Venice
The Testament of Ann Lee
Mona Fastvold’s The Testament of Ann Lee undertakes the daunting task of dramatising the life of the Shakers’…
By Christina YangSpecial
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Venice
Father Mother Sister Brother
Jim Jarmusch returns to estrangement and deadpan tension in Father Mother Sister Brother, an anthology of three stories…
By Christina Yang
Venice
The Wizard of the Kremlin
Olivier Assayas’s adaptation of Giuliano da Empoli’s The Wizard of the Kremlin arrives freighted with topicality, promising an…
By Christina Yang
Venice
The Last Viking
Despite what its title hints at, Anders Thomas Jensen’s The Last Viking (Den Sidste Viking) is no grand historical…
By Christina Yang
Venice
Frankenstein
The first thing that registers in Guillermo del Toro’s Frankenstein is his unparalleled command of atmosphere. The castle…
By Christina Yang
Venice
The Holy Boy
Paolo Strippoli’s The Holy Boy begins with a comfortably spare premise: Sergio (Michele Riondino), once a professional judo…
By Christina Yang
Venice
No Other Choice
Park Chan-wook has never been afraid of taking the mundane and twisting it into something slyly perverse, and…
By Christina Yang
Venice
At Work
Valérie Donzelli’s At Work (À pied d’œuvre), adapted from Franck Courtés’s novel of the same name, follows Paul…
By Christina Yang
Venice
Strange River
At first glance, Jaume Claret Muxart’s Strange River has the makings of a familiar coming-of-age story: a teenage…
By Christina Yang
Venice
After the Hunt
One of the most industrious directors currently working, Luca Guadagnino succeeds last year’s double bill (Challengers and Queer)…
By Selina Sondermann