Critical Week: The world in his hands

Awards season is cranking up earlier than usual this year, kicking off even before the Toronto International Film Festival finished. So screenings have kept me on the run this week. The biggest was the world premiere royal performance of Digger, with Tom Cruise, Alejandro G Iñárritu and the cast on hand to watch this astonishingly enormous movie. People will love or hate it, but it's undeniably full-on. I also had screenings of two Toronto titles: the hugely crowd-pleasing biopic I Play Rocky features an amazing performance by Anthony Ippolito as Sylvester Stallone makes of his classic underdog movie. And Rhys Ifans and Laura Linney star in Onwards and Sideways, an involving romance that knowingly takes on Parkinson's.

BEST OUT THIS WEEK:
Forgotten Island
Boorman and the Devil
ALL REVIEWS >

Elsewhere, Emilia Jones and Nick Robinson star in Charlie Harper, which gets a little over-emotive as it spirals around a love story. Sophie Thatcher and Charles Melton lead Nicolas Winding Refn's fantastical futuristic thriller Her Private Hell, which looks amazing but doesn't hold together. From Belgium, the gorgeously animated drama In Waves is a superbly moving true story about surfers. I also enjoyed De Gaulle: Liberté, the expertly made conclusion of the two-part biopic starring Simon Abkarian as the French general, this time covering the final years of WWII. The German satire Babystar is witty and very pointed as it sharply lampoons social media culture. The Filipino black comedy Filipiñana is simply stunning: funny, skilfully shot and darkly powerful. And Juliette Binoche directed In-I in Motion, tracing her collaboration with choreographer Akram Khan on a stage show. She presented the screening herself, and held a terrific Q&A at the end. I also had a live performance of the National Dance Company Wales' show Blue | Glas.

Coming up this next week, I'll be watching Sebastian Stan in the Cannes winner Fjord, the dramatic thriller Child, the Spanish drama The Portuguese House and three documentaries: The Last First: Winter K2, How Deep Is Your Love and Kikuyu Land, plus live performances of Deepfake and Flamenc Oh!

Dance: Move, members, move

Alvin Ailey American Dance Theater
Legacy
choreography Alvin Ailey, Ronald K Brown
dancers Leonardo Brito, Michael Cherry, Patrick Coker, Shawn Cusseaux, Sarah Daley-Perdomo, Caroline T Dartey, Isaiah Day, Solomon Dumas, Mason Evans, Samantha Figgins, Sebastian Garcia, James Gilmer, Ashley Kaylynn Green, Jacquelin Harris, Xavier Mack, Renaldo Maurice, Corrin Rachelle Mitchell, Jesse Obremski, Kali Marie Oliver, Tyrone Reese, Deidre Rogan, Hannah Alissa Richardson, Mahalaya Tintiangco-Cubales, Isabel Wallace-Green, Christopher R Wilson, Dandara Veiga
music Duke Ellington, Chuck Griffin, Leon Russell
costumes A Christina Giannini, Jane Greenwood, Ves Harper, Omotayo Wunmi Olaiya, Ursula Reed
Sadler's Wells, London • 15-19.Sep.26 ★★★★★

Nearly 70 years after its formation in 1958 New York, Alvin Ailey American Dance Theater brings a programme of vintage pieces to Sadler's Wells (plus new works on other nights). These classics feature Ailey's distinctive mix of jazz, blues and gospel vibes, drawing on his Southern heritage with echoes of West African culture. This is gloriously expressive choreography, a soaring blend of ballet and modern movement that elevates the audience.

The Legacy programme opens with excerpts from Night Creature (1974), moving to the groovy bounce of Duke Ellington's big band score. Dressed in sparkling dresses and skin-tight body suits, the dancers evoke a buoyant night out, prowling and shimmering. Two witty and sexy movements feature expansive arms, swaying hips, weightless footwork and slyly flirtatious eye contact, ending on a high-energy note that evokes New York's ballroom scene. 

