The 80th Venice International Film Festival has been a platform for some of the hottest titles in the industry. The Hollywood Reporter’s first European-language edition, THR Roma, has gathered the opinions of their reviewers on the hits and misses of the festival. Here are seven takes on some of the standout films:
1. Dogman, directed by Luc Besson:
Dogman is described as a bizarre and powerful work that showcases the force behind a seemingly helpless and fragile appearance. The film is seen as Besson’s return to form after a 20-year hiatus and proves his desire to excel without fear. The reviewer notes that Caleb Landry Jones gives a mesmerizing performance, especially when he wears different masks, exposing his true self.
2. El Conde, directed by Pablo Larraín:
El Conde uses vampires as a metaphor to explore the eternal nature of evil and its ability to unite and oppress people. Larraín skillfully taps into vampire mythology and intertwines it with Pinochet’s crimes, creating a film that oscillates between fascination and repulsion. The flight scenes provide lightness, while the drooping faces depict the heaviness of the characters’ experiences.
3. Comandante, directed by Edoardo De Angelis:
Comandante challenges viewers to watch the film without preconceived notions and judgment, urging them to think about how they would have perceived it a decade ago. The film focuses on Todaro, a fascist commander, and celebrates his heroism in enforcing the laws of the sea. The reviewer suggests that any controversy surrounding the film reflects more on the viewers and citizens than on the film itself.
4. Ferrari, directed by Michael Mann:
Ferrari is described as a paradoxical film that fails to emotionally connect with the audience. Despite having a strong cast, including Adam Driver as Enzo Ferrari, the film does not convince viewers that they are watching an Italian icon being portrayed by an American actor. The reviewer finds that the suspension of disbelief is lacking, affecting the audience’s ability to engage with the character’s ambitions and pain.
5. The Palace, directed by Roman Polanski:
The Palace is viewed as a fierce film with a clear social message. If Polanski had made it at a younger age, it might have been perceived as a masterpiece. The film offers a gallery of ridiculous and monstrous characters, which could be interpreted as the director’s way of saying “fuck you” to the world. At 90 years old, Polanski has earned the right to express his discontent through his work.
6. Maestro, directed by Bradley Cooper:
Bradley Cooper is hailed as the heir to Hollywood directors like Sydney Pollack and Ernst Lubitsch in Maestro. The film is a testament to Cooper’s ability to balance high artistry with popularity. The orchestral performances, the seamless blend of black-and-white and color, and Cooper’s central performance contribute to an epic and sentimental story about a fragile genius.
7. Adagio, directed by Stefano Sollima:
Adagio is described as a noir film that takes place in a decadent and aching Rome. The characters, wounded by war, are depicted as ghosts from a bygone era, functioning as accountants of amorality. Their only ambition is greed, as they do whatever it takes to survive another day in squalor. The film offers a bleak and captivating portrait of a lost city.
These reviews offer alternative perspectives on the hottest titles at the 80th Venice International Film Festival. Each film presents unique storytelling approaches, highlighting the talents of the directors, cast, and crew involved. Whether hits or misses, these films have undoubtedly sparked discussions and made an impact on audiences at the festival.