It’s been an oddly muted year at the Venice Film Festival. When the slate was announced it was obvious that many key awards-potential films were either not selected or bypassed the Fest completely, especially major studio releases (Digger, The Social Reckoning, Dune Part 3). Still, there was some initial excitement generating around certain titles that ended up dividing critics and audiences. There were no cruel Joker: Folie à Deux critical flops (although I loved it) or The Smashing Machine debacles (that one did suck), but the movie that has generated the most buzz and is a definite Academy Awards contender is Martin McDonagh’s Wild Horse Nine, which took home the Best Actor Volpi Cup for Oscar front-runner, John Malkovich.
Danny Boyle’s Ink appears to be the only other English-language film with a Best Picture chance.
May el-Toukhy’s Woman Unknown, having won the Golden Lion, and Best Actress Volpi Cup for Mathilde Arcel, is now eligible in the International Feature Oscar category as is Japan’s submission, Lee Chang-dong’s Possible Love, which won the Grand Jury Prize. That one also has a shot at a Best Picture nomination, since it’s attracting quite a bit of buzz and in the last few years there have been at least two International Features in the Best Picture lineup.
Besides the deserving Wild Horse trio of Malkovich, Sam Rockwell (who is really lead but will probably be campaigned in supporting) and Steve Buscemi, a few other potential performance nominees did emerge. The Ink trio, Jack O’Connell, Guy Pearce and Claire Foy have decent chances. In addition, if Primetime gains traction, there could be a trio of possible noms there: Robert Pattinson, Merritt Wever and Skyler Gisondo. Time will tell.
I don’t see Bunker as a contender. Penélope Cruz would be its only hope, and she has two supporting roles this year that are richer and likely to get her double nominated (The Invite, La Bola Negra).
If Bucking Fastard secures U.S. distribution for 2026, then AMPAS will have a real conundrum on their hands because it’s impossible to separate the performances of Rooney Mara and Kate Mara. The Academy would have to do something drastic. And drastic is hardly in their wheelhouse.
The Special Jury prize was awarded to the doc NAZA, from No Other Land’s Israeli co-directors Yuval Abraham and Rachel Szor, inching it closer to an Oscar nod. There was no way this particular jury at this particular point in time and place was going to completely overlook the film.
During the fest, it was announced that Halkawt Mustafa’s stirring No Paradise If You are Killed by a Woman had been submitted by Iraq for International Feature consideration.
Italy will have quite the challenge selecting their International Feature Oscar submission and it may very well come from one of the wonderful Venice world premieres.
Among the Horizons Awards, I was thrilled to see Un détour par Diane (Diane in the Loop), directed by Ann Sirot and Raphaël Balboni, won the Best Film Award and the Best Actor and Screenplay Awards went to Riccardo Scamarcio and Tommaso Landucci & Damiano Femfert, respectively, for I figli della scimmia (The Children of the Monkey).
Too many excellent films, mostly international features, were overlooked for awards, in favor of making political statements. Some deserving, regardless. Some, not.
Here is a list of my 13 favorite films of this year’s fest. (Note: I was able to see 42 features.)
Wild Horse Nine
Back to Buenos Aires
The Girl with the Leica
One Minute to Midnight
The Fire Within You
Diane in the Loop
Queer Edward II
Ink
Children of the Monkey
The City of the Living
What Belongs to Others
No Paradise If You are Killed by a Woman
It Will Happen Tonight
Special Mention: London
Finally, among the shorts I was able to see, Flesh Impact made quite an impact. This gem is Maggie Gyllenhaal’s tribute to Marilyn Monroe, who would have been 100 years old this year. The film is quite a treat with Ellen Burstyn having a blast as the older, alternate universe Marilyn and Dakota Johnson nicely embodying the iconic version. It’s a fascinating ‘what if’ or ‘if only’ meditation.
And Angelo Azzurro is Tommaso Acquarone’s sweet, if too tame look at unrequited (or is it?) puppy love between two teen boys. Why must Italians always be so tentative when it comes to male same-sex attraction?
Ah, well, one last Bellini and I am off to my other favorite city in the world: New York for its festival. Here’s hoping for an embarrassment of cinematic riches there. Per piacere!