This is followed by two solos: first, Yannick Lebrun performs to Donny Hathaway's rendition of A Song For You (1972), mixing physical strength with achingly deep emotion. Then on a red-hued stage, a sparky Constance Stamatiou dances an excerpt from Cry (1971), a colourfully funky piece that ripples with tough-minded determination and a celebratory spirit.

Grace (1999) is the one piece here choreographed by Ronald K Brown, and it pulses with party-like R&B rhythms as colours of both the stage and costumes shift around the company. It opens in an earthy mood with tribal and gospel flourishes, as the performers playfully interact to create a growing sense of exuberance with kicks and leaps. It's a glorious expression of inner spirit featuring solos, duets and full group moments that are packed with clever touches. And it reaches a series of triumphant highs.

The final section is Ailey's signature piece Revelations (1960) which uses traditional spirituals to explore deep emotional connections. Watching this is like being taken to church, with insistent beats that burrow into our souls as the dancers perform expressive, evocative choreography to both plaintive prayer-like songs and more pulsing numbers like Fix Me, Jesus and Wade in the Water. It's packed with breathtaking movement and balance, running, spinning and lifting, both in full-company formations and individual breakouts like Xavier Mack's dazzling I Wanna Be Ready solo.

It closes with the triumphant, sun-washed staging of Rocka My Soul in the Bosom of Abraham that gets us bouncing in our seats as if we're sitting along the edge of the church hall, waiting for our turn to get up and strut our stuff. No matter how many times we see Revelations, it always feels fresh and alive, encouraging us to express our feelings with full-bodied joy. It's a visually spectacular show, and it radiates love throughout the room.

For information: SADLER'S WELLS >

photos by Christopher Duggan, Paul Kolnik, Danica Paulos,
Glyn Stanley, Tyler Whitman • 16.Sep.26

Critical Week: A man and his dog

I jumped straight back into the thick of things in London after my nine days in Venice. There are extra screenings these days for press, running in parallel with film festivals and getting a jump on awards season. There are also the big releases to watch, such as Heart of the Beast, a Brad Pitt survival movie in which he and his faithful dog are stranded in the Alaskan wilderness. It looks amazing, and has strongly vivid ideas running through it, but the story feels very constructed.

BEST OUT THIS WEEK:
Queen at Sea • Knife
April X • Sunny Dancer
The Beast of Mossy Bottom
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Shaun the Sheep is back for The Beast of Mossy Bottom, another silly, hilarious romp involving mischievous barnyard animals and their hapless farmer, this time playing on classic monster movie tropes. Call My Agent! The Movie catches up with the beloved characters from the TV series, now facing many, many obstacles as they make a movie. It's very funny, with some great actor cameos. Bella Ramsay is terrific in Sunny Dancer, a teen camp comedy with a cancer-drama edge to it, plus James Norton, Jessica Gunning and Neil Patrick Harris. Monica Dolan shines in the true Irish drama of The Lost Children of Taum, another grim tale about horrific Catholic homes for unwed mothers. For dance fans, Scottish Ballet have produced These Violent Delights, an inventively cinematic take on Romeo and Juliet. I also saw a stunning live dance production of Alvin Ailey American Dance Theater's Legacy.

Coming up this next week, there's Tom Cruise in Digger, the biopic I Play Rocky, Nick Robinson in Charlie Harper, Laura Linney in Onwards and Sideways, Sophie Thatcher in Her Private Hell, the animated drama In Waves, the German satire Babystar, the Juliette Binoche/Akram Khan collaboration In-I in Motion, the conclusion of the two-part biopic De Gaulle: Liberte, and the documentary Pulp: What Do You Do for an Encore. I also have a live performance of Blue/Glas.

