Reassessing Benedict Cumberbatch

by Cláudio Alves

One must admit when they were wrong. For the past decade, I've come to dismiss Benedict Cumberbatch as a limited and repetitive actor with very few exciting works. Someone who'd received undue acclaim, rising to fame in such meteoric fashion that it boggles the mind. In other words, I wasn't a fan of his take on Sherlock Holmes and quickly grew tired of his shtick as he graduated from TV stardom to a prestige movie juggernaut. Some performances made me rethink my distaste throughout the years, like Tinker Tailor Soldier Spy, Parade's End, and, to a lesser extent, War Horse. But, of course, even a stopped watch is right twice a day, or so I told myself.

Well, it's 2021, and Benedict Cumberbatch is both on his way to an Oscar nomination and into my cinephile's heart. He gives three of the year's best performances in a slew of fascinating pictures that range from loony portraiture to a study in venomous masculinity…

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Ranking Jane Campion

by Cláudio Alves

The upcoming release of The Power of the Dog is a joyous moment for all cinephiles everywhere. Finally, after twelve long years, Jane Campion is back with a new feature that won her the Best Director prize at Venice earlier this year and might lead her to more Oscar nominations, maybe victories. Personally speaking, I'm on cloud nine right now, seeing as Campion is my favorite living filmmaker. Having watched every one of her features and most shorts, I've fallen in love with her cinema of extreme materiality and negative capability, her portraits painted with unsaid words and aborted gestures, silences, and voids.

 Such is my love that, to celebrate the incoming release of The Power of the Dog, I've decided to rank Jane Campion's nine features. It's a veritable cornucopia of cinematic excellence…

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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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Nathaniel in Venice: "Power of the Dog" and "Madeleine Collins"

Nathaniel reporting from Venice, day 1 part 2

Day 1 (continued). I didn’t expect death to linger so completely over Parallel Mothers and curiously my opening night at the fest kept on inviting the grim reaper in. The first day of screenings ended with Jane Campion’s The Power of Dog in which death is far less of a subject but clouds the vast Montana skies.  But first I took in Madeleine Collins, a French addition of our favorite subgenre here at The Film Experience, Women Who Lie To Themselves™  in which everyone in the film avoids talking about a death they probably should have spent lots more time processing.  

Madeleine Colllins (Antoine Barraud)
Elisa already hit the highlight of the film in her brief capsule, but it bears repeating: Virginie Efira! Virginie Efira! Virginie Efira!

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Elisa's Venice Diary #1: Almodovar, Campion. Here are lions.

by Elisa Giudici

What a start! There's a way of saying in Italian: il buon giorno si vede dal mattino. It means you can tell if something is remarkable from the very beginning, as you can judge how a day will be by the way it begins. Well, the first day of my fifth year as a press pass holder in Venice was so amazing I am not going to tell you if I liked what I saw, but how much I enjoyed every single title.

PARALLEL MOTHERS by Pedro Almodóvar
I was unsure about the opening movie of Venezia 78 due to Pain and Glory: how to follow up such an intimate, powerful, memorable movie (the kind of film a director puts his entire life in it, and that he or she can only make once or twice in a career). How can the follow up be anything but a disappointment? Happy to report Pedro Almodóvar is far from having finished the meaningful things he wants to say while endlessly rearranging his favorite themes and actresses...

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