch, Danger: Diabolik or Dylan Dog...

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    Venice '11 Review: 'Killer Joe' A Terrific Texan Tale With A Revelatory Matthew McConaughey Turn

    In recent years, film translations of stage hits haven't been as prevalent as they once were. You might get the occasional "Doubt" or "Rabbit Hole," for instance, but compared to the early days of the talkies, when a large proportion of movies were based on Broadway hits, it's been slim pickings; au...

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    Venice '11 Review: 'The Exchange' An Odd, Half-Interesting Follow Up To 'The Band's Visit'

    "The Band's Visit" was something of a runaway success when it started doing the rounds in 2007. The feature debut of Israeli director Eran Kolirin, it told the story of an Egyptian police orchestra who become stranded in an Israeli desert town. Warm and witty, it became the best-reviewed foreign fil...

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    Venice '11 Review: Surprise Film 'People Mountain People Sea' Is A Hard, Unsatisfying Journey

    The surprise film at a festival always has a tricky time living up to the sky-high expectations. Everyone brings in their own hopes and dreams, however unrealistic they may be, and the finished product has to be pretty special not to underwhelm -- witness the near-riotous reaction at the London Film Festival a couple of years ago when the surprise turned out to be not "Where The Wild Things Are," as widely-rumored, but instead Michael Moore's "Sicko." The reaction is slightly different at Venice, thanks to a reputation that the selectors hold back the most miserable, grueling film for the secret slot, so much so that most audience members are...

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    Cai Shangjun's 'People Mountain People Sea' Surprise Addition To Venice Competition Line-up

    In 2003, Venice Film Festival organizers decided to take a page from the Telluride film festival's book and leave one slot open in their 24-entry competition lineup each year, for a surprise entry to be announced during the fest. The announcements to date have been a mixed bag ranging from forgettab...

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    Venice '11 Review: Sono Sion's 'Himizu' Is Close To Unwatchable, And Yet Vitally Important

    If you're after a quick response to recent events, particularly in the case of a cataclysmic disaster, cinema is not your medium. It takes years to write and develop even a bad script, let alone the financing, casting, shooting and pre-production of a film. And that's even without taking into accoun...

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    Venice '11 Review: Mary Harron's 'The Moth Diaries' Is A Teen Vampire Tale Without Any Fangs

    It's remarkably tough to get any film financed, at least one that doesn't have 3D talking animals from a popular cartoon series. So it's no surprise that some filmmakers, for all their best efforts, can go three, four, five or more years between pictures. Worryingly, it seems to be doubly true for female directors. Look at Kimberley Pierce, who's only made one film in the twelve years since "Boys Don't Cry," or Tamara Jenkins, for whom nearly a decade separated "Slums of Beverley Hills" and "The Savages," or even Kathryn Bigelow, who might be an Oscar-winner now, but had a six-year break before "The Hurt Locker." One of the key examples here ...

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    Venice '11 Review: 'Wuthering Heights' Is A Superb, Groundbreaking Adaptation Of The Classic Tale

    One of the most exciting talents to emerge out of the U.K. in the last decade or so is Andrea Arnold. The former television presenter won an Oscar for her short film "Wasp" in 2005, and made her feature debut the following year with the powerful, gritty thriller "Red Road." 2009 saw her follow it up with another kitchen-sink type film, showcasing some incredible perfrmances, namely the drama "Fish Tank," which gathered even more acclaim, and allowed the director to make inroads internationally. Her choice of a third film raised some eyebrows, however: Arnold was selected to helm a long-in-the-works film version of Emily Brontë's "Wuthering He...

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