Holly rings her school to tell them she is staying at home. She isn’t sick. She just can’t bring herself to go. “Bad things are going to happen today,” she says just above a whisper, her voice cracking.
30.08.2023 - 18:29 / deadline.com
A 73m x 7m submarine was always going to be a left-field substitute for A-lister Zendaya after Luca Guadagnino’s hotly anticipated tennis movie Challengers was pulled from the Venice Film Festival’s prestigious opening-night slot. And although the gargantuan Cappellini is a formidable presence in Eduardo De Angelis’s 1940-set war drama, Comandante seems woefully out of its depth as a curtain-raiser to a festival still reckoning with the effects of the SAG strike.
Held together by a very strong performance by Pierfrancesco Favino as sub commander Salvatore Todaro, De Angelis’s film takes a long time to set sail, beginning with a strange prologue in which we see Todaro plunging into the sea. This is his first brush with death, and it leaves him severely disabled, being forced to wear a back brace and prescribed serious doses of morphine. “I like you disabled,” says his wife Rina (Silvia D’Amico). “It makes you a prisoner of me and my intentions.” This sounds pretty dark, but, in fact, she just wants him to take his war pension and retire to the countryside with her and their young son. But Salvatore does not, and chooses to return instead to the theater of war, taking the Cappellini and its crew through the treacherous Strait of Gibraltar to the Atlantic Ocean.
After a lot of scene-setting, with tearful wives seeing off their husbands and Todaro leading his men in a hearty singalong, the story begins in earnest when the sub pulls away on 29 September 1940. There’s an air of impending doom about all this (‘The boys were going to war full of nerves and boiling blood,” notes one partner), which creates an expectation the film doesn’t really end up delivering, since this turns out to be the very opposite of a suicide
Holly rings her school to tell them she is staying at home. She isn’t sick. She just can’t bring herself to go. “Bad things are going to happen today,” she says just above a whisper, her voice cracking.
It’s interesting how the Venice Film Festival has gone from one of the festivals of the fall festival season to arguably the best film festival in the world now, even overshadowing Cannes in recent years thanks to the fact that Netflix now avoids the Croisette for the most part because of France’s theatrical laws and save their Oscar contenders for the Lido. Venice has had an amazing run, arguably since 2017 when Guillermo del Toro’s “The Shape Of Water” won the top prize and then went on to win the Oscar for Best Picture, which has happened one more time since with “Nomadland” and several key Oscar contenders since).
Ben Croll Seated before a photo of filmmaker Sarah Moldoror, panelists at this year’s Women in Film roundtable shared strategies for greater industry parity, while reflecting on recent successes and standstills in that ongoing pursuit. Variety has been give access to the video of the panel discussion.
Everyone assumes Mathieu’s life is marvelous. He is a popular film actor, as evidenced by the waiters and receptionists who take it upon themselves to give an appreciative commentary on his film career as they serve the soup or sign him into a hotel. He is married to a celebrity news anchor. When he checks into a spa retreat in a seaside town otherwise deserted for the winter, he finds a glossy magazine with his face on the cover next to one of the relaxation chairs. The story inside has him talking about his marvelous life, in particular his forthcoming stage debut, with accompanying quotes from his highflying wife. This is the woman who was too busy even to say goodbye before he came here. But the worst of it is that he is there: He has pulled out the play. When it came to it, he was afraid to do something new. Nobody knows it yet, but he is a failure.
Marta Balaga Controversy over Venice title “Green Border” continues to heat up as director Agnieszka Holland gave an ultimatum to Poland’s Minister of Justice Zbigniew Ziobro following his comments about her film. According to the statement shared with Variety, Holland has hired the lawyers Sylwia Gregorczyk-Abram and Michał Wawrynkiewicz.
Not so much beginners as people who never get a fair go, the mixed bag of gay men and women in Australian-Macedonian filmmaker Goran Stolevski’s Housekeeping For Beginners, showing in Venice’s Horizons section, lives on a knife’s edge. Dita (Anamaria Marinca) owns the house where they jostle along together. Her Roma partner Suada (Alina Serban) has a teenage daughter Vanesa and another daughter, Mia, who is only five. Suada is volatile, belligerent and dying of cancer. Death is focusing her mind in alarming ways. Swear to look after the children, she shouts at Dita, holding a knife over her own arm.
Richard Linklater brought his Hit Man to the Venice Film Festival on Tuesday, world premiering the comedy thriller out of competition to a six-minute ovation inside the Sala Grande.
