‘White Noise’ Opens Venice on a Quiet Note: Adam Driver, Greta Gerwig Soak Up Muted Standing Ovation

Blonde” debuted to a massive 14-minute long standing ovation during its world premiere at the 2022 Venice Film Festival. Ana de Armas, who plays Marilyn Monroe, was in tears at the screening, her face glowing as tears streamed down. Before the film’s world premiere Brad Pitt, who is among the film’s producers, de Armas, director Andrew Dominik, Adrien Brody and Julianne Nicholson created commotion on the red carpet, largely for Pitt who worked the crowds wearing a black Covid mask when he came into close contact with fans to sign autographs and do selfies. Pitt made a surprise appearance in Venice since he was not present at the film’s press conference earlier in the day. Dede Gardner, who is also among “Blonde” producers, was also on hand.

Hugh Jackman and Laura Dern devastated the Venice Film Festival with the world premiere of Florian Zeller’s “The Son,” which earned a 10-minute standing ovation. Jackman appeared visibly moved during the  film’s reception, as did the audience. Jackman hugged his young co-star Zen McGrath amid the ovation. The film, which centers on a gut-wrenching family tragedy, led to audible gasps from viewers during one dramatic scene. Based on this rapturous reception, Zeller might be back for more Oscar glory with “The Son.”“The Son” centers on “a family as it falls apart and tries to come back together again,” according to Sony Pictures Classics’ official synopsis. Jackman stars as a father whose 17-year-old son comes to live with him after deciding he can no longer stay with his mother (Dern) years after his parents’ divorce. Jackson’s character, Peter, has a new partner, Kirby’s Beth. As Peter overextends himself to give his son a better life. 

Olivia Wilde both attended the world premiere of the drama “Don’t Worry Daring” at the Venice Film Festival, but they kept their distance — almost as if they weren’t even in the same film together.Pugh had skipped the press conference for the film earlier in the day. When the audience at Venice erupted into a 4-minute standing ovation for the film, a teary-eyed Pugh — who was sitting several seats away from Wilde — turned away completely from her director, as she instead faced (and danced with) her co-star Nick Kroll.The film seemed to be well received at Venice. The audience clapped during one of the more climatic scenes and the ovation would probably have gone on longer if Pugh hadn’t made her way for the exit about three minutes into the clapping, prompting the rest of the cast — with Wilde at the end — to follow her. During the ovation, Harry Styles and Kroll quickly kissed on the lips.

Brendan Fraser’s return to Hollywood at the 79th Venice Film Festival was met with many tears.

The Whale” at the Venice Film Festival is any indication, Brendan Fraser’s return to Hollywood will be met with plenty of cheers — and even more tears. When the credits rolled on the Darren Aronofsky drama, in which Fraser plays a 600-pound gay man confined to a wheelchair, the actor was overcome with emotion.Fraser sobbed throughout the six-minute standing ovation for the film, which will likely put him at the forefront of this year’s best actor Oscars race.Among those spotted inside the Sala Grande Theatre were Pheoebe Waller-Bridge, Nick Kroll and Hillary Clinton staffer Huma Abedin, who was seated a few rows behind Fraser and shed as many tears as he did. Many others inside the theater also broke out a handkerchief during the film’s heartbreaking final scenes.

Manori Ravindran International Editor High-profile espionage cases in the post-war period often invoke the grisly fate of the Rosenbergs, the first U.S. citizens to be convicted and executed by electric chair for sharing atomic secrets with the Soviet Union in peace time. But in the new documentary “A Compassionate Spy,” filmmaker Steve James tells the incredible story of Manhattan Project scientist Ted Hall, who shared classified nuclear secrets with Russia — and got away with it. The Participant and Kartemquin Films-produced documentary, which has its world premiere in Venice on Sept. 2, is one of a number of films at this year’s festival that tackle the topic of nuclear disaster: Projects from Noah Baumbach’s feature adaptation of Don DeLillo’s “White Noise” through to Oliver Stone’s on-the-nose documentary “Nuclear” all contemplate some aspect of our nuclear past and future.

The 49th Telluride Film Festival opens Friday in a much-awaited edition that is set to feature world premieres of Searchlight’s Oscar hopeful Empire of Light from director Sam Mendes, starring Olivia Coleman and Colin Firth; Women Talking from director Sarah Polley, starring Rooney Mara and Frances McDormand in the ensemble; Sebastian Lelio’s The Wonder, starring Florence Pugh; and Sony/Netflix’s sizzling new version of D.H. Lawrence’s Lady Chatterley’s Lover with Emma Corrin and Jack O’Connell; among other films.

