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Venice 2023 Recap: My Top 8 Favorite Films – Lanthimos & Linklater | FirstShowing.net

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Venice 2023 Recap: My Top 8 Favorite Films – Lanthimos & Linklater

by Alex Billington
September 19, 2023

Each year, I am honored to have a chance to return to the beautiful city of Venice in Northern Italy to attend the Venice Film Festival and catch the latest films premiering there. This year’s festival is now finished, so it’s time to present my picks of my favorite films from Venice 2023. I’ve chosen 8 of the best of the fest films that deserve to be highlighted. This was my seventh year returning to Venice, I even stopped by back in 2020 during the pandemic as I didn’t want to miss it. In total, I watched around 32 films at Venice this year, and while it wasn’t the most spectacular line-up, I am always glad to have the chance to dive into this entrancing selection of new cinema every year anyway. The best of the festival this year, Poor Things, is also the same film that went on to win the Golden Lion top prize, awarded by a jury featuring the filmmakers Damien Chazelle, Jane Campion, Mia Hansen-Løve, Martin McDonagh, and Laura Poitras. I always do my best to watch as many films as I can, hoping to find the hidden gems and surprises amidst a diverse line-up.

As always, I keep my Letterboxd page updated with screenings and comments daily. And I have also been posting thoughts, photos, and more updates on my main Twitter account @firstshowing during the fest. And I’ve been writing reviews for a number of the films as well, already published over the last few weeks. Digging into the 2023 film selection, I prefer Priscilla over Maestro, despite both films being quite strong. Michael Mann’s Ferrari is good, at least I liked it quite a bit, though with time I have forgotten it. Nikolaj Arcel’s The Promised Land with Mads Mikkelsen is also really good, though quite depressing. I don’t think Ryûsuke Hamaguchi’s Evil Does Not Exist is that good, it’s half of a film with a bad ending. I did not care for the Ross Brothers’ film Gasoline Rainbow at all, it’s junk. The Hungarian film Explanation for Everything is a surprising revelation, an underrated discovery, worth a watch even though it’s quite long. And Timm Kröger’s The Theory of Everything is a fascinating Austrian film, but too confusing to be great. I’m always up for chatting about any of the films from the festival, even the ones I didn’t like can be discussed further.

Below are my Top 8 films from the 2023 Venice Film Festival; these are the films that I enