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Stéphane Brizé’s “Another World” could make for a worthy conclusion to an unofficial trilogy on contemporary economic relations, following the French filmmaker’s recent efforts “The Measure of a Man” and “At War.” Each work deploys the empathy machine of cinema to demonstrate the brokenness of a system powered by a dehumanizing focus on profits over all else, albeit leveling that critique from a different vantage point at each step along the way.

The talent and influence of Italian composer Ennio Morricone, who died in 2020 aged 91, is undeniable. Synonymous with Sergio Leone’s spaghetti westerns and the instantly-recognizable “wah-wah-wow” theme-tune to “The Good, The Bad and The Ugly,” the extent of his output was phenomenal at over 500 film scores.

Quentin Tarantino never met a camera or microphone he didn’t love, and in Luca Rea’s documentary “Django & Django,” they love him right back. The title is a bit of a misnomer – it’s not really about Sergio Corbucci’s 1966 spaghetti western “Django” nor Tarantino’s 2012 “Django Unchained” that paid reverent homage.

stripping off her shoes as she ran onstage to accept the prestigious honor. Talking about the memorable moment on social media after the ceremony, the “Halloween Kills” star wrote, “I accepted my Golden Lion Lifetime Achievement with these words which I attempted to deliver in Italian. ‘Thank you again for this great honor. I dedicate it to the victims and survivors of violence.

Where to begin with “Freaks Out,” a Nazisploitation fantasy caper with circus trappings and a tin-ear for taste. The puzzling thing about Italian director Gabriele Mainetti’s feature set in 1943 in German-occupied Rome is that, rather than embracing tastelessness a la John Waters, it guns for earnestness despite not having a thoughtful bone in its body.

The attires worn by the young men that conform the USSR’s National Security Service (NKVD) in the extraordinary Russian thriller “Captain Volkonogov Escaped,” from directors Natasha Merkulova and Aleksey Chupov, don’t abide by historical accuracy. And that’s a positive.

A devastating portrayal of how personal trauma and social alienation can lead to national tragedy, “You Resemble Me” attempts to look beyond the sensationalized headlines to find the humanity in Hasna Aït Boulahcen. As a journalist for Vice, director Dina Amer reported on the Paris terrorist attacks in 2015 and was on the scene when the attack’s mastermind, Abdelhamid Abaaoud, died with Hasna in an explosion as police closed in.

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.

That viral moment between Oscar Isaac and Jessica Chastain at the Venice Film Festival made such a splash that even the stars are recognizing it! Though Chastain, 44, already hinted at the romantic exchange between her and her co-star, she went even further when pal Mindy Kaling called her out. «Why is Oscar Isaac the only person allowed to kiss your inner arm,» Kaling commented on a video of Chastain getting ready for her red carpet appearance. Chastain replied to the comment, writing,

“True Things” is a “romantic” drama that is not romantic in the slightest. In the tradition of films like Catherine Breillat’s “Romance” and Adrian Lyne’s “9 ½ weeks,” the focus is on what is revealed about a female protagonist by how much she is willing to sacrifice to briefly experience passion with an unreliable yet sexy man.

Kate Hudson is turning heads at the 2021 Venice Film Festival. Hudson wore a red Chantilly lace and tulle Valentino gown from the Valentino Resort 2022 Prêt-à-Porter collection to the  premiere in Venice, Italy Sunday.

Like finding a grubby, balled-up bill in your spangly g-string and uncrumpling it to discover doughy old Ben Franklin staring benignly back at you, Ana Lily Amirpour‘s third feature is a sweet, scuzzy surprise made all the sweeter/scuzzier because you don’t know quite what you did to deserve it.

Anyone familiar with the work of Mexican director Michel Franco, whether they be admirers or detractors, can attest to the “this is not going to end well” sentiment his sordid cinematic provocations instill. With a pensive angle, “Sundown” – a reteaming between the filmmaker and his “Chronic” star Tim Roth – upholds that tension of expecting the worst to come the characters’ way.

A journey of discovery rooted in questions about faith, fate, and mortality, “Miracle” offers up revelations like slow drips from a faucet, building to a staggering conclusion that synthesizes all of the film’s narrative ingredients. Part two of director Bogdan George Apetri’s Romanian trilogy, the film is self-contained as a piece, yet features characters from 2020’s “Unidentified” along the edges, expanding the tapestry of this world while germinating an entirely new story.

“The Peacock’s Paradise” is one of the worst types of films to watch and review. Ineffectual in its style, but inoffensive in its content and execution, Laura Bispuri’s most recent directorial effort fails to move beyond the rudimentary elements that comprise the average movie.

