Saturday, September 10, 2022 at 2:00PM 
Ooops. We've been neglecting the fashion-watching duties so this is an abridged version of the gowns from the past few days before the closing ceremony (very soon). So who gets your vote for Best Dressed?
Saturday, September 10, 2022 at 12:00PM by Elisa Giudici
It's the last full day of Venice with the awards about to be announced as you're reading this... or maybe they've already been announced depending on when you clicked over. Yesterday, I was chatting with some Italian colleagues. Our country's films in competition ranged from distinctive to very good. We were quite proud... but then two more Italian films arrived and some of us had to rethink our position.
Jafar Panahi, Reviews, Rome, Susanna Nicchiarelli, Venice, religiosity Saturday, September 10, 2022 at 8:00AM 
Well, it's time to say goodbye to the Venice at Home project. Maybe it'll return next year as other cinephiles flood the Lido and those of us who don't share in the FOMO. There are three remaining directors in the official competition. First, Jafar Panahi, incarcerated since earlier this year but no less capable of dazzling cinephiles with his political, profoundly personal work. No Bears sounds like another triumph. Also vying for the honor is Susanna Nicchiarelli, whose Chiara completes an unofficial trilogy about historical women (Miss Marx and Nico, 1988 also screened at Venice). Finally, Roschdy Zem jumps behind the camera after having graced festival audiences with his acting in Other People's Children. For Les Miens he does triple duty as star, director, and screenwriter.
This miniseries was always intended to celebrate great artists, so it's fitting that the last three films are about them as we focus on an Iranian filmmaker (This is Not a Film), a German singer (Nico, 1988), and a French clown (Chocolat) of Afro-Cuban heritage…
Friday, September 9, 2022 at 2:55PM by Elisa Giudici
Today was Blonde day, at least until one of the most iconic royal figure from the last century died, stealing attention and coverage away from Venice movies and all other events. Considering the reviews for the biopic (and the spike in views The Crown will get), Netflix should probably be relieved. So for today's diary, a controversial take on the life and death of Marilyn Monroe and two movies that reiterate how healthy French cinema is.
BLONDE by Andrew Dominik
Overlong, indulgent and hyper-focused on the most tragic aspects of the life of Marilyn Monroe, Blonde as a biopic is a thanks but no thanks...
Ana de Armas, Andrew Dominick, Athena, Blonde, French cinema, Ladj Ly, Our Ties, Romain Gavras, Roschdy Zem, Venice Friday, September 9, 2022 at 9:00AM 
Neither Vahid Jalilvand nor Andrew Dominik is a newbie when it comes to the Venice Film Festival. Though the Iranian director never before competed for the Golden Lion, his films have won many prizes at the Lido, screening within the festival's parallel sections. Maybe Beyond the Wall can repeat the feat and nab some trophy from Julianne Moore's jury. As for Andrew Dominik, his adaptation of Joyce Carol Oates' Blonde is already the topic of much controversy. Critics are divided regarding the movie's depiction of sexual exploitation – some see it as a ruthless dissection of celebrity culture, and others lament another voyeuristic desecration of Marilyn Monroe's personhood, intimacy, her legacy.
For the Venice at Home program, let's remember two instances when these cineastes directed their leading men towards acting prizes. No Date, No Signature won Navis Mohammadzadeh the Venice Horizons Award in 2017. Ten years before that, Brad Pitt earned the Volpi Cup for The Assassination of Jesse James by the Coward Robert Ford…
