Venice’s Final Cut Celebrates 10 Years of Discoveries

“The Music Man”, Broadway’s hit musical revival starring Hugh Jackman and Sutton Foster is coming to an end.

Nick Vivarelli International Correspondent Gianni Amelio’s “Lord of the Ants,” a biopic of Italian poet and playwright Aldo Braibanti, who was jailed in 1968 due to a Fascist-era anti-gay law, has reached the top spot at Italy’s box office following its launch from the Venice Film Festival. “Ants” on Monday reached the numero uno position at the local box office roster with a €483,474 ($487,000) intake from more than 300 screens following its September 8 release. While far from stellar in normal times, this result is being hailed as an encouraging sign for the country’s still sagging post-pandemic theatrical sector. Amelio’s film is now ahead of Japanese anime pic “Evangelion: 3.0 You Can (Not) Redo,” which was released as an event on Monday for a three day run, and “Minions: The Rise of Gru,” which is at the end of its run, following it’s Aug. 18 Italian outing.

Standing between Steve Buscemi’s newest directorial effort, “The Listener,” and his last time on the director’s chair for the Sienna Miller-starring drama “Interview” is a whopping 15 years. Buscemi has been open about his desire to direct again, but nothing seemed to work out until Oscar-nominated writer Alessandro Camon knocked on his door, script in hand.

Sarah Ferguson has shared a moving tribute to the Queen, labelling her "the most incredible mother-in-law and friend" in a moving Instagram post.The Queen died at the age of 96 on Thursday afternoon, with family members including Charles, who now goes by the title of King, Queen Consort Camilla and Princess Anne. Sarah had been in Venice for the film festival and following news of the Queen's turn for the worst, she was seen getting onto a plane at the Italian city's airport. In a statement posted on Instagram late on Thursday night, Sarah shared her devastation at the Queen's death.

Marta Balaga Amjad Al Rasheed’s feature debut “Inshallah a Boy” – co-produced by Jordan, Egypt, Saudi Arabia and Qatar – was awarded La Biennale di Venezia Prize at Final Cut, an industry program at the Venice Film Festival dedicated to films from African and Arab countries. Shot in February, with mostly Jordanian crew, it was lensed by Kanamé Onoyama. In the story, a mother and a housewife – played by Mouna Hawa, known for “In Between” – has to face the sudden death of her husband. According to the inheritance law, his family is entitled to most of her belongings, including the home she paid for herself – just because she doesn’t have a son. Desperate, she pretends to be pregnant.

Since tying the knot in 2014, George Clooney and Amal Clooney have made the world their own personal runway. The lovebirds make red carpet style look easy, stepping out in coordinated looks that serve up timeless fashion inspiration.

No film at the Venice Film Festival not called “Don’t Worry Darling” has attracted such morbid fascination as Andrew Dominik’s Marilyn Monroe not-a-biopic, “Blonde.” Turns out that “morbid” qualifier is soft, to say the least: to call “Blonde” relentless would be about as immense an understatement as one can conjure of a movie that subjects its lead, Ana de Armas’ fictionalized Monroe, to two hours and forty-seven minutes of unending sexual torture, leering voyeurism, and devastating dehumanization.  READ MORE: Venice Film Festival Preview: 16 Must-See Films To Watch Much has already been made about the X-ratedness of it all, but god, this is — by design — soul-sapping stuff, leaving you bloodied and brutalized.

Jodie Turner-Smith stepped out in another colorful look for the 2022 amfAR Venice Gala held at Arsenale on Wednesday night (September 7) in Venice, Italy.

Tilda Swinton is gracing the red carpet at the 2022 Venice Film Festival!

Casey Affleck heaped praise on Andrew Dominik’s forthcoming Marilyn Monroe biopic Blonde during a press conference for his latest film Dreamin’ Wild at the Venice Film Festival Wednesday.

The Ukrainian cast and crew of Luxembourg, Luxembourg — premiering in the Horizons section of the Venice Film Festival — today used their Lido photo call as a powerful call for support of Ukraine’s families.

