Venice Film Festival

Menus-Plaisirs Les Troisgros – first-look review

By Rafa Sales Ross

In his latest documentary, the American master Frederick Wiseman observes the routines of the Troisgros family and their three fine dining restaurants in France.

Memory – first-look review

By Yasmine Kandil

Michel Franco's drama about the chokehold of the past boasts star power in Jessica Chastain and Peter Sarsgaard, but never quite delivers on its emotional premise.

Housekeeping for Beginners – first-look review

By Rafa Sales Ross

Goran Stolevski's third feature is a story of queer solidarity in Northern Macedonia that doesn't quite come together.

Gasoline Rainbow – first-look review

By Hannah Strong

A group of teenagers set off on a post-graduation road trip in Bill and Turner Ross's latest feature, billed as their first fiction.

Origin – first-look review

By Anahit Behrooz

Ava DuVernay adapts Isabel Wilkerson's 2020 non-fiction book 'Caste: The Origin of Our Discontents' with somewhat mixed results, interweaving Wilkerson's personal story into one of systemic subjugation.

Hit Man – first-look review

By Hannah Strong

Richard Linklater and Glen Powell team up for a highly entertaining black comedy about a mild-mannered college professor who becomes a fake hit man.

Ryuichi Sakamoto | Opus – first-look review

By Xuanlin Tham

The final performance of the late Japanese composer is captured in stunning, heart-rending detail by his son.

Sky Peals – first-look review

By Hannah Strong

A young man who feels disconnected from the world around him receives shocking news about his absent father in Moin Hussain's moving feature debut.

Priscilla – first-look review

By Hannah Strong

Sofia Coppola turns her keen eye to modern mythology, adapting Priscilla Presley's memoir into a gorgeous, acutely sad coming-of-age drama.

Evil Does Not Exist – first-look review

By Xuanlin Tham

Ryusuke Hamaguchi's ecological drama about a small mountain village threatened by a new development is a haunting, glacial depiction of the gulf between capitalism and environmentalism.

The Caine Mutiny Court-Martial – first-look review

By Hannah Strong

William Friedkin's final film sees Jason Clarke act as a reluctant naval lawyer in a highly irregular case, attempting to prove the innocence of a sailor accused of mutiny.

The Killer – first-look review

By Hannah Strong

David Fincher and Se7en screenwriter Andrew Kevin Walker reteam for a thriller about an assassin whose bad day at the office has nasty ramifications.

The Beast – first-look review

By Hannah Strong

Across three timelines, a pair of lovers find each other again and again in Bertrand Bonello's ambitious, genre-defying latest.

Aggro Dr1ft – first-look review

By Hannah Strong

Harmony Korine ushers in a new experimental tack with his purposefully off-putting infra-red assassin film, which attempts to gamify cinema.

Maestro – first-look review

By Hannah Strong

Bradley Cooper's much-feted drama about legendary composer and conductor Leonard Bernstein proves an underwhelming exercise in by-the-book biographical drama.

Poor Things – first-look review

By Hannah Strong

Yorgos Lanthimos reunites with his Emma Stone for a lavish and lewd romp through a steampunk vision of Europe.

The Wonderful Story of Henry Sugar – first-look review

By Hannah Strong

Wes Anderson adapts his second Roald Dahl story, this time into a rather delightful short with some beautifully rendered theatrical set pieces.

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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.