The tears flowed for Priscilla Presley following the world premiere of Sofia Coppola’s biopic, “Priscilla”, in Venice on Monday.
“I feel like there’s a sort of mouth over the city, ready to eat us up,” says Enea, sophisticated young nightclubber, tennis champion and coke dealer; if anyone is trying to swallow the Eternal City whole, it’s Enea himself. The son of intellectuals – his mother hosts a television chat show about literature; his father is a psychoanalyst – the inexhaustible Enea scoots and toots between the city’s most exclusive sports club, the city’s most exclusive parties and, even more thrillingly, rendezvous with the criminal classes, homespun proletarians to a man. “You need to marry Eva, have a child with her, make her happy. If you have no one to kiss, you go crazy,” advises Giordano (Adamo Dionisi), pusher and family man, when he learns that playboy Enea has acquired a girlfriend. Whatever. In his line of work and with the company he keeps, Giordano isn’t going to last that long.
Rebecca Rubin Film and Media Reporter Neon has acquired worldwide rights to Ava DuVernay’s “Origin” ahead of its world premiere in competition at the Venice Film Festival. The movie, starring Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash-Betts, will also screen at the Toronto International Film Festival. “Origin” will be released in theaters later this year.
As if to come to the aid of her national cinema after the debacle that was Roman Polanski’s The Palace, Poland’s Agnieska Holland, soon to turn 75, restores some of her homeland’s cultural dignity with a devastating exposé that angrily, and quite brilliantly, questions its humanity and political integrity. At 144 minutes, and in black and white, it is not exactly a Trojan horse, and its moral rigor does not come with a spoonful of sugar. But Green Border earns every second of that running time, and with a focus and energy that belies its directors age. Awards-wise, this may prove to be the international feature to beat.
The devil is in the details. Pink-nailed toes scrunching on a pink carpet; a packet of false eyelashes; piles of chips in a Vegas casino; the pills. Always the pills: squeezed in a palm that opens to reveal its little white prize; lined up in bottles on the bedside table; slipped into a pocket on the way to school. “Maybe the pills are too much,” ventures Priscilla Beaulieu to her boyfriend Elvis Presley, after one of his flares of temper where she just manages to dodge his fist. “I have doctors looking after me,” he growls. “I don’t need a second opinion.”
Marta Balaga Move over, Richard Donner. In “Behind the Mountains,” premiering in Venice’s Horizons section, Mohamed Ben Attia makes sure “you’ll believe a man can fly” once again. Although it might not be as graceful.
The plan was for renowned director William Friedkin to be appearing at the Venice Film Festival presenting the out of competition World Premiere of his latest production, an adaptation of Herman Wouk’s 1954 play The Caine Mutiny Court-Martial. Unfortunately Friedkin died August 7th, but the show goes on anyway.
Gabriel Guevara has been arrested.
In principle, using the rainy-day, kitchen-sink post-rock of Manchester band The Smiths so prominently in a film like The Killer seems incredibly perverse, given that it’s an exotic, globe-trotting thriller about an American assassin. But in reality, it’s actually very sound choice indeed: legend has it that the band’s singer, Morrissey, had two reasons for naming his band so, the first being that “Smith” is one of the most common and thus unremarkable surnames in the world. The second, and much more subversive theory, suggests that it’s also a reference to David and Maureen Smith, brother-in-law and sister of ’60s serial killer Myra Hindley, the snappily dressed couple whose testimony blew open the Moors Murderers case and whose beatnik likenesses adorn the cover of Sonic Youth’s 1990 album “Goo”.
Nick Vivarelli International Correspondent Spanish actor Gabriel Guevara, star of Spanish Amazon Prime teen film franchise “My Fault,” has been arrested during the Venice Film Festival on alleged sexual assault charges, the fest has confirmed, specifying that the teen idol was not on the Lido for anything related to the event. Guevara, 22, had arrived on the Lido yesterday, which he publicised in several Instagram posts.
Five years after his triumphant A Star is Born world premiered at the Venice Film Festival, Bradley Cooper is back on the Lido with Maestro. Except, the director and star is only here in spirit owing to the SAG-AFTRA strike.
The cast, producers and collaborators of Roman Polanski’s The Palace showed their support for the filmmaker here in Venice today during a press conference for the movie that world premieres out of competition this evening.
Mads Mikkelsen and his son Carl Jacobsen Mikkelsen make quite a dashing pair!