A poetic meditation on film, history, and loss, “Three Minutes – A Lengthening” gives a glimpse into a lost world and then unpacks just how much can be learned from that brief fragment. While on a grand tour of Europe in 1938, David Kurtz, a Polish-American man, traveled to Nasielsk, the town of his birth, and brought with him a 16mm camera filled with Kodachrome, a novelty at the time.

Beginning with a dizzying one-shot that follows Judith – or is it Margot? – around a high-end clothing store before a fainting spell upends her shopping trip, Antoine Barraud’s “Madeleine Collins” is a laser-focused character study that literalizes a double-life, following Judith (a calculated Virginie Efira) as she attempts to balance seemingly having two husbands, two sets of children, two complete lives.

There are shades of Ruben Ostlund’s “The Square”, if it were remade to target the film world, in Mariano Cohn and Gastón Duprat’s crowd-pleasing Spanish comedy “Official Competition” starring Penélope Cruz and Antonio Banderas. Controlled pacing, visual punchlines, and an insider knowledge of the varied pretensions within filmmaking make this a consistently amusing – if never downright hilarious – vehicle for the well-honed comic sides of two of Spain’s most famous exports.

Near the town of Cerchiara, in a valley nestled within the Pollino massif of mountains on the border between the Calabria and Basilicata regions of lushest Italy, there is a hole. It’s not the biggest hole, but at the time of its exploration, it was the second-deepest.

A film about politics with a title like “Promises” all but comes with a get-out clause for failing to deliver on early hopes. And so it is with French director Thomas Kruithof’s lackluster second feature, which tries to pass gesturing vaguely at social ideas off as storytelling.

Actor Oscar Isaac has been known to make character studies alongside large studio movies throughout his career; before “Star Wars,” he was making things like Zack Snyder‘s “Sucker Punch,” “X-Men: Apocalypse,” and Ridley Scott‘s “Robin Hood.” READ MORE: Oscar Isaac On Returning To Superheroes In ‘Moon Knight’ After ‘X-Men: Apocalypse‘: “We’re Making Something That’s Quite Different” However, while speaking to the press in Venice via Deadline, Isaac noted that he needed a break from green

Zoe Saldana and her husband, Marco Perego Saldana, looked more in love than ever at the premiere of her new film, , at the Venice International Film Festival in Venice, Italy Thursday. The 43-year-old actress sparkled in a red Dolce & Gabbana floor-length sequined dress, that featured a side slit, that showed off a bit of leg and her black, strappy sandals.The 42-year-old Italian artist opted for a classic tuxedo, and black Chelsea boots.

We are on the verge of the Opening Night of this year’s Venice Film Festival. Unlike last year, the event is going to feature many in-person screenings and discussions, as the industry hopes that the end of COVID is coming soon.

Written and Directed by Potsy Ponciroli, “Old Henry” is a Western that’s about to make its debut at the Venice International Film Festival next month.

It’s late August, and while the leaves aren’t falling just quite yet, the Fall Film Festival season is upon us. As usual, the Venice Film Festival always starts with the Telluride Film Festival following on its heels just a day or two later.

In 2020, we received one of the most wrenching tales of marriage, love, and divorce ever with Noah Baumbach’s heartbreaking “Marriage Story” with Scarlett Johansson and Adam Driver. But arguably, one of the early towering masterpieces on this same subject is Ingmar Bergman’s 1970s TV project, “Scenes From A Marriage” (Bergman was married five times, he should know).

Pedro Almodóvar-directed drama simply shows a lone breast dripping milk in front of a red background. Artist Javier Jaén said Monday that the poster was deemed too racy for Instagram.

Looks like we’ll have to wait a little bit longer to find out more about Guillermo Del Toro’s next flick, “Nightmare Alley,” as the film appears to be skipping the 78th edition of the Venice Film Festival. Based on Lindsay Gresham’s 1946 novel and its film adaptation by Edmund Goulding the following year, the film stars Bradley Cooper and co-stars Cate Blanchett, Willem Dafoe, Toni Collette, Richard Jenkins, and Rooney Mara.

After its restricted but still strong 77th edition, the Venice Film Festival is back with a vengeance, with what might be its most exciting line-up in years – a far cry from the bizarre announcements of this year’s TIFF (which boasts… “Clifford the Big Red Dog,” of all things). This morning in Rome, the line-up of the forthcoming 78th edition was announced in full, ahead of its planned opening on 1 September.

Spanish filmmaker Pedro Almodóvar‘s latest film, “Parallel Mothers,” starring Penelope Cruz, Israel Elejalde, Julieta Serrano, and Rossy de Palma, will open up the 78th edition of the Venice Film Festival in September. “Parallel Mothers,” or “Madres Paralelas,” as it’s known in Spain, centers on the story of two mothers who give birth the same day.