Venice Film Festival | Little White Lies

Venice Film Festival

A woman in a blue coat and scarf stands next to another woman in a red top, surrounded by plants and cityscape at night.
Festivals

The Room Next Door – first-look review

by Hannah Strong

Pedro Almod­ó­var makes his Eng­lish-lan­guage fea­ture debut with an adap­ta­tion of Sigrid Nunez’s What Are You Going Through, star­ring Julianne Moore and Til­da Swin­ton as old friends who reunite in a time of crisis.
Elderly person wearing helmet, standing in rural setting.
Festivals

Phantosmia – first-look review

by Anna McKibbin

The Fil­ipino mae­stro returns with a four-hour med­i­ta­tive dra­ma about a retired mil­i­tary offi­cer who must con­front his past after receiv­ing an unusu­al med­ical diagnosis.
Two people on a motorcycle, a man and a woman, riding along a rural road.
Festivals

Leurs Enfants Après Eux – first-look review

by Yasmine Kandil

A way­ward teenag­er in a strug­gling French town comes of age and expe­ri­ences first over in Ludovic and Zoran Boukher­ma’s stir­ring melodrama.
Two men discussing at a table with drinks and greenery.
Festivals

Wolfs – first-look review

by Hannah Strong

George Clooney and Brad Pitt play lone wolf fix­ers acci­den­tal­ly hired for the same job in Jon Watts’ slight­ly repet­i­tive but gen­er­al­ly fine crime comedy.
Elderly man in striped clothing seated at a director's chair with "Jerry Lewis" text on it.
Festivals

From Darkness to Light – first-look review

by Ed Gibbs

The true sto­ry behind Jer­ry Lewis’ myth­i­cal, unseen fias­co, The Day the Clown Cried, is final­ly revealed, with the King of Com­e­dy him­self weigh­ing in.
Silhouetted figure in dark suit using a mobile phone, against a shadowy background.
Festivals

The Brutalist – first-look review

by Hannah Strong

Adrien Brody is phe­nomon­al in Brady Cor­bet’s sub­lime three-and-a-half hour dra­ma, as a Jew­ish archi­tect arrives in post-war Amer­i­ca to a hos­tile new world.
Man in green jacket firing a gun in an urban setting with vehicles and buildings in the background.
Festivals

The Order – first-look review

by Rafa Sales Ross

Justin Kurzel heads to Amer­i­ca for his lat­est ripped-from-the-head­lines dra­ma, about the white suprema­cist group found­ed in the Pacif­ic North­west by Robert Jay Math­ews and respon­si­ble for numer­ous ter­ror­ist acts through­out the 1980s.
Silhouette of a person's hands and arms holding a smartphone, capturing a night-time cityscape with colourful, glowing lights and blurred shapes.
Festivals

Baby Invasion – first-look review

by Hannah Strong

Har­mo­ny Korine’s sec­ond fea­ture since start­ing his cre­ative agency EDGLRD is some­how more shal­low and tedious than the last.
Two young women, one with blonde hair and the other with brown hair, posing together outdoors wearing casual clothing.
Festivals

Trois Amies – first-look review

by Yasmine Kandil

A group of friends nav­i­gate the intri­ca­cies of their rela­tion­ship when one faces a dev­as­tat­ing loss in Emmanuel Mouret’s med­i­ta­tion on the nature of love.
A close-up shot of a man and woman embracing, with the woman's eyes closed and the man's face close to hers.
Festivals

Babygirl – first-look review

by Hannah Strong

Hali­na Rei­jn’s smart, sexy and dark­ly fun­ny psy­chodra­ma sees Nicole Kid­man and Har­ris Dick­in­son go toe-to-toe as a CEO and an intern who become embroiled in a com­plex illic­it affair.