Venice Film Festival: Last News

Venice International Film Festival on Sept. 4, audience members were so moved that they gave Fraser a six-minute-long standing ovation and brought the actor to tears. It’s been reported that he tried to leave the theater but the applause was so relentless that it seemed to physically freeze him in place.

movie about Marilyn Monroe for over a decade.The film wouldn’t be a biopic, but an experiential portrait delving into the psyche of Marilyn Monroe and Norma Jeane. It kept falling apart, but the New Zealand native couldn’t let it go. Then he found Ana de Armas, and, he said, the movie came alive.“It was like love at first sight,” Dominik said Thursday, before the world premiere of the film at the Venice International Film Festival.

While she may not be a household name compared to the directors that she has worked for, Bonnie Timmermann’s IMDb reads as a decade-spanning watch list of some of the best films ever made.

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.

Heavy on Loachian social realism and undergirded by the intensity and heavy stakes of a Safdie Brothers flick, Juan Diego Botto’s gritty eviction thriller “On the Fringe” — produced by Penélope Cruz, who also lends her name to the billing sheet — makes for hard-hitting stuff. Premiering at the Venice Film Festival today in the Orrizonti section, here’s a slice of agitprop that feels as timely as ever, with the energy crisis surging across Europe, the costs of living rocketing from shore to shore, and society’s most marginalized left to pick up the tab.  Anyone with half a heart and half a brain will be quickly won over by its interweaving stories, following three different people in the same Spanish city living under the cold, foreboding shadow of red-stamp eviction notices: though a little baggy in the second act, the first and final thirty-minutes are appropriately earnest and affecting.

With its abundance of flickery grain, exceedingly credible period production, and eminently authentic ensemble, UK filmmaker Georgia Oakley’s astonishing debut feature “Blue Jean” — which premiered at the Venice Film Festival last week, no doubt primed to pick up a swath of gongs and laurels — could well be a relic exhumed from the back cupboards of a dusty film archive.  READ MORE: Venice Film Festival Preview: 16 Must-See Films To Watch Set amid Margaret Thatcher’s reign of terror in the late ‘80s, the little-known Rosy McEwen puts in a calling card performance for the ages as Jean, a closeted lesbian gym teacher torn asunder by the emergence of Section 28: barbaric British legislation that, until 2003, prohibited the “promotion of homosexuality” across the country.

One doesn’t need to be religious to feel the impact of the words uttered by Pope Francis to never-ending crowds of faithful followers, a concept deeply understood by Gianfranco Rossi with “In Viaggio,” a decade-long chronicling of the travels of the head of the Catholic church across all corners of the world. Composed entirely of archival footage, the film grants rare access to the public life of the pontifical, not only from the elevated security of a pulpit but from the more democratic grounds of unpaved streets and vast public avenues.   The film opens with the following disclaimer: “In the first nine years of his pontificate, Pope Francis made 37 trips visiting 53 countries, focusing on his most important issues: poverty, migration, the environment, solidarity and war.” These very same issues guide the work of Rossi, whose two latest documentaries – 2016’s Golden Bear-winning “Fire at Sea” and 2020’s “Notturno” – deal with the haunting ripples of the refugee crisis and the war in the Middle East (in fact, Rossi and Pope Francis came together after the pontiff visited the island of Lampedusa following a watch of “Fire at Sea”).

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.

cast at the Venice Film Festival is going viral, this time involving the film's leading men, Harry Styles and Chris Pine. A viral clip is circulating online of 28-year-old Styles taking his seat next to 42-year-old Pine at the film's premiere in Italy. In the clip, the «As It Was» singer appears to do something with his mouth at the exact moment that Pine stops clapping, smiles and shakes his head.Soon after the clip began making the rounds, many fans were convinced that Styles had, in fact, spit on Pine in front of hundreds of attendees at the premiere. #HarryStyles appears to spit on Chris Pine i won't sleep until i know the truth pic.twitter.com/wLXjIHTYgUBut others think that Pine was simply realizing he'd put his own sunglasses, which he picks up a moment after the alleged spit, in his lap. «Chris Pine just wondered where his sunglasses were after the applause.

upcoming “Don’t Worry Darling” and “My Policeman.” But the pop star said Monday at the Venice International Film Festival that, with acting, he often feels as if he has “no idea what I’m doing.”Styles’ arrival on the Lido, where “Don’t Worry Darling” is having its world premiere Monday night, has been one of the most anticipated events of a festival full of stars. At a press conference before the premiere, Styles was peppered with questions about his fans, his career and whether or not he would work with director Olivia Wilde again — neither of which he answered.In “Don’t Worry Darling,” Styles plays Jack, who works for the mysterious Victory Project, run by Chris Pine’s charismatic cult-like leader, in a mid-century-styled experimental community.

