Venice Film Festival

Ferrari – first-look review

By Hannah Strong

Michael Mann's long-awaited Enzo Ferrari biopic is a disappointingly conventional and surprisingly rough portrait of an automotive icon.

El Conde – first-look review

By Hannah Strong

Pablo Larraín imagines Augusto Pinochet as an aged vampire craving death in his gothic satire, which marks his first foray into horror.

No Bears – first-look review

By Rafa Sales Ross

Jafar Panahi plays himself in this lovingly-crafted autofiction that centers on two pairs of lovers.

The Listener – first-look review

By Hannah Strong

Tessa Thompson plays a helpline volunteer on her final shift in Steve Buscemi's sensitive drama.

Blonde – first-look review

By Leila Latif

Andrew Dominik’s adaptation of Joyce Carol Oates’ behemoth Marilyn Monroe novel is a surreal, anarchic take on celebrity and womanhood.

Beyond the Wall – first-look review

By Anahit Behrooz

Vahid Jalilvand crafts an intimate puzzle box of a film, regarding the lives of two strangers that intersect in a fascinating and tragic manner.

The Matchmaker – first-look review

By Anahit Behrooz

Benedetta Argenteri's documentary about Tooba Gondal fails to get to the systematic causes of radicalisation, instead opting for shoddy personal blame.

The Son – first-look review

By Hannah Strong

Despite boasting some big names, Florian Zeller's follow-up to The Father is a missed opportunity to tackle the weighty subject of teen depression.

Saint Omer – first-look review

By Rafa Sales Ross

This deeply nuanced treatise on the tragedy of motherhood marks the extraordinary feature debut of Alice Diop.

Dead for a Dollar – first-look review

By Leila Latif

There should be a warrant out for someone's arrest after this dire western from Walter Hill.

The Eternal Daughter – first-look review

By Catherine Bray

Tilda Swinton plays both mother and daughter in Joanna Hogg's eerie and effective exploration of parent-child relationships.

Love Life – first-look review

By Xuanlin Tham

Koji Fukuda's ninth feature fails to meet the mark when it comes to exploring the knotty topic of familial grief.

Don’t Worry Darling – first-look review

By Hannah Strong

Florence Pugh can't save this underwhelming retro sci-fi from its overreliance on genre cliches.

The Banshees of Inisherin – first-look review

By Hannah Strong

Martin McDonagh reunites with Colin Farrell and Brendan Gleeson for a biting but charming examination of a disintegrating friendship against the backdrop of the Irish Civil War.

The Whale – first-look review

By Hannah Strong

Brendan Fraser gives his all as a morbidly obese man trying to reconnect with his estranged daughter before his death.

Other People’s Children – first-look review

By David Jenkins

Rebecca Zlotowski’s wistful character study of a woman navigating the highs and lows of middle age bursts with passion and insight.

Pearl – first-look review

By Hannah Strong

Mia Goth reprises her role as a homicidal farm girl in Ti West's aesthetically pleasing but otherwise empty horror prequel.

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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.