Nicolò Grasso 9/7/22 Nicolò Grasso 9/7/22

Venice 2022: Dead for a Dollar

Fans of Walter Hill might get a kick out of this homage that eerily rings as a final ride for the now-octogenarian director.

Nicolò Grasso 9/7/22 Nicolò Grasso 9/7/22

Venice 2022: Padre Pio

There is no joy in writing it, but Padre Pio is one of the weakest films Ferrara has made in his entire career.

Ewan Gleadow 9/6/22 Ewan Gleadow 9/6/22

Venice 2022: Don’t Worry Darling

Don’t Worry Darling is empty at the best of times.

Nicolò Grasso 9/6/22 Nicolò Grasso 9/6/22

Venice 2022: Monica

Monica is a film best enjoyed with as few spoilers as possible. It is, after all, a real film: one that can only be savored and enjoyed to the fullest if experienced.

Nicolò Grasso 9/6/22 Nicolò Grasso 9/6/22

Venice 2022: The Banshees of Inisherin

The Banshees of Inisherin is as good a dark comedy as they come nowadays.

Carson Timar 9/3/22 Carson Timar 9/3/22

Venice 2022: Beating Sun

While Beating Sun has an authentic and meaningful heart, the final package is lacking

Ewan Gleadow 9/3/22 Ewan Gleadow 9/3/22

Venice 2022: All the Beauty and the Bloodshed

All the Beauty and the Bloodshed cowers behind its emotional angle

Ewan Gleadow 9/3/22 Ewan Gleadow 9/3/22

Venice 2022: TÁR

An exceptional discourse on how good artists handle their bad habits

Nicolò Grasso 9/2/22 Nicolò Grasso 9/2/22

Venice 2022: Bones and All

Bones and All is a strong return to horror cinema for Luca Guadagnino, and Taylor Russell proves once again that she is one of the most fearless and captivating young performers working today.

Nicolò Grasso 9/2/22 Nicolò Grasso 9/2/22

Venice 2022: Un couple

Un couple is a feminist text through and through, and while it is undoubtedly slow to the point of boredom of many, it is a stark reminder that, sadly, topics like women’s rights and abuse from the patriarchy will never go away easily.

Nicolò Grasso 9/2/22 Nicolò Grasso 9/2/22

Venice 2022: Bardo, False Chronicle of A Handful of Truths

There are many scenes in Bardo that are truly brilliant and powerful, especially when it focuses on how easily a father can lose touch with his family because of his obsession with work, but its lack of focus and excessive runtime make it a trying viewing experience that would have benefited from losing an hour of fat.

Nicolò Grasso 9/2/22 Nicolò Grasso 9/2/22

Venice 2022: The Kingdom Exodus

Being able to finally see The Kingdom: Exodus in 2022 is nothing short of a miracle

Ewan Gleadow 9/1/22 Ewan Gleadow 9/1/22

Venice 2022: White Noise

Baumbach has marked his first truly stunning visual component

Ewan Gleadow 9/1/22 Ewan Gleadow 9/1/22

Venice 2022: Princess

Princess struggles tremendously to understand its own platform

Jak Luke Sharp 9/28/21 Jak Luke Sharp 9/28/21

VENICE 2021: Reflection ‘Відблиск’

Reflection dazzles visually and, for some, will undoubtedly hold something quite poignant and stunning in performance

Jak Luke Sharp 9/28/21 Jak Luke Sharp 9/28/21

VENICE 2021: White Building ‘Bodeng Sar’

White Building is a film that perfectly, and quite hauntingly, encapsulates the feeling of isolation and loneliness

Jak Luke Sharp 9/28/21 Jak Luke Sharp 9/28/21

VENICE 2021: La Caja

La Caja offers an emotional look into the sins of father and son

Nicolò Grasso 9/26/21 Nicolò Grasso 9/26/21

Isabel Sandoval: “A lot of minority artists should stop pandering and overexplaining to people”

Nicolò Grasso talks to Isabel Sandoval about her cinematic style, Berlin Venice and Cannes, not conforming to convention and being a beacon of positivity