Brendan Fraser reveled in the spotlight once again at the Venice Film Festival and was praised for his role in the upcoming Darren Aronofsky movie, “The Whale.”The 53-year-old actor kept his best composure while walking the red carpet of the famed festival, only to break down in tears once inside the cinema as theatergoers gave the star a six-minute standing ovation for his performance, according to Variety.Fraser, who has largely stayed out of the spotlight after addressing physical ailments due to performing many of his own stunts on screen, was then also plagued by the mental repercussion of an alleged sexual assault incident that happened in 2003.He’s returning to the silver screen again for what many believe could be an Oscar contending role as Charlie, a 600-pound gay man who feels as though his life is coming to an end.Fraser was noticeably moved by the response to the film that he could barely stand up as the crowd cheered once the credits rolled when the movie was over in a video captured from inside the festival.“Brendan Fraser is back — and he sobbed during the #Venezia79 six-minute standing ovation for #TheWhale,” Ramin Setoodeh tweeted.He then added, “The standing ovation for #TheWhale was so enthusiastic, Brendan Fraser tried to leave the theater but the crowd’s applause made him stay.”During a pre-show interview with press, Fraser showed gratitude for “the warm reception” he’s received since discussing his latest work.“I’m looking forward to how this film makes a deep impression on everyone as much as it has on me,” he said, via The New York Times.Fraser recalled having to wear an extensive amount of prosthetics that sometimes weighed up to 300 pounds to play Charlie, a reclusive character based on the

As a fresh batch of boot camp recruits moves through processing, a name keeps resurfacing like some kind of curse — as if its mere mention is enough to call down the power of its wrath.  “Classic case for Eismayer,” one experienced soldier remarks about a smart-mouthed inductee, while another explains his fake-illness strategy thusly: “Just trying to avoid drillmaster Eismayer.” A legend in the Austrian armed forces, Sergeant Major Charles Eismayer (Gerhard Liebmann) is equal parts bad-ass and martinet, yet what he is, more than anything else, is afraid, and it’s the exploration of this fear that serves as the backbone of “Eismayer.” A title card at the beginning of the film sets up the story as based on actual events — something that the brutalist architecture, bland color palette, and utilitarian nature of the military base setting reinforces right from the jump.

A man scribbles in his diary. The pages are visible by dim light, the wooden table nondescript.

As a child growing up in the United States, you’re taught that betraying the country is a terrible act, punishable by death. Every morning, in most public schools, you’re forced to recite the Pledge of Allegiance, which overtly puts your patriotism at the forefront of the day’s events.

Who is Lydia Tár? Is she the acclaimed composer-conductor celebrated by The New Yorker in the opening of the movie that shares her fictional namesake as generational? Is she the heavily pruned and curated brand that she herself cultivates, her swishy suit pants as well-measured as her staccato? Or, indeed, is there an all-the-more sinister side: a narcissistic megalomaniac as beholden to her plaudits as she is driven by them?  READ MORE: Venice Film Festival Preview: 16 Must-See Films To Watch The truth, as is so often the case, is nestled in the center of the Venn Diagram, astutely observes director Todd Field in his first film for sixteen years, “Tár.” Though not without its blemishes, here’s a timely — and, indeed, timeless — a piece about the corrupting essence of power, exploitation, and the burdensome nature of the crown, elevated by a hydrogen bomb of a performance from Cate Blanchett, inarguably at her best since 2015’s “Carol.” The aforementioned questions emerge, of course, across the two hours and change of runtime; as far as we’re concerned, the Lydia Tár we’re initially introduced to is a flawless demigod.

“White Noise.” She ditched her usual pantsuit look and instead donned a baby blue kaftan and shiny flats for the evening.Many were confused about why she was there, but rumors have swirled around that it was due to her connection to Netflix. The streaming giant is also at the helm of Clinton and her daughter Chelsea’s documentary, “In Her Hands.” The project will be the first from the Clintons’ new production company, HiddenLight Productions.

Ever since Jennifer Lopez, 52, and Ben Affleck, 49, got back together – the world has never been the same. The newly rekindled couple made their first red carpet appearance as a new couple at the Venice Film Festival on September 10. The lovebirds attended the premiere of Ben’s new film, The Last Duel, and they both looked absolutely amazing as they kissed each other on the red carpet.

Jennifer Lopez and Ben Affleck are enjoying a slice of la dolce vita! The couple took their romance to the Venice International Film Festival on Thursday, taking in the sites from a boat on the canal as they made their way to the annual event. The power couple was spotted kissing, wrapping their arms around one another, and whispering in each other's ears as they enjoyed the scenic ride. Upon exiting the boat, the happy pair donned masks and held hands.

A director whose film is premiering at the Venice Film Festival has said the decision to wear see-through masks on the red carpet in support of deaf and hard of hearing communities is an “inclusive message”.

The Venice Film Festival just got a bit more star power. As is common during the lead-up to festivals, the Italian event has augmented its offering of films with a couple of projects featuring some superstar talent, including Tilda Swinton, Pedro Almodovar, and Regina King.

A short film set in a Glasgow supermarket has been selected for this year’s Venice Film Festival.