‘El Conde’ Review: Pablo Larraín’s Latest Is A Bold, Wildly Irreverent Sensational Creation – Venice

I was the poor schlub who was about to be killed. But, while “Murder On The Orient Express” and “Death On The Nile” were hack-job excuses to force as many disparate and ghastly celebrities onscreen as possible, “Haunting” is an actual, surefooted film with strong performances and a luxurious-yet-frightful tone.Running time: 103 minutes. Rated PG-13 (some strong violence, disturbing images and thematic elements.) In theaters Sept.

Rotting in the Sun (★★★★☆). Cinema itself might soon go missing, Silva fears, portraying himself in this twisting tale of his own disappearance.

Kanye West and Bianca Censori don’t seem to want to change anything about how they’re enjoying their time in Italy.

John Hopewell Chief International Correspondent “The Eternal Memory,” Chilean documentarian Maite Alberdi’s follow-up to the Oscar-nominated “The Mole Agent,” is smashing box office records in Chile. Bowing Thursday Aug. 24 in 70 theaters and shooting straight to No.

In the world of Agatha Christie adaptations, there’s always a delicate balance to strike between remaining faithful to the source and modernizing the narrative for contemporary audiences. A Haunting in Venice is Kenneth Branagh’s third venture in this territory and may have finally found his rhythm with these films. In addition to Branagh, the film stars Michelle Yeoh, Kelly Reilly, Jamie Dornan, Camille Cottin, and many others.

Holly rings her school to tell them she is staying at home. She isn’t sick. She just can’t bring herself to go. “Bad things are going to happen today,” she says just above a whisper, her voice cracking.

It’s interesting how the Venice Film Festival has gone from one of the festivals of the fall festival season to arguably the best film festival in the world now, even overshadowing Cannes in recent years thanks to the fact that Netflix now avoids the Croisette for the most part because of France’s theatrical laws and save their Oscar contenders for the Lido. Venice has had an amazing run, arguably since 2017 when Guillermo del Toro’s “The Shape Of Water” won the top prize and then went on to win the Oscar for Best Picture, which has happened one more time since with “Nomadland” and several key Oscar contenders since).

With a new season comes a new McDonald’s menu. It’s tradition at this point and many of us wouldn’t have it any different.

Holly Jones Ahead of its world premiere at this year’s San Sebastian Horizontes Latinos strand, Buenos Aires-based production house Historias Cinematográficas has shared with Variety an exclusive first look at the trailer for Lucía Puenzo’s energetic new film “Los Impactados,” with Variety. Produced by Historias Cinematográficas, the Puenzo family production house led by Academy Award winner Luis Puenzo (“The Official Story,” “Old Gringo”), in association with Exile Content Studio and Non Stop Studios, the project is co-produced by Juan de Dios and Pablo Larraín’s indie outfit Fábula, and turning on a study of rebirth after severe trauma. Written by Puenzo and Lorena Ventimiglia, the singular narrative follows Ada, played by Mariana Di Girolamo who starred opposite Gael Garcia Bernal in Pablo Larraín’s “Ema,” after she’s struck by lightning and on through to her intriguing metamorphosis alongside an enigmatic and experimental doctor, played by “El Último Hereje” lead Germán Palacios, and a group of fellow survivors who find themselves increasingly drawn to electric current.

Even if the critical reactions have been mixed, Italian films have proven much stronger than usual at this year’s Venice Film Festival, with a notable resurgence of genre filmmaking in the likes of Adagio and Enea. Ironically, Matteo Garrone, the one local director in the selection whose actual stock in trade is genre of all stripes — gangster realism (Gomorrah, Dogman), satirical comedy (Reality), and baroque fantasy (Tale of Tales) — arrived this year with a blisteringly topical drama that might be his most traditional, and best, yet.

“I feel like there’s a sort of mouth over the city, ready to eat us up,” says Enea, sophisticated young nightclubber, tennis champion and coke dealer; if anyone is trying to swallow the Eternal City whole, it’s Enea himself. The son of intellectuals – his mother hosts a television chat show about literature; his father is a psychoanalyst – the inexhaustible Enea scoots and toots between the city’s most exclusive sports club, the city’s most exclusive parties and, even more thrillingly, rendezvous with the criminal classes, homespun proletarians to a man. “You need to marry Eva, have a child with her, make her happy. If you have no one to kiss, you go crazy,” advises Giordano (Adamo Dionisi), pusher and family man, when he learns that playboy Enea has acquired a girlfriend. Whatever. In his line of work and with the company he keeps, Giordano isn’t going to last that long.

As is the case every year, September remains a notable film month mainly because so many overlapping and concurrent film festivals are taking place. As Venice, Telluride, and the Toronto International Film Festival begin and come to a close, with others such as Fantastic Fest and the New York Film Festival upcoming, there’s plenty on the horizon for exciting films even if they won’t be playing theatrically, for a few months.

Fremantle kicked off its presence at the Venice Film Festival with a bang this year with the announcement of its new €150M ($162.7M) Scripted Fund forged in partnership with Israel-based IBI Investment House. 

TELLURIDE – At a festival full of gutsy films Daina O. Pusić’s directorial feature debut, “Tuesday,” may be the most visionary of them all.

When Andy Kaufman passed away in May 1984, it was the final full stop in a life that seemed to be endlessly self-regenerating. Or was it? Rumors that this was another of his bizarre stunts were rife at the time, so much so that one of the mourners at the comedian’s funeral poked the body that lay in the casket to see if it would move.

Ellise Shafer The stars were out in Venice for Variety and the Golden Globe Awards’ party on Thursday night, featuring Chase Stokes, Kelsea Ballerini, Lukas Gage and Pablo Larraín. Presented by Iervolino and Lady Bacardi Entertainment, the event celebrated breakthrough talent and excellence in Italian filmmaking, handing out several awards under the moonlight.

At first glance, it might seem like Pablo Larraín’s last two films share only a couple of superficial commonalities: they are both biopics in the sense they tell stories of real-life people, Princess Diana in 2021’s “Spencer” and Augusto Pinochet in 2023’s “El Conde”; and they have both premiered in competition at the glitzy Venice Film Festival. Alas, scratch the surface and both films stand as an unlikely diptych about dysfunctional families dealing with the generational sins that have made and broken their bloodlines.

Pablo Larraín’s Maria Callas biopic starring Angelina Jolie, a mystery thriller created by Jim Keeble and Dudi Appleton are the first projects to be backed by Fremantle and IBI Investment House’s €150M ($162.7M) Scripted Fund.

Nick Vivarelli International Correspondent As Chile prepares to mark 50 years since the Sept. 11, 1973 coup by Augusto Pinochet, Chilean auteur Pablo Larraín is back in Venice – following “Spencer” in 2021 – with scathing satire “El Conde,” in which Pinochet, a symbol of global fascism, resurfaces as a 250-year old vampire living in a rundown rural mansion after faking his death. “Pinochet had never been portrayed in film or TV before,” Larrain said.

Chilean filmmaker Pablo Larraín returns to Venice this evening with his latest pic El Conde, a black-and-white satire of dictator Augusto Pinochet, which he co-wrote and directed for Netflix.