Venezia83: Best of the fest

And the 83rd Venice Film Festival presented its top prize on Saturday to Danish-Egyptian filmmaker May el-Toukhy, the only female director in the official competition, for Woman Unknown. This was the main film I regretted missing at the festival, so I look forward to catching up with it at some point. The other three I most wanted to see but couldn't fit into my schedule (or couldn't get seats for) were Lance Oppenheim's Primetime, Hirokazu Kore-Eda's Look Back and Takashi Miike's Shumei. Here are the main prizes from the official competition and some of the parallel sections and independent juries. And below that are my favourites...

Golden Lion: Woman Unknown

Grand Jury Prize: Possible Love

Special Jury Prize: Naza

Director: Ilya Khrzhanovskiy (Dau)

Actress: Mathilde Arcel (Woman Unknown)

Actor: John Malkovich (Wild Horse Nine)

Screenplay: Coralie Amedeo, Stephane Brize, Olivier Gorce (A Good Little Soldier)

Mastroianni Award: Malou Khebizi (A Place To Heal)

Queer Lion: London and Queer Edward II

Leoncino d'Oro: Mr Nelson, Did You Kill People? 

Bisato d'Oro: Dau

Lion of the Future: Bernard Auguste Kouemo Yanghu (House of the Wind)

Orizzonti: Diane in the Loop 

Critics' Week: Before the War

Audience Award: Our Share of Sand

Venice Days: Sometimes Sadness, Sometimes Rebellion

Fipresci: Possible Love

Lifetime Achievement: Ellen Burstyn, George Clooney

Glory to the Filmmaker: Luca Guadagnino

Passion For Film: Serena Rossi

R I C H ’ S   F A V O U R I T E S

1. Naza (UK)
2. Wild Horse Nine (UK)
3. Possible Love (Korea)
4. A Good Little Soldier (France)
5. Queer Edward II (UK)
6. Moonfish (US)
7. London (Brazil)
8. Tijuana, Todavía (Mexico)
9. Dau (Germany)
10. Everest: The Other Side (US)

Honourable mention: Back to Buenos Aires (Italy). Guria (Georgia). Our Share of Sand (India). House of the Wind (Cameroon). No Paradise if You Are Killed by a Woman (Iraq). Musk (US). A Bit of Light (Iran). Lovers in the Blue Night (India). Hombre al Agua (Mexico). From Inside Out (Germany).

Full reviews of all of the films I've seen will be linked to Shadows' VENICE FILM FEST PAGE >

Venezia83: It's a celebration

It's time to head back to London, but I have thoroughly enjoyed my 10 days at the 83rd Venice Film Festival, as always. Not only is it in one of my very favourite spots on the planet, but every single film is a world premiere, so we watch them without any preconceptions at all. I'm looking forward to seeing who the juries award - I'll have one last post with my favourites and the award winners. In the meantime, here's one last collection of notes on movies I've been watching...

Lovers in the Blue Night
dir-scr Anuparna Roy; with Neelima Sharma, Pritam Pilania 26/Ind ****
In a culture of arranged marriages, this beautifully shot and edited film focusses on people outside the system finding love on their own terms. Writer-director Anapurna Roy is gifted at observing the everyday rhythms of life in Mumbai, where people from around India and beyond come to make a new life for themselves. This is a warm, involving portrait of people trying to find options in a society where there aren't many.

Back to Buenos Aires [Ritorno a Buenos Aires]
dir-scr Marco Bechis; with Adriano Giannini, Ana Celentano 26/It ****
Exploring a historical event from a new angle, this powerful drama looks at the repercussions of severe trauma on an individual, a nation and the world at large. With the background of Argentina's horrific late-1970s military regime, writer-director Marco Bechis finely crafts a complex, challenging film that churns with underlying tension from the start, remaining tightly introspective even as it takes on seriously horrific events.

No Paradise if You Are Killed by a Woman
dir-scr Halkawt Mustafa; with Avan Jamal, Thorbjorn Harr 26/Irq ****
From Iraq, this is an unusually focussed war thriller, honing in on a female sniper helping to liberate her country from Islamist extremists. With exceptional camerawork, writer-director Halkawt Mustafa skilfully follows a resilient warrior who bravely approaches the battle with both military precision and kindness. The brisk story unfolds through seriously intense set-pieces, balanced with engaging quieter moments.

