Madonna and her W.E. cast © the wonderful photographer Fabrizio Spinetta who is sending us great shots for TFE. 

Before today's report some thoughts about Madonna's W.E. which I had the privilege of seeing; there were so many people outside the cinema trying to find a ticket. It was difficult to turn your back to Madonna and her W.E. cast who were sitting on the Balcony behind the audience, but once the lights in the Sala Grande were off, you could focus on the openings shots of her film. 

ManolisW.E.

The movie reminded me a lot of Julie and Julia. It has a similar structure but the bonding between the two Wallis’ (Cornish and Riseborough) is more vague and unfocused than that of Adams and Streep. And let’s face it, a Streep this film doesn't have. Andrea Riseborough has the showiest role, but the film doen’t help us connect her character or her motives, or help ups sympathize with her or even understand what she sacrificed for her relationship with Edward (which was Madonna’s aim as stated in the press conference). The love story of the modern day couple (Abbie Cornish and Oscar Isaac) proves more interesting than one of the most notorious love stories of all time. 

I think that the biggest mistake that Harvey Weinstein made with W.E. was leaking that it was an Oscar contender. Sure, the film has some chances in Costume Design, Music (a great score by Yann Tiersen and Abel Korzeniowski) and even Make Up (hello, Old Age!) but apart from that not much more. But the script which was co-written by Madonna is unfocused and full of cliches and predictable ‘twists’ . Madonna’s directing style fares slightly better but her visual choices are all over the place. The rich production values help make the viewing pleasant but this is not a serious oscar contender.

This is already the third film of the competition (after The Ides of March and Carnage) that was based on a play. David Cronenberg's new film is drawn from true life events and the relationship of Sigmund Freud (Viggo Mortensen), Carl Jung (Michael Fassbender) and Sabina Spielrein (Keira Knightley). Fassbender and Mortensen are excellent giving restraint utterly believable performances of these famous figures. Vincent Cassell is also good in a very small role (six minutes?). The Art Direction of the movie may have also been impressive but I couldn't see the scenery; Keira Knightley was chewing on it. Knightley's performance has caused disputes between the critics here. Some are impressed other's believe it's the film’s fatal flaw. Sorry Keira fans, but I am with the ones who did not enjoy her overracting. She cycles through every facial expression known to human kind. Needless to say that a Best Actress Oscar nomination is not out of the question. Sabina is obvious Oscar Bait and people often confuse best acting with most acting. Other strong Oscar prospects include Supporting Actor (Viggo), Adapted Screenplay and Costumes. 

Keira Knightley confessed at the press conference for the film. Other highlights from the press conference included Michael Fassbender's research for the role of Jung which he said was reading "Jung for Children: The Idiot’s handbook" and Mortensen thanking a fan for giving him a mascot doll of his favorite team San Lorenzo. When asked what he learned about psychoanalysis while making the film, David Cronenberg replied "I found out that of all my actors that are here need psychoanalysis."

At the Mildred Pierce press conference Winslet suprised most of the audience when she confessed how difficult the role was.

Tomorrow in Venice: the premieres of ALPS (Giorgos Lanthimos Dogtooth follow up), James Franco’s Sal Mineo biopic, Steven Soderbergh’s Contagion and Al Pacino’s Wild Salome.

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