The Venice Festival arrives tomorrow with the announcement of the Golden Lion after ten intense days in which the public especially applauded the films of Guillermo del Toro, Paolo Sorrentino, Park Chan-wook or the hard testimony of the war in Gaza de la Tunnecina Kaouther Ben Hania.
The International Jury of this 82 edition of the Italian contest, chaired by the American filmmaker Alexander Payne, will finally clear the unknown and announce the palmarés at the closing ceremony tomorrow from 7:00 p.m. local time (17.00 GMT).
Naturally it will not be until then when the winner of the Golden Lion and the rest of the sections are known, but there are some works of the 21 that compete that especially.
In an edition marked by the protests for the tragic war in the Gaza Strip, the movie “The Voice of Hind Rajab” (“The voice of Hind Rajab”) is the one that adds the most points in the classifications of criticism that the festival distributes every day in its official magazine.
Ben Hania’s work recounts the distressing attempts to save a Palestinian girl trapped in a car in an Israeli attack and includes the real recording of her aid calls, a film that at her premiere obtained a 23 -minute ovation.
On the other hand, the Mexican of the bull, the only Hispanic director in competition, returned for everything to Venice eight years after winning the Golden Lion with “The Shape of Water” (“The form of water”, 2017), this time with its version of the classic “Frankenstein”.
A film with which he conquered the Venetian public for his great and epic moments and his deep reflection on “what makes us human”, but also for the role of its protagonists: Oscar Isaac as the scientist and an unusual Jacob Elordi as the creature.
Another surprises of this contest was the film with which South Korean Park returned to the Mostra two decades later: “No other choice”, black and scathing comedy portrait of capitalism about a father who loses the job, played by the villain of “Squid Game” (“The game of the squid”), Lee Byung-Hun.
And this Friday he added another dessert with “Silent Friend”, interesting ode to human curiosity focused by a centenary tree of Hungarian filmmaker Ildikó Enyedo.
Read more: Guillermo del Toro at the Venice Festival: ‘We can be screwed and create art’
Other tapes that shone at the Venice Festival
The festival had already started with applause in its opening with “La Grazia” by Paolo Sorrentino, reflection on the vital dilemmas with Toni Servillo in the skin of an old man chief of state.
Then there would be films that shook their programming and that were very applauded, such as “A House of Dynamite” (“A house full of dynamite”), Kathryn Bigelow’s nuclear warning -shaped tape, or “The Testament of Ann Lee”, the life of a 21st century mystique who gives Amananda Seyfried.
Some of the most provocative bets were “Bugonia”, the new of the Binomial of Yorgos Lanthimos and Emma Stone only two years after their triumph with “Poor Things” (“Poor creatures”, 2023), now immersed in the delirious world of conspiracy.
Jim Jarmusch also launched the Golden Lion’s hunt with a tragicomic commitment to family relationships, with a star cast composed of Cate Blanchett, Adam Driver, Charlotte Rampling and a great Tom Waits.
The competition also had the latest of Noah Baumbah, “Jay Kelly”, in which George Clooney almost makes himself -a famous tour of Europe -, leaving critics cold; with the poetics “L’ètranger” by François Ozon or with “Orphan” of Hungarian Lazlo Nemes.
He also gave great dramas like “Elisa” by Leonardo Di Costanzo, on a fraraticide covered by amnesia; “À pied d’Oeuvre” by Valérie Donzelli, about precariousness; “Girl”, with which the Taiwanese shu qi enters family violence, or “The Sun Rises on Us All” of the Chinese Cai Shanjun, about the reunion of a difficult couple.
The race for the Golden Lion attended great conversions: Jude Law as Vladimir Putin – only with a wig – in “The Wizard of The Kremlin”, by Olivier Assayas; Valeria Bruni Tedeschi as the soprano Eleanora Duse in “Duse”, by Pietro Marcello, or Dwayne Jonshon as the legend of the Mark Kerr struggle in “The Smashing Machine”, by Benny Safdie.
Finally, two Italians have contributed two of the most unusual pieces in this type of competitions: Gianfranco Rosi “Sotto Le Nuvole”, a slow and poetic documentary in black and white on Naples, and Franco Marasco “A film Fatto per bene”, in which the failure of a project about the actor Carmelo Bene.
With Reuters information
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