Venice Film Festival

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.

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.

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.

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.

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.

Disclaimer – first-look review

By Rafa Sales Ross

Alfonso Cuarón's limited series starring Cate Blanchett as a famous documentarian with a dark secret is a surprising showcase for Kevin Kline.

Kill the Jockey – first-look review

By Anahit Behrooz

A down-on-his-luck jockey sees a chance to reinvent himself in Luis Ortega's wacky black comedy.

Maria – first-look review

By Hannah Strong

Angelina Jolie has never been better as the legendary opera singer Maria Callas, captured in the final week of her life by Pablo Larraín's elegant biographical drama.

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.

Little White Lies Logo

About Little White Lies

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.

Editorial

Design