Venice Film Festival | Little White Lies

Venice Film Festival

Black and white aerial view of urban sprawl with mountain silhouette in distance under dramatic cloudy sky.
Venice Film Festival

Below The Clouds – first-look review

by Rafa Sales Ross

Gianfranco Rosi’s study of Italy’s legendary Mount Vesuvius is a beautiful but occasionally stagnant portrait of life near an active volcano.
Person in dark clothing standing beside massive tree trunk in wooded area with dense green foliage overhead.
Venice Film Festival

Silent Friend – first-look review

by Sophie Monks Kaufman

Hungarian filmmaker ldikó Enyedi turns a university’s botanical garden into a site of limitless curiosity as an ancient tree observes the rhythms of three lives over the course of a century.
Two people in dark setting holding lit candles, one wearing white hooded garment, warm orange candlelight against cool blue background.
Venice Film Festival

100 Nights of Hero – first-look review

by Laura Venning

Julia Jackman’s adaptation of Isabel Greenberg’s graphic novel is a charming, ambitious queer fantasy.
Man holding fork near mouth, smiling broadly. Face illuminated with warm red lighting against dark background.
Venice Film Festival

Remake – first-look review

by Hannah Strong

In his first film in 14 years, Ross McElwee comes to terms with the death of his son Adrian, and what good documentary is in the face of heartbreak.
Black and white image of man with curly hair sitting at cluttered table, holding small object, with mug and glass beside scattered papers.
Venice Film Festival

In the Hand of Dante – first-look review

by Hannah Strong

Julian Schnabel’s turgid adaptation of Nick Tosches’ 2002 novel recreates the experience of travelling through Dante’s Inferno for the viewer.
Woman in black coat and hat walking left against pale yellow and white stone wall background.
Venice Film Festival

Duse – first-look review

by Sophie Monks Kaufman

Pietro Marcello’s half-literal, half-imagined portrait of legendary Italian actress Eleonora Duse is elevated by the splendor of leading lady Valeria Bruni Tedeschi. 
Five people gathered around a laptop computer, with a bearded man in white shirt at centre holding a mobile phone.
Venice Film Festival

The Voice of Hind Rajab – first-look review

by Leila Latif

Hind Rajab’s story is almost too terrible to face, yet this masterwork from Kaouther Ben Hania demands we bear witness.
Two men in corridor, one in beige shirt covering face, other in yellow shirt behind him. Police officers in dark uniforms visible in background.
Venice Film Festival

Dead Man’s Wire – first-look review

by Leila Latif

Gus Van Sant’s thriller based on the true story of Tony Kiritsis is compelling but offers little to an already rich subgenre.
Woman in grey blazer speaking on phone in high-tech control room with multiple monitors displaying maps and data screens.
Venice Film Festival

A House of Dynamite – first-look review

by Yasmine Kandil

Kathryn Bigelow’s taut political thriller sees the US government race to respond to an impending nuclear threat.
Two women lying down, one resting head on the other's shoulder. Blue mosaic tile background. Both wearing swimwear or sleeveless tops.
Venice Film Festival

Songs of Forgotten Trees – first-look review

by Jannat Suleman

Anuparna Roy’s feature debut tackles female urban isolation with painterly visuals but an underbaked narrative.
Woman holding film clapperboard reading "E0:61:4E:51" and "MARK JACOBS" whilst man with long dark hair sits behind her.
Venice Film Festival

Marc by Sofia – first-look review

by Hannah Strong

Sofia Coppola presents an affectionate but unrevealing portrait of her friend, fashion designer Marc Jacobs.
Shirtless boxer sitting in ring corner receiving medical attention from trainer whilst another person tends to him between rounds.
Venice Film Festival

The Smashing Machine – first-look review

by Hannah Strong

Benny Safdie delivers a knock-out with Dwayne Johnson starring as UFC pioneer Mark Kerr.

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