Stalwart indie filmmaker Bill Pohlad today premeres in Venice Dreamin’ Wild. His directing follow up to the critically acclaimed Brian Wilson film Love & Mercy also follows a music story, though one far less familiar. Casey Affleck, Noah Jupe, Zooey Deschanel, Walton Goggins and Beau Bridges star. When Donnie Emerson (played by Affleck and Jupe) was a teenager growing up on his father’s farm in Fruitland, Washington (population 791) he spent his days writing music and dreaming of becoming a music star. And everyone in the family became invested in that dream, including his brother Joe (Goggins) who became his drummer, and especially his father, Don Sr (Bridges). He mortgaged his farm to build a $100,000 recording studio, and more to help Donnie make and release his first record. It went nowhere and the bulk of the farm had to be sold when the loan came due. But 30 years later, the overlooked album was rediscovered by the music scene. Suddenly Donnie, who continued to struggle and write and play his music, had gotten a taste of his childhood dreams. But it comes with the guilt of failure that haunted him for years, and involves having to play the songs that meant something as a teen, but not as a 50 year old man who has evolved as a musician. And it is all true.

Florence Pugh for her “unbothered energy” after she was filmed holding an Aperol spritz and strutting in Venice amid rumours of a feud between herself and Olivia Wilde. The rumours of a conflict between the Don’t Worry Darling star and Wilde, who directed the film, escalated after Pugh, 26, skipped a press conference for the upcoming movie ahead of the film’s red carpet premiere in Venice on Monday.

Chris Pine's rep is denying a fan theory. In a statement to ET, the 42-year-old actor's rep shuts down claims that Harry Styles spit on Pine at the premiere of their flick, at the Venice Film Festival. «This is a ridiculous story… a complete fabrication and the result of an odd online illusion that is clearly deceiving and allows for foolish speculation,» Pine's rep tells ET.

There’s always been a haunted mood in Joanna Hogg’s films, felt both in the deceptively mundane domestic rhythms of the likes of “Exhibition” and “Archipelago,” and in the exquisite memory pieces, “The Souvenir” and “The Souvenir Part II.” Like the best and most personal of storytellers—Chantal Akerman comes to mind as a creator with akin sensibilities—Hogg is a filmmaker possessed by the slivers of her recollections.

Marta Balaga Venice Film Festival’s Final Cut, dedicated to films in post-production from African and Arab countries, wrapped its anniversary 10th edition on Sept. 5. As fest director Alberto Barbera welcomed the audience to “the final stage of the Final Cut,” La Biennale di Venezia Prize – and cash award of € 5,000 – went to “Inshallah a Boy,” directed by Amjad Al Rasheed. Jurors Claire Diao, Rasha Salti and Gaetano Maiorino praised it for “brilliant direction and performances, tackling a really dramatic social issue and for honoring the resilience of women in a conservative context.” The film, a co-production between Jordan, Egypt, Saudi Arabia and Qatar, is overseen by Rula Nasser for The Imaginarium Films.

Reviews of Olivia Wilde’s psychological drama “Don’t Worry Darling” premiering at the Venice Film Festival are now out. And while it’s a little too early to land on a consensus (our review is mixed), unless you’ve been living under a rock, the film and the spectacle surrounding it have threatened to become one of the biggest, nosiest dramas of the year.

The tragedy at the center of “Love Life,” the new film from Japanese director Kōji Fukada which premieres in Competition at this year’s Venice Film Festival, does not come to disrupt a perfectly happy family. Cracks are visible in the facade of the life shared by Taeko (Fumino Kimura) and Jiro (Kento Nagayama) even before the fatal accident that claims the life of Keita (Tetta Shimada), her young son from a previous marriage.

Elsa Keslassy International Correspondent On Sunday night, an hour before the hotly anticipated Sept. 5 world premiere of “Don’t Worry Darling” on the Lido, Variety celebrated director Olivia Wilde with a cocktail party hosted at the posh Danieli Hotel in Venice. Wilde, who is unveiling her second feature as a director out of competition at the festival, graces the cover of Variety’s Venice issue, on newsstands now. It marks the first dedicated Venice magazine issue that Variety has done, as the magazine’s co-editor-in-chief Ramin Setoodeh pointed out. “We couldn’t think of a better subject than Olivia,” Setoodeh said. Setoodeh praised Warner Bros., the studio behind “Don’t Worry Darling,” for championing theatrical releases.

The greatest strength of Ti West’s “X,” the very A24 vibes ‘n all sex-slasher which premiered to tepid acclaim at South By Southwest earlier this year, was never its reverence for “The Texas Chain Saw Massacre,” nor its lurid ‘70s grit and grain, nor its abundance of pornstaches. No, no: a double-dipping Mia Goth was the lynchpin, be it caked in prosthetics as the melting, murderous octogenarian Pearl or starlet-in-the-making (with an aptly porn-y name) Max Minx.