With Venice 80 finished and the red carpet rolled up – without the usual amount of use – here are the hits (and misfires) of 10 days on the Lido, according to Screen’s critics.
Compiled by Fionnuala Halligan.
Hits
Explanation for Everything
Dir. Gabor Reisz
Our critic said: “Accomplished, sophisticated and surprisingly even-handed examination of Hungary’s political divisions.”
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Gasoline Rainbow
Dir. Bill Ross IV and Turner Ross
Our critic said: “A vivid travelogue whose freewheeling spirit emulates the film’s improvisational making.”
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Green Border
Dir. Agnieszka Holland
Our critic said: “Holland paints a damning portrait of the European refugee crisis in this Venice Competition entry.”
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Io Capitano
Dir. Matteo Garrone
Our critic said: “The gritty realism of the story is leavened throughout by recognizably ‘Garronian’ touches”.
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The Killer
Dir. David Fincher
Our critic said: “The Killer gives Michael Fassbender his most substantial and challenging lead role in years.”
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Poor Things
Dir. Yorgos Lanthimos
Our critic said: “It’s anchored to emotional reality by a dazzling performance by Emma Stone – if anything, outdoing her revelatory turn in The Favourite.”
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Priscilla
Dir. Sofia Coppola
Our critic said: “Its soft, subtle lines are a striking counterpoint to last year’s razzle-dazzle-them Elvis, but it paints a darker, fuller picture.”
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Tatami
Dirs. Guy Nattiv, Zar Amir
Our critic said: “A unique collaboration between an Iranian and an Israeli filmmaker that transforms an initially straightforward scenario into an increasingly tense, involving drama.”
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The Theory of Everything
Dir. Timm Koger
Our critic said: “A conference about quantum physics in 1960s Switzerland plays host to this atmospheric noir debut.”
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The Wonderful Story of Henry Sugar (short)
Dir. Wes Anderson
Our critic said: “Anderson returns to the world of Roald Dahl for this short, satisfying star-studded confection for Netflix
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Mixed but positive
The Beast
Dir. Betrand Bonello
Our critic said: “A collision between thriller, dystopian futurism and elegantly mounted heritage cinema.”
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Coup de Chance
Dir. Woody Allen
Our critic said: “Allen finds a certain je ne sais quoi with this appealing Paris-set comedy.”
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Ferrari
Dir. Michael Mann
Our critic said: “This is a refined, exquisite – expensive – production, but Ferrari doesn’t step up the gears fast and furious enough for wider appeal.”
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Love Is A Gun
Dir. Lee Hong-chi
Our critic said: “Best summarised as a crime-tinged study of generational malaise, it shows that co-writer/director/star Lee has gleaned ample know-how from working with art-house filmmakers such as Tso-chi Chang, Ho Wi-ding’s Cities Of Last Things (2018), Bi Gan’s Long Day’s Journey Into Night (2018) and Li Xiaofeng’s Back To The Wharf (2020).”
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Maestro
Dir. Bradley Cooper
Our critic said: “Cooper conducts an impressively-mounted, if uneven, portrait of composer Leonard Bernstein.”
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Making Of
Dir. Cedric Kahn
Our critic said: “Does not bring much that is new to the film about filmmaking genre, but it is an enjoyable watch: a droll social comedy that interrogates the cost and chaos of the creative process.”
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Mixed to negative
Dogman
Dir. Luc Besson
Our critic said: “This may have a more intimate, reflective tone than much of Besson’s work – at least until its final man-versus-dog showdown.”
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El Conde
Dir. Pablo Larrain
Our critic said: “High-concept Netflix drama featuring Augusto Pinochet as an ageing vampire lacks bite.”
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Misses
Aggro Dr1ft
Dir. Harmony Korine
Our critic said: “While there’s a sense that Korine is fully at peace with a lack of meaning in his work, it’s doubtful that he was aiming to be boring.”
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The Palace
Dir. Roman Polanski
Our critic said: “Polanski’s attempted comedy set in a Swiss luxury hotel proves to be anything but five star.”
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