The Good Lawyer [Un Bon Avocat]
dir Tristan Seguela; with Laurent Lafitte, Anthony Bajon 26/Fr
Punchy energy infuses this French drama, as lively camerawork and editing combine with a muscly script and strong performances to propel the audience through the twists and turns of one week in the life of a lawyer desperately trying to cling to his job. Filmmaker Tristan Sequela keeps the focus tightly on Laurent Lafitte's brilliant but outrageously messy attorney as he is forced to confront his own integrity.

What Belongs to Others [Cudze Rzeczy]
dir-scr Grzegorz Debowski; with Monika Kwiatkowska, Robert Mania 26/Pol ***.
Shot in a matter-of-fact style with dialog that feels like it was captured by accident, this realistically gritty Polish drama centres on a woman who reacts unexpectedly when she has nowhere left to turn. Writer-director Grzegorz Debowski skilfully uses silent scenes to propel the story, allowing the audience to simply watch, and to get increasingly involved in the thoughtful and rather darkly shaded narrative.

Full reviews will be linked to Shadows' VENICE FILM FEST PAGE >

Venezia83: On the nose

It's my last full day at the 83rd Venice Film Festival, although I have more movies to watch tomorrow before (and after) my flight back to London. This trip has been a bit more work-intensive than previous visits to this festival, and I have't had much time to explore other things, including Biennale exhibitions or Venice Immersive. Still, I've seen a lot of movies, and had spare time to roam the city most days. Here are notes on five more movies...

Trick [Scherzetto]
dir Mario Martone; with Toni Servillo, Lorenzo Perrotta 26/It ***.
 Centred around a man and his young grandson, this Italian film mixes comedy and drama in a way that feels somewhat uneven. Filmmaker Mario Martone is gifted at creating complex characters and seeing the world through their eyes, so there are many layers to this story that speak to issues of aging, nostalgia and the disparities between generations. And actor Toni Servillo is a master at engaging with the audience.

Naza
dir-scr Yuval Abraham, Rachel Szor; with Yuval Abraham 26/UK ****.
Don't expect something quietly informative here: this documentary's title is the acronym used by Israeli Military Forces to indicate the number of civilians who are expected to be killed in a strike against Gaza. Oscar-winning filmmakers Yuval Abraham and Rachel Szor use quiet conversations to tell this story, revealing that innocent people, including children, are being deliberately murdered as part of Israel's war on Palestine. 

A Bit of Light
dir Ali Asgari; with Missagh Zareh, Sadaf Asgari 26/Irn 
With a gently rolling pace and a quietly witty sensibility, this Iranian comedy-drama approaches a very serious premise with a superbly light-handed touch. Filmmaker Ali Asgari and his gifted cast create hugely likeable characters who support each other unconditionally, even if they'd rather not. It's a beautiful depiction of familial love in a place where government actions continually seem to obliterate hope.

One Minute to Midnight [Un Peu Avant Minuit]
dir-scr Nicolas Pariser; with Melvil Poupaud, Chiara Mastroianni 26/Fr ***
Talky and introspective, this French drama follows a 49-year-old man as he drifts from one intriguing conversation to another. All of this is very pointed, and writer-director Nicolas Pariser keeps it engaging by honing in on tantalising ideas about the disparity between memory and reality and connections between men and women. But while it explores hugely resonant issues, the film remains largely academic. 

Before the War
dir-scr Tommaso Usberti; with Piero Usberti, Luana Bajrami 26/It ***.
Beautifully photographed to capture a visceral feeling of summertime, this Italian drama is set in a rural community that's infused with a deep-seated culture of racism and machismo. So the romance at the film’s centre feels like it has little choice but to be doomed. But this is a bracingly honest, observational look at a guy in his early 20s only just beginning to see the nature of the world around him. 

