TIFF 50: Natalia Reyes loses her identity in "It Would Be Night in Caracas"

by Cláudio Alves

In the past decade, Natalia Reyes has consolidated her reputation as one of Latin American cinema's most promising rising stars. Though Birds of Passage put her on the map for many a cinephile, her sojourn into Hollywood filmmaking probably earned her more recognition. Six years ago, the Colombian actress was one of the highlights of Terminator: Dark Fate, and just this year, she appeared alongside Kerry Washington in Shadow Force. Indeed, 2025 is something of a banner year for Reyes, who stars in two new projects making their way through the fall festival season. Mariana Rondón and Marité Ugás' It Would Be Night in Caracas and Tomás Corredor's Noviembre find their star amid moments of societal unrest – the 2017 Venezuelan protests and the 1985 Palace of Justice siege in Bogotá.

First up, the Caracas-set drama, which had its world premiere today at Venice before making its North American debut at TIFF…

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Venice: Kathryn Bigelow returns with the terrifying "A House of Dynamite"

Elisa Giudici reporting from Venice

Kathryn Bigelow’s A House of Dynamite is not, at its core, about nuclear war. It is about the frightening ease with which the world could stumble into one. Eight years after Detroit, Bigelow returns with a film that feels less like a departure than the logical consequence of her career: taut, unsentimental, and anchored in a realism so sharp that it leaves the audience unnerved long after the credits roll.

The premise is brutally simple. One morning, somewhere in the Pacific, a missile is launched and slips undetected past U.S. defense systems. Nothing is confirmed—its origin, its payload, its intent—but the clock begins ticking: sixteen minutes until impact...

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Venice: The Rock and Emily Blunt in "The Smashing Machine"

Elisa Giudici reporting from Venice

The Rock stars in "THE SMASHING MACHINE"

The Smashing Machine feels familiar even if you’ve never heard of Mark Kerr. That’s part of its strength: Benny Safdie takes the real story of a man who helped shape mixed martial arts and reframes it with a clarity that cuts through the clichés of the sports genre. In the late 1990s Kerr and his friend Mark Coleman (here played by MMA veteran Ryan Bader) were pioneers, carrying American fighters to Japan’s Pride tournaments; huge, almost gladiatorial events that revealed how far the sport could go. Those who came after turned that groundwork into global stardom and multimillion-dollar careers. Kerr and Coleman, instead, were the trailblazers whose brilliance was real but whose recognition was fleeting.

This film wants to correct that. At his peak, between 1997 and 2000, Kerr was an undefeated champion. Then came the spiral: defeats, opioids, psychological collapse. But what could have been yet another story of decline is reshaped here into something richer...

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International Oscar Update: A Boat Load of Official Contenders

by Nathaniel R

We have now reached the season where it's hard to keep up with all the updates and it will keep on being this way throughout September. Nevertheless I'm at least keeping the submission charts up to date. At this writing twenty-five countries have selected their official contender for Best International Feature Film. We can safely expect another 60 or so countries to submit by the deadline of October 1. In terms of participation the category peaked at 97 contenders back in 2020 and has been dipping slightly since and has returned to 2010 numbers (the high 80s).

After the jump the "new" announcements since our last update are in bold and I've highlighted one new contender per chart for fun...

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Venice: Park Chan-wook's "No Other Choice"

Elisa Giudici reporting from Venice...

NO OTHER CHOICE

In 2005, Costa-Gavras adapted Donald E. Westlake’s novel The Ax into Le Couperet, a stark meditation on the cruelty and dehumanization embedded in the modern workplace. Nearly two decades later, Park Chan-wook returns to the same source material with No Other Choice, dedicating the film to Gavras, and in doing so asserting himself once more as one of the most audacious and precise filmmakers alive. Here is a director capable of merging Korean cultural specificity with an elegance of cinematic form so distinctive that only he could achieve it—where narrative, composition, and moral complexity are intertwined to such an extent that a single viewing can scarcely contain their richness.

At the center is Man-su (Lee Byung-hun), head of a company producing security and specialty papers, who finds himself suddenly dispossessed of the only role matching his qualifications...

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