Venice Review: Tilda Swinton In Joanna Hogg’s ‘The Eternal Daughter’

Tilda Swinton has paid her respects at Queen Elizabeth's lying in state. The 'We Need to Talk About Kevin' actress - who was a childhood friend and classmate of the late Princess Diana - was spotted queuing with members of the public in London on Saturday (17. 09.

Tilda Swinton has been spotted in the public queue for the Queen’s lying in state.

Guy Lodge Film Critic In the little-remembered 1950 noir “The Damned Don’t Cry,” Joan Crawford plays a Texan housewife whose grief for her late son spurs her to make a new life for herself in the urban underworld. Fyzal Boulifa’s exquisite new film of the same title is named expressly for that Crawford vehicle, but is neither a remake nor a direct homage. Rather, it remixes the narrative components of that film and others of its ilk into the kind of new-school-old-school heart-tugger — one might say tearjerker if its characters weren’t, true to its title, stoically dry-eyed throughout — that might have been designed for the shoulder-padded diva were she alive in 2022 and, perhaps more crucially, of Moroccan heritage. 

Peter Debruge Chief Film Critic Can you imagine anything more delightful than Jane Fonda and Lily Tomlin co-starring in a movie with Richard Roundtree and Malcolm McDowell … in 1972? That was the year Fonda won an Oscar for “Klute” and daffy “Laugh-In” star Tomlin released her first comedy album. The two men were riding high with “Shaft” and “A Clockwork Orange,” respectively. Just think what an ensemble film that played to each of their strengths might have yielded 50 years ago. That’s wishful thinking, of course. You can’t go back, and you can’t do things over, but it’s never too late to move on. At least, that’s the message writer-director Paul Weitz is peddling in “Moving On,” a sassy feature-length sitcom with a #MeToo twist in which two estranged friends reunite to settle a decades-old score.

A reformed criminal goes on the run in The Hanging Sun, an adaptation of Jo Nesbo’s novel Midnight Sun. The author also co-writes the screenplay of this fiction feature debut from Francesco Carrozzini, the photographer who helmed the documentary Franca: Chaos and Creation. The closing film of Venice Film Festival, it’s well performed and gripping enough, though geographically confusing.

Ana de Armas is a proud actress. The 2022 Venice Film Festival comes to an end tomorrow and Thursday saw the world premiere of the highly anticipated film about Marilyn Monroe’s life, Blonde. Once the movie ended, there was a 14-minute long standing ovation.According to Variety, the Cuban-Spanish actress was glowing as tears ran down her face.

The success of monster hits such as Squid Game, Netflix’s most popular series ever, as well as Money Heist, All of Us Are Dead, Elite and Lupin, has proven that there is no language barrier for non-English-language series to become global phenoms.

Following the premiere of Olivia Wilde’s new film Don’t Worry Darling at the 2022 Venice International Film Festival, one piece of footage prompted fierce online debate. The clip in question, however, wasn’t from the film itself but from its screening’s aftermath, and it depicts what many are convinced is Harry Styles spitting on his co-star, American actor Chris Pine.

Who would have thought that, of all the top-shelf auteurs in Venice’s big comeback year, the most constrained would be Darren Aronofsky? His new competition film The Whale opens with that very intent — the screen is cropped to 1:33 — which turns out to be most appropriate for a small and intimate movie about a very big man.

Though it sets out on a ghost hunt, Adrian Sibley’s fitfully fascinating documentary works better as an exploration of its subject’s public and private personas, charting Richard Harris’ rise from local sports star to screen legend via an unexpected heyday as a chart-topping pop star in 1968.

A lesbian gym teacher navigates Margaret Thatcher’s Britain under the “Section 28” law in Blue Jean, Georgia Oakley’s debut feature premiering in the Venice Days section of the Venice Film Festival.

EXCLUSIVE: Fresh off multiple rave reviews last night, we can reveal that Altitude has secured UK and Ireland distribution rights to writer-director Georgia Oakley’s buzzy Venice, Toronto and London Film Festival-bound drama Blue Jean from London and Paris-based Film Constellation.

Though you might think Midnight Cowboy’s main claim to fame is one of the most famous improvised lines in screen history (“I’m walkin’ here!”), Nancy Buirski’s fascinating and really quite hypnotic documentary will introduce more thoughts and perspectives on a truly underrated Hollywood milestone. Directed by John Schlesinger in 1969, Buirski’s subject film has the rare distinction of being the only X-rated movie to win the Best Picture Oscar, although that claim is put to the test here, opening up a whole other can of worms in the process.

Roberto De Paolis’ second film has such a heightened sense of the absurd — a playful, almost naïve tone that’s completely at odds with its subject matter — that it can only come from real life. That turns out to be very much the case in the Venice Film Festival’s Horizons section opener Princess, a story based on the true-experiences of Nigerian sex workers, many of them trafficked, in contemporary Italy. The result is a curiously queasy mix of comedy and drama that, while taking an admirable view of its lead character as a complex heroine rather than a victim to be pitied, falls into many of the same tropes in more cliched depictions of prostitution.

Echoes, a mystery limited series from up-and-coming Australian TV creator Vanessa Gazy has surged in viewing in its first full week of release. Launching with little fanfare, the series, starring Michelle Monaghan and executive produced by 13 Reasons Why‘s Brian Yorkey, logged 68.5M hours viewed during the week of Aug. 22 jumping from #5 last week to #2 in Netflix’s weekly Top 10 for English-language series. It pushed The Sandman (53.8M) to #2 in its fourth week after a three-week reign at #1.

The Sandman creator Neil Gaiman has revealed Michael Jackson had wanted to be cast as Morpheus.Gaiman discussed the early iterations of the Netflix project in the 1990s, adapting his comic book series which ran from 1989 to 1996.In an interview on the Happy Sad Confused podcast, Gaiman said: “By 1996, I was being taken to Warners, where the then-president of Warner Bros sat me down and told me that Michael Jackson had phoned him the day before and asked him if he could star as Morpheus in The Sandman.He continued: “So, there was a lot of interest in this and they knew that it was one of the Crown Jewels and what did I think? And I was like, ‘Ooh.’”In the Netflix adaptation recently released, Tom Sturridge plays Morpheus.