Venice Film Festival

The Last Duel – first-look review

By Rafaela Sales Ross

Appealing turns from Ben Affleck and Jodie Comer can’t save Ridley Scott’s bloated historical epic.

Old Henry – first-look review

By Steph Green

Potsy Ponciroli’s defiantly old school oater is a modest treat with a barnstorming turn from Tim Blake Nelson.

Mona Lisa and the Blood Moon – first-look review

By Sophie Monks Kaufman

Ana Lily Amirpour returns with a blissed-out, techno-powered riff on the time-honoured superhero movie.

L’Événement – first-look review

By David Jenkins

Audrey Divan’s lacerating and necessary drama follows a young student seeking a clandestine abortion in 1960s France.

Lost Illusions – first-look review

By Adam Solomons

Xavier Giannoli’s pristine adaptation of Balzac’s ‘Illusions Perdues’ is a raunchy romp through post-Revolution France.

Sundown – first-look review

By Sophie Monks Kaufman

Mexican cine-sadist Michel Franco returns with another cravenly bleak drama about life as a pageant of eternal suffering.

Last Night in Soho – first-look review

By David Jenkins

Edgar Wright’s lively London-set giallo, starring Anya Taylor-Joy and Thomasin McKenzie, fails to deliver on its fascinating premise.

Official Competition – first-look review

By David Jenkins

Big laughs and searing insights into the artistic process power this highly enjoyable film world satire.

Il Buco – first-look review

By David Jenkins

This unique journey to the centre of the earth is a stunning highlight of the 2021 Venice Film Festival.

True Things – first-look review

By Steph Green

Harry Wootliff’s follow up to 2018’s Only You focuses on a relationship so toxic it’s almost radioactive.

The Lost Daughter – first-look review

By Sophie Monks Kaufman

Olivia Colman displays her dark side in Maggie Gyllenhaal's sun-bleached psychodrama about motherhood in crisis.

Dune – first-look review

By David Jenkins

Timothée Chalamet brings a commanding central presence to this stirring new adaptation of Frank Herbert’s ‘Dune’.

Spencer – first-look review

By David Jenkins

Kristen Stewart excels in this psychological portrait of Princess Diana, but a heavy-handed script lets things down.

The Card Counter – first-look review

By David Jenkins

It’s Taxi Driver with poker chips in Paul Schrader’s phenomenally entertaining existential thriller.

The Hand of God – first-look review

By David Jenkins

Paolo Sorrentino gets personal in this hit-and-miss tale of a world-famous footballer and a filmmaker’s creative birth.

The Power of the Dog – first-look review

By Sophie Monks Kaufman

Jane Campion doesn’t so much dissect masculinity as explode it in her dirt-smudged adaptation of Thomas Savage’s western.

Parallel Mothers – first-look review

By David Jenkins

Pedro Almodóvar delivers yet another major late work, with Penélope Cruz on career-best form.

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Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

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