Full reviews will be linked to Shadows' VENICE FILM FEST PAGE >

~~~~~~~ ~~ ~~~ ~~~~

C R I T I C A L  W E E K 

I haven't seen any non-Venice films this week, but I return to London tomorrow, and will quickly begin watching current releases again, starting with Brad Pitt in Heart of the Beast, Aardman's stop-motion Shaun the Sheep: The Beast of Mossy Bottom, catching up with the cast of the French TV classic in Call My Agent! The Movie, Irish drama The Lost Children of Taum, and Scottish Ballet's Shakespeare-inspired These Violent Delights. Plus a live performance of Alvin Ailey: Legacy.

Venezia83: Family matters

Rainclouds appeared over the 83rd Venice Film Festival for the first time today, accompanied by rolling thunder and some showers. So the red carpets have been a bit on the soggy side for the world premieres on Wednesday. Here are notes on five of today's films... 

The Fire Within You [Il Fuoco che Ti Porti Dentro]
dir Edoardo De Angelis; with Elena Radonicich, Vanessa Scalera 26/It ***.
So full-on that it's exhausting from the first frame, this Neapolitan family drama bristles with abrasive rants so vicious that it seems impossible that there's actual love among these people. Director Edoardo De Angelis shoots it largely in handheld closeup, so the film also feels harshly claustrophobic. But it's finely acted and full of powerful moments. And thankfully there are some quieter interludes as well. 

Place to Be
dir Kornel Mundruczo; with Ellen Burstyn, Taika Waititi 26/Aus ***.
Unlikely to ruffle any feathers, this bright and easy comedy-drama follows an elderly woman as she takes a stand against giving up her independence. It helps hugely that she's played by the radiantly gifted Ellen Burstyn, because the film's plot is fairly simplistic, and it doesn't seem to have a clue where it's headed. Filming in Australia, Hungarian director Kornel Mundruczo keeps everything sunny and amusing.

Dau
dir-scr Ilya Khrzhanovsky; with Teodor Currentzis, Radmila Shchogolieva 26/Ger ****
Russian director Ilya Khrzhanovsky has spent two decades making this unruly, wildly entertaining epic, which spans the 20th century through the eyes of a theoretical physicist. This is one of the most dazzling pieces of cinema in recent memory, with a scale that's beyond comparison. It also helps that the intricacies of the story are riveting, and the themes that run through each scene are urgent and powerful.

A Good Little Soldier
dir Stephane Brize; with Alba Rohrwacher, Vincent Lindon 26/Fr ****.
Fiendishly clever, this bracingly kinetic comedy-drama has echoes of The Office with its often hilariously absurd depiction of corporate culture. But underneath that, director Stephane Brize carefully weaves a lacerating attack on current global politics, in which yes-men play power games with what they know is right or wrong. So while the film is very funny, it's also sometimes staggeringly painful to watch.

Guria
dir Levan Koguashvili; with Kakhaber Tcholadze, Vamekh Jangidze 26/Geo ****
Shot in a black-and-white style that looks timeless, this wry comedy-drama from Georgia is set in the messy years following the breakup of the Soviet Union, during which the nation suffered through years of political and military violence. With that in the distant background, director-cowriter Levan Koguashvili takes a slice-of-life approach in the rural Guria region, honing in on a lively community and a key friendship.

Full reviews will be linked to Shadows' VENICE FILM FEST PAGE >

Venezia83: Out of the shadows

We're heading into the homestretch of the 83rd Venice Film Festival, but there are still big titles coming along every day, filling the red carpet with the biggest stars on earth. I only have notes on three movies here today, but the third one is almost four hours long (slightly longer with its 10-minute intermission). The first two are hotly anticipated awards season films, both of which slightly disappointed me. But we'll see how they catch on out there...

Bunker
dir-scr Florian Zeller; with Javier Bardem, Penelope Cruz 26/UK ***.