Man, the 20th century really thought it was something, didn’t it? Thankfully, in the middle of the 1980s, just when Western (read: American) culture was fully losing the run of itself in a frenzy of gum-snapping consumerism and prescription narcotics, Don DeLillo‘s “White Noise” appeared — you might almost say manifested — as a mischievous, mindbending 326-page reminder to the century that it wasn’t, in fact, all that.

The BFI London Film Festival has unveiled its full list of titles, with the program comprised of 164 features and 23 world premieres across film and TV.

Manori Ravindran International Editor Don DeLillo’s debut novel, “Americana,” is set to be adapted 51 years after it was first published. “White Noise” producer Uri Singer (“Tesla,” “The King of Oil”) has bought the rights to the 1971 novel, continuing his streak of adapting a string of DeLillo works that have been deemed “unadaptable.” “Americana” tells the story of David Bell, an out-of-touch television executive who sets off on a road trip with his female colleague, Sullivan, to make an avant-garde film. The book explores the intricacies of corporate culture and examines how we create realities, whether they are true or not.

Venice Film Festival on Wednesday.  The model, 41, made sure to show off her endless pins in the hot pink number with very daring thigh-high splits and a chiffon cape.  She wowed the crowds as she walked the red carpet at the historic Palazzo del Cinema on the Lungomare Marconi.

has started to look unsustainable, and it was widely reported in June that the days of blank cheques had come to an end. Do the streamer’s offerings at Venice this year represent that era’s last, loopy hurrah? White Noise, which opened the 78th edition of the festival this evening, certainly has a “last days of Rome” feel about it.

has officially kicked off, with stars including Adam Driver, Tessa Thompson, and even Hillary Clinton turning out for the opening gala. White Noise, starring Adam and Greta Gerwig and directed by Noah Baumbach, opened the annual festival, with celebs showing out in force on the red carpet. Adam suited up in a tuxedo, while co-star Greta stunned in a beautiful black gown.

Jodie Turner-Smith has a major fashion moment on the red carpet at the premiere of White Noise during the 2022 Venice Film Festival on Wednesday (August 31) in Venice, Italy.

Adam Driver and Greta Gerwig are stepping out to support their new movie.

Owen Gleiberman Chief Film Critic As a filmmaker, Noah Baumbach has always been a dyed-in-the-wool dramatic realist, talky coastal neurotic division. He hasn’t always been as good at it as he is today; “The Squid and The Whale” (2005), the divorce drama that established his reputation and is held in supremely high regard by many cinephiles, isn’t half the movie that “Marriage Story” is. The latter film was Baumbach’s culminating achievement after 25 years as a writer-director, and it brought his strengths to a new pitch of mastery: his ability to nail the dynamics of troubled relationships in all their frayed layers, his extraordinary skill with actors, and the nimble levity of his dialogue, which emerges from the human comedy as surely it did in the great films of Woody Allen and Paul Mazursky.

Noah Baumbach passed through the Lido Wednesday afternoon where he broke down the origins of his Venice Film Festival opener White Noise, starring Adam Driver, Greta Gerwig, and Don Cheadle.

Rebecca Rubin Film and Media Reporter Noah Baumbach’s black comedy “White Noise,” Alejandro Iñárritu’s “Bardo (Or False Chronicle of a Handful of Truths)” and Lindsay Lohan’s romantic comedy “Falling for Christmas” will debut on Netflix this fall. On Tuesday, the streamer announced the release dates for those films — and plenty more — including “Roald Dahl’s Matilda the Musical,” “The Swimmers” and “Mr. Harrigan’s Phone.” Some of those titles, like “Bardo” and “White Noise,” will have limited theatrical runs before debuting on Netflix, while others, such as “Falling for Christmas,” will land directly on the streaming service. “Bardo” will debut on Dec. 16 following its world premiere at Venice Film Festival. Prior to landing on the streamer, it’ll play in movie theaters in Mexico starting on Oct. 27, as well as select North American theaters on Nov. 4. Described as a “nostalgic comedy,” the film stars Daniel Giménez Cacho follows a renowned Mexican journalist and a documentary filmmaker who returns to his native country at an existential crossroads.

With the Fall Film Festival upon us, the Venice Film Festival, and Telluride Film Festival launching this week, streamers like Netflix are about to premiere some of their biggest titles of the year. Namely, Noah Baumbach’s “White Noise,” Alejandro Innaritu’s “Bardo,” Andrew Dominik’s “Blonde,” and Sebastian Lilo’s “The Wonder.” Rian Johnson’s “Glass Onion: A Knives Out Mystery,” which premieres at the Toronto International Film Festival in early September, was recently dated for December 23 for a Netflix release, and while Netflix has revealed its entire fall slate today, December looks like it’ll be the month for most of its Oscar contenders.