Along with Cannes, Venice — which runs from Aug. 28 through Sept. 7 — is one of the most glamorous launching pads for awards season. The films that do well on the Lido will be dominating the conversation until the Oscars in March.
In this year’s lineup, there’s both big Hollywood fare (“Beetlejuice Beetlejuice” and “Horizon: An American Saga—Chapter 2” to “Wolfs”) and a vast array of intriguing films from auteurs around the world. At festivals, the best thing is to keep an open mind and see as much as possible — you never know what might hit. In the meantime, though, here are 10 films to get excited about at Venice.
No matter which side of the “Joker” discourse you were on five years ago, the fact that all involved would bring the sequel back to Venice to play in competition is promising. “Joker: Folie à Deux” doesn’t need the festival buzz, after all. The first film made over $1 billion and was nominated for 11 Oscars. Venice chief Alberto Barbera told Deadline that it’s completely different from the first, a dystopian musical that is “one of the most daring, brave and creative films in recent American cinema” and “confirms Todd Phillips as one of the most creative directors working at the moment.” It’ll be in theaters Oct. 4.
Chilean filmmaker Pablo Larraín is not to be ignored when he makes a film about a famous woman with a tragic narrative, evident from productions like “Spencer” and “Jackie”. This time he’s teamed with screenwriter Steven Knight (“Peaky Blinders”) and Angelina Jolie to bring opera singer Maria Callas back to life in “Maria.” The soprano was a tabloid fixture, perhaps most famous for her affair with Aristotle Onassis, who would end up leaving her for another of Larraín’s tragic women: Jacqueline Kennedy. Callas died in 1977, at age 53, but remains one of classical music’s best-selling artists. “Maria” is playing in competition and seeking distribution.
Luca Guadagnino returns to Venice with “Queer,” an adaptation of the William S. Burroughs novel, starring Daniel Craig in a performance that Barbera has called “career-defining.” It follows an American expat to Mexico City on a quest for a drug. There, he encounters all sorts of characters and develops an obsession with a young man. The novel was written in the early 1950s, a sort of companion piece to “Junkie,” but not published until 1985. Others have attempted to adapt it before, including Steve Buscemi and Oren Moverman. “Queer” is also seeking distribution.
Pedro Almodóvar’s English-language debut features Julianne Moore and Tilda Swinton as leads. Details remain vague, but Almodóvar has described it as a story about an imperfect mother and a resentful daughter who are estranged because of a “profound misunderstanding.” Besides exploring themes like war, death, friendship, and sexual pleasure, Almodóvar said, “it also talks about the pleasure of waking up to birds bringing a new day at a house built on a natural reserve in New England.” It will also make a stop at the New York Film Festival before a December release.
Dutch filmmaker Halina Reijn, known for the wildly fun “Bodies Bodies Bodies,” brings to Venice “Babygirl,” an erotic thriller starring Nicole Kidman as a powerful CEO who begins an affair with a younger intern played by Harris Dickinson.
. Antonio Banderas also co-stars. A24 plans a December theatrical release.
Another standout effort comes from filmmaker Brady Corbet, whose 3 1/2-hour drama follows architect László Toth (Adrien Brody) and his wife Erzsébet (Felicity Jones) as they flee Europe following World War II and attempt to establish a new life in America. There, Toth meets industrialist Harrison Lee Van Buren (Guy Pearce), who commissions him to design a modernist monument, altering their lives forever. Corbet, known for “Vox Lux,” is an auteur whose work is always interesting, if not universally appealing. Focus Features and Universal are distributing the film, which does not yet have a release date.
In the nonfiction arena, Errol Morris’ “Separated,” delves into the Trump administration’s border policy, while Asif Kapadia’s “2073” looks to the future. Alex Ross Perry’s hybrid doc “Pavements,” focuses on the Stephen Malkmus band, and Andres Veiel’s “Riefenstahl” also garners attention. However, only one documentary made it to the main competition: Wang Bing’s “Youth (Homecoming)” the conclusion to his verité documentary trilogy that follows migrant workers in Zhili, China’s textile factories over five years. It’s seeking distribution.
Georgian filmmaker Dea Kulumbegashvili’s sophomore film “April,” about an OB-GYN in rural Georgia who performs abortions, resonates strongly this year. When a newborn dies in her care, an investigation sparks rumors about her morality and professionalism. Following the success of “Happening,” which won the top prize at Venice three years ago, “April” is poised to be a breakout. Kulumbegashvili’s debut, “Beginning,” covering the bombing of a Jehovah’s Witnesses church, made major waves in 2020. “April,” also set to play at TIFF and the New York Film Festival, is looking for a U.S. distributor.
Jude Law steps into a producing role and stars in an ’80s-set crime thriller about a white supremacist group, with Law portraying an FBI agent and Nicholas Hoult as the group’s charismatic leader. Directed by Justin Kurzel, this film aims for a December theatrical release.
Lastly, Athina Rachel Tsangari, known for “Attenberg” and “Chevalier,” returns to the main competition with “Harvest,” an adaptation of Jim Crace’s novel. Set in a medieval English village, locals blame three newcomers for their economic woes. Star Caleb Landry Jones, known for press appearances with a Scottish accent, elevates the anticipation. While Mubi holds distribution rights in several European territories, no U.S. plans have been announced.
On the small screen, the festival will spotlight “Apples,” Alfonso Cuarón’s seven-episode psychological thriller for AppleTV+, premiering Oct. 11. Starring Cate Blanchett and Kevin Kline, it follows a journalist who discovers that she’s a character in a novel that reveals her dark secret.
As the festival progresses, film enthusiasts worldwide are watching closely to see which films will leave a lasting impact and which directors and actors will find themselves hailed as the next breakthrough talents in cinema. With Venice as a crucial stepping stone on the road to the Oscars, the global film community eagerly awaits the gems that will emerge from this year’s lineup.
