Venice winners!

by Elisa Giudici

It's time to celebrate Venice Film Festival winners and comment on the choices of the Jury lead by Bong Joon-ho.

Golden Lion -Happening by Audrey Diwan

This year Venice and Cannes winners have lots in common. The most important prize of the both festivals went to young female French directors presenting their sophomore features. It's a good year for French cinema and a double victory of (deserving) female artists: let's hope we will never go back to decades of male-only director winners. One extra point to Venice: it is the second year in a row a woman has won: in 2020 Chloe Zhao - now a juror - won with Nomadland...

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TIFF Review: Céline Sciamma’s ‘Petite Maman’

Abe is covering a few selections from the Toronto International Film Festival remotely.  

By Abe Friedtanzer 

Expectations play a big part in the experience of watching any movie. One of the major factors I consider when selecting what I’m going to see at a film festival is whether I’ve seen (and liked) the director’s previous work. I was fully intrigued by the concept of revisiting the mind of Céline Sciamma, whose last feature was Portrait of a Lady on Fire, which I think may be one of the few films that everyone at Team Experience can agree that we loved. Well, let’s start by clarifying that her follow-up, Petite Maman, couldn’t be any more different…

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Doc Corner: 'A la calle'

By Glenn Dunks

It’s funny, isn’t it? The subjects that become popular in non-fiction (and film more broadly, I suppose). The ongoing civil war in Syria was surely the most prominent subject of the 2010s while many other global conflicts remained relatively unexamined. This decade has begun with multiple films about Hong Kong. Venezuela is a country that has been discussed a lot in erroneous right-wing viral memes about the pitfalls of socialism, but strangely has made little impact on filmmakers beyond last year’s Oscar qualifying documentary Once Upon a Time in Venezuela, which I reviewed here.

A la calle (In the Streets) embeds the viewer deeper into the fractious political situation than that 2020 title. Maxx Caicedo and Nelson G. Navarrete’s film gets up close and personal within the protests, the political turmoil and the familial anguish that has engulfed the Central American nation now for years.

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Venice Diary #07 - "The Last Duel" and the last movies of the fest

by Elisa Giudici

Michael Myers is back in "Halloween Kills"

Final day!  I hope you are ready because in this entry I am going to cover all the movies I saw in the last two days of the Venice Film Festival. Eight movies, from European arthouse cinema to Hollywood blockbusters, with some solid performances, an instant cult, and the only major disappointment of this incredible edition of the Mostra.

I'll try to keep it short because of the lack of sleep. An inside joke between my roommate and me this year was that the Filipino movie with its 208 minutes of length lasted longer than our typical night of sleep in the last two weeks...

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Review: Cambodia's Oscar Submission "White Building"

by Nathaniel R

I was hoping to catch at least one feature in Venice that would be selected by its home country as an Academy Award submission and I did! Kavich Neang's debut feature (after several shorts) White Building will represent Cambodia for the next Oscar race. I'm already hoping it makes the finals both because the Academy is far too stingy with Asian cinema and because it's very good.

White Building impresses immediately with an aerial shot over a tenement building that looked like a cross between a Rauschenberg and a Pollock, a messy collage of patchwork color and intricate city grime and electrical wiring of the world we’re about to descend into. The building is not white given years of decay but surely once was. We initially have fun with a trio of young men including Samnang (Piseth Chhun) as they share a motorbike around the city, trying to pick up girls...

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