Here's another complex melodrama from writer-director Florian Zeller, this time anchored in resonant performances from real-life couple Javier Bardem and Penelope Cruz as a husband and wife who begin to doubt their connection due to events in their personal and professional lives. All of this feels somewhat contrived, and some of the big moments are predictable. But it carries several strong kicks along the way.

Company
dir Casey Affleck; with Adelaide Clemens, Emily Alyn Lind 26/US ***
There's an insistent emotionality to this genre-shifting dramatic thriller, which keeps us intrigued right through a story within a story within a story. So it is somewhat odd that this vividly made film is neither involving nor moving. Still, director-cowriter Casey Affleck creates lovely narrative rhythms that feel like they mean something profound. So there are several superb sequences, and plenty to think about.

Musk
dir Alex Gibney; with Elon Musk, Justine Musk 26/US ****
First-rate documentarian Alex Gibney has made another epic-length profile, and this time his subject didn't want to be involved. But that's not a weakness, because the film can be far more honest about the richest man in the world. Elon Musk is larger-than-life, so perhaps it's correct to depict him as an AI space god who speaks his words verbatim. And the film cleverly moves from casual observation to wide-eyed horror.

Full reviews will be linked to Shadows' VENICE FILM FEST PAGE >

Venezia83: That face

We're now over halfway through the 83rd Venice Film Festival and this is where exhaustion begins to set in. Even that extra espresso doesn't seem to offer much of a boost. But the films are still excellent, a superbly mixed bunch of world premieres, so we never have a clue what we're about to see next. Here are notes on four more...

Hombre al Agua [aka: Man Overboard]
dir Gael Garcia Bernal; with Gael Garcia Bernal, Esmeralda Pimentel 26/Mex ****
Actor-filmmaker Gael Garcia Bernal fills this comedy-drama to overflowing with colourful Latin colours and rhythms, cleverly commenting on social and political realities while telling a wildly rambunctious story that deliberately echoes of melodramatic South American soaps. It's an entertaining romp that's funny, sexy and packed with sharply pointed jabs at society's almost invisible disparities and injustices.

Possible Love
dir-scr Lee Chang-dong; with Jeon Do-yeon, Cho Yeo-jeong 26/Kor ****.
Korean master filmmaker Lee Chang-dong makes movies that feel effortless. Even as they run to epic lengths, they glide along on interpersonal details and shifting conversations in everyday settings that somehow feel almost magical in the way they affect the jaggedly nuanced characters. And all the way along, Lee is taking on big issues that cut very deeply, in this case exploring how we allow our work to define us.

Arrested Memory
dir-scr Sabu; with Ethan Juan, Hsieh Ying-Hsuan 26/Tai ***.
Mixing violent thrills with a goofy sense of humour, this nutty action comedy from Taiwan ultimately finds resonance in a flurry of emotions. Japanese writer-director Sabu deploys the usual tropes of an a crime thriller, including shady cops, ruthless mobsters, hapless goons and innocent people in harm's way. But right in the middle of the story is a man grappling with his identity after a particularly horrific trauma.

Children of the Monkey [I Figli Della Scimmia]
dir Tommaso Landucci; with Riccardo Scamarcio, Fausto Russo Alesi 26/It ***.
There's an almost hushed tone to this Italian drama, which centres around a father who is struggling with the challenges life has brought his way, even though he knows better. Filmmaker Tommaso Landucci tells the story in a grounded, naturalistic way that feels sometimes rather underpowered. It's a tightly focussed and gently observational film that's anchored by its astute internalised performances. 

Full reviews will be linked to Shadows' VENICE FILM FEST PAGE >

Venezia83: Take care

The 83rd Venice Film Festival is crawling with celebrities, whom I'm only seeing from a distance if I happen to be walking near the Sala Grande during a red carpet moment. I haven't attended press conferences, simply due to time constraints (and they aren't a priority for my coverage). But I do have a few interviews set up with actors and directors. Watch this space. Meanwhile, here are notes on another eclectic set of five films... 

