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Experience the latest Venice Film Festival news every morning with our myFT Daily Digest email. This year’s festival posed an existential question: what is the essence of such an event without the presence of the world’s biggest movie stars? While photographers, fashion enthusiasts, and fans mourned the absence of striking actors and the rare occurrence of thrilling celebrity sightings, the films themselves took center stage. Directors showcased their shiny new works, providing an abundance of noteworthy films like Yorgos Lanthimos’s “Poor Things” and Bradley Cooper’s “Maestro.”
Interestingly, the festival also showcased emerging talent. German director Timm Kröger impressed with his black and white film “The Theory of Everything” set in the Swiss alps of the early 1960s. Kröger skillfully blended elements of metaphysical noir, drawing inspiration from Hitchcock, Orson Welles, and Carol Reed. The film’s captivating chiaroscuro cinematography, intense camera angles, and expressionist framings kept audiences engaged. Diego Ramos Rodríguez’s evocative score added to the overall thrilling experience.
The film revolves around a young quantum physics student, Johannes, played by Jan Bülow, who grapples with an ambitious dissertation and stumbles upon a mysterious plot involving jazz pianist Karin, portrayed by Olivia Ross. Kröger masterfully navigates the labyrinthine narrative, leaving viewers captivated until the film’s final act, which leaves a few unanswered questions. ★★★★☆
Another film that left audiences perplexed was the delicately constructed Japanese drama “Evil Does Not Exist” by Ryusuke Hamaguchi. This film, set in a forested mountain region near Tokyo, follows the tensions arising from plans for a glamping resort. Hamaguchi expertly interweaves serene scenes of woodcutting and water-gathering with dialogue-heavy confrontations between the locals and the company representatives. The director’s pacing and unconventional camera movements mesmerize viewers, and the film’s unexpected last-minute shots leave critics craving a second viewing to unravel the mysteries. ★★★★☆
Unfortunately, not all films at the festival met the same high standards. Roman Polanski’s “The Palace,” a bawdy comedy set in a Swiss alpine hotel and starring Mickey Rourke, John Cleese, and Fanny Ardant, failed to deliver the expected humor. The out-of-competition film became a talking point for all the wrong reasons, resulting in a series of jokes that fell flat. Its setting on New Year’s Eve Y2K and inappropriate themes, such as Cleese’s character bedding a woman 70 years his junior and Ardant delivering sub-porn dialogue, highlighted its lack of relevance and appeal. The overall experience felt like being trapped at a nightmarish New Year’s Eve party with comically enhanced characters. ☆☆☆☆☆
Woody Allen’s film “Coup de Chance,” part of the festival lineup, also generated controversy. Greeted with both applause and protests, it tells the story of a married woman having a guilt-ridden affair with an old school friend. This film marks Allen’s 50th feature and his first film shot entirely in a foreign language. While Allen explores the theme of infidelity with elegance, he fails to bring anything innovative to the genre. Seasoned Woody-watchers may not be surprised to find the unfaithful spouse appearing sympathetic, but the film relies on an arbitrary final twist that feels ludicrous, leaving viewers underwhelmed. The film’s title serves as an unsatisfying cover for its flaws. ★★☆☆☆
At the festival, esteemed director William Friedkin commanded respect with his final film, “The Caine Mutiny Court-Martial.” Known for his iconic works like “The French Connection” and “The Exorcist,” Friedkin concluded his 60-year career with a contemporary imagining of Herman Wouk’s classic play. Starring a captivating Kiefer Sutherland and an outstanding Jason Clarke, the film primarily takes place in a military courtroom, offering a restrained yet compelling viewing experience. Friedkin’s masterful script, direction, and performances culminate in an eloquent and satisfying ending that resonates deeply. This film serves as a reminder of our indebtedness to lifelong soldiers. ★★★☆☆
Sofia Coppola’s “Priscilla” became the first film directed by a woman among the competition films at the festival. The film revolves around a schoolgirl courted by Elvis Presley during his military service in Germany. Rather than focusing on the fate of this doe-eyed girl, the mystery lies in what new insights the film can bring to this well-known Cinderella story gone sour. Cailee Spaeny delivers a quietly touching performance as the young girl chosen by Elvis to be his princess. Jacob Elordi convincingly captures the pop icon’s voice, if not all of his mannerisms. Adapting Priscilla Presley’s memoir, Coppola portrays Elvis as a vain and childish narcissist who transforms from a tender lover into a devil in disguise, engaging in grooming, gaslighting, and increasingly violent outbursts. The film skillfully avoids the glitz and glamour associated with Las Vegas, adopting a muted color palette that adds to its melancholic tone. Unfortunately, it falls short of shedding new light on the subject matter, ending abruptly at the dissolution of the Presleys’ marriage, suggesting that there was no life for Priscilla after Elvis. This theme of a woman living in the shadow of a celebrated musician was explored more successfully in the Leonard Bernstein biopic “Maestro.” ★★★☆☆
While the Venice Film Festival lacked the usual star-studded glamour this year, it managed to maintain its status as a launchpad for the upcoming awards season. However, with the slowdown of the US movie industry, it remains uncertain whether next year will bring back the stars while producing fewer noteworthy movies. While world cinema extends well beyond Hollywood, major film festivals heavily rely on American titles. The absence of these films poses an even greater existential threat. The festival will continue until September 9, and you can find more information at labiennale.org.
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