The Echo Chamber
dir Andrea Pallaoro; with Alicia Vikander, Luca Marinelli 26/It ***.
Eight years after the death of master filmmaker Bernardo Bertolucci, his final screenplay has been made into a film. Director Andrea Pallaoro fully immerses the audience in this exploration of dependence and absence, as three characters swirl around each other in a fractured narrative. Much of it is darkly moving, even if many of the scenes feel rather random and meandering. And where it goes is painfully bleak. 

London
dir-scr Victor Di Marco, Marcio Picoli; with Victor Di Marco, Jessica Teixeira 26/Br ****
Beautifully shot in a style that mixes colourful textures with gritty reality, this Brazilian odyssey centres around an astonishing performance by Victor Di Marco, who also wrote and directed the film with Marcio Picoli. This is an involving exploration of how we long to define our identity, then worry about being put into a box once people think they know who we are. It's gorgeously messy and also deeply moving. 

Moonfish
dir-scr Daniel Zvereff; voices Morgan Spector, Lucy Liu 26/US *****
Simple but perfectly formed, this outer-space adventure resonates with big feelings about grief, isolation and a sense of purpose. Writer-director Daniel Zvereff animates this beautifully with hand-drawn imagery in glistening black and white. And the line art ripples with tiny details that add wit and emotion to the story, plus a remarkable sense of scale. It's beautiful to look at, and more powerfully involving than expected.

Diane in the Loop [Un Détour par Diane]
dir-scr Ann Sirot, Raphael Balboni; with Ninon Borsei, Sandrine Blancke 26/Bel ***.
Kicking off with a very cheeky dance number, and continuing with offbeat Wild West touches in present-day Belgium, this serious story is infused with an involving blast of black comedy. Filmmakers Ann Sirot and Raphael Balboni also use handheld cameras and freestyle editing to create a loose vibe, aside from the fantastical, artfully choreographed sex scenes. And the performances have a raw honesty. 

From Inside Out

dir Wim Wenders; with Peter Zumthor, Sophie Hunger 26/Ger ****
Continuing to push the possibilities of 3D filmmaking, Wim Wenders takes an immersive documentary look at the life and distinctively naturalistic work of Swiss architect Peter Zumthor. It's a strikingly intimate film that is packed with audacious artistic flourishes. While it feels overlong, it's also the kind of film in which we never know where we'll go next. And it becomes a remarkable ode to earthy creativity.

Full reviews will be linked to Shadows' VENICE FILM FEST PAGE >

Venezia83: The crowd goes wild

It's the weekend, and I'm already exhausted as I cover the 83rd Venice Film Festival, but that's largely because of the blisteringly hot weather. Thankfully, the cinemas and the press workroom are cool, but I feel like I'm baking as I walk between them. Not exactly pizza and pasta weather. And I feel for the celebrities out there on the red carpet in their suits and sequins! Anyway, here are notes on five more very different films...

Don’t Look Back in Anger
dir Will Lovelace, Dylan Southern; with Noel Gallagher, Liam Gallagher 26/UK ****
After Oasis loudly broke up in 2009, launching a 2025 world tour was big news. Fans and the media waited impatiently to see if brothers Noel and Liam Gallagher could appear on-stage together after not speaking for 15 years. This energetic documentary recounts the process with sparky attention to detail, celebrating the band, the music and the global fanbase. And of course the power of forgiveness.

A Place to Heal [15/18]
dir Cedric Kahn; with Zoe Monpart, Malou Khebizi 26/Fr ***.
Because of its naturalistic acting and intimate camera style, this film feels like a documentary until plot points begin to creep in. Actor-director Cedric Khan cleverly puts the audience right into the middle of the action in a home for teens struggling with mental health issues, making sure that we feel the issues and emotions that swirl around both the kids and their carers. So the film is lively, edgy, funny and also darkly moving as it exposes the pain some young people must live through.

Our Share of Sand
dir-scr Shalini Adnani; with Maya Mehta, Mohammed Zeeshan Ayyub 26/Ind ****
Mohammed Zeeshan AyyubWarm and involving, this gentle drama from India has a subtle undercurrent of tension that emerges throughout the narrative, even as it remains a knowing coming-of-age story. Writer-director Shalini Adnani has a terrific eye for both characters and settings, capturing the rhythms of life in an intriguing corner of the world. And the characters emerge with strong personalities, each on his or her own journey. 

Falling House
dir Mohsen Gharaie; with Laleh Marzban, Rima Raminfar 26/Irn ***.
There's a lot of power in this ambitious Iranian film, which shifts from a family comedy into a dark drama, then dips into psychological horror territory. The extended running time makes the nastiness feel somewhat overwhelming, as a family is ripped apart from within. But filmmaker Mohsen Gharaie keeps the audience engaged with strong characters and some bleak resonance. 

Tijuana, Todavía [aka: Tijuana, Still]
dir-scr Gabriel Gutierrez Morales; with Humberto Busto, Petr Filimonov 26/Mex ****
There's a slice-of-life authenticity to this Mexican drama, which is set just across the border from California. This is the engaging story of an odd couple friendship that quietly develops into a deeper connection, maybe even romance. Writer-director Gabriel Gutierrez Morales and his fine cast are telling an important story that embraces humanity across cultures. And it finds lovely textures in its honest depiction of Mexican society.

Full reviews will be linked to Shadows' VENICE FILM FEST PAGE >

Venezia83: Big heads

Now fully in festival mode, I'm neither eating nor sleeping enough here at the 83rd Venice Film Festival, largely because I'm watching too many movies. But the weather is glorious, so I will get out and explore this staggeringly beautiful city whenever I get some free time. Here are some more notes on film's I've seen, each of which allowed me to reconnect with a filmmaker who is often unnervingly gifted at both challenging and entertaining, starting with the best film here so far...

Wild Horse Nine
dir-scr Martin McDonagh; with John Malkovich, Sam Rockwell 26/UK *****
With his bracingly black wit, Martin McDonagh takes a satirical swipe at American foreign policy in this hilariously offbeat buddy comedy set on Easter Island in 1973. Using fiercely astute dialog that's never dumbed down for the audience, the film hits its target with razor-sharp zingers. It also finds a strongly emotional core in a story of two men in a very dark business who must grapple with their souls.

The Basics of Philosophy
dir-scr Paul Schrader; with Jack Huston, Sofia Boutella 26/US ***.
Unlike other filmmakers, Paul Schrader continues to explore issues of morality, religion and sexuality, unafraid  of the complexities and downright messiness in ideas and situations. Once again, this story touches on where these three meet, as a man grapples with whether he has control over his nature. The production design is oddly stark, and the music almost unnervingly light, but it definitely gets us thinking.

Queer Edward II
dir-scr Theo Rollason; with Derek Jarman, Tilda Swinton 26/UK ****
With comprehensive access, cinematographer Seamus McGarvey roamed the sets as Derek Jarman made his resolutely queer Edward II for the BBC in 1991. And director Theo Rollason now assembles this material to provide unusually resonant context for the period, including the project's collision with OutRage and the Aids epidemic. But most of all, it captures Jarman's sheer joy at doing what he was meant to do. 

House of the Wind [Maison du Vent]

dir-scr Auguste Bernard Kouemo Yanghu; with Josette Kwanya, Moudjeu Pouadeu 26/Cam ****

As the title suggests, this drama is set in a house through which a gentle breeze blows, as an elderly woman ponders the changing world. The film beautifully captures details of life in Cameroon, with warm humour and emotions that continually pull us deeper. While it feels over-long, it is beautifully written, directed and performed, with a fascinating story that has strongly personal insights alongside important points about the legacy of colonialism. And it encourages us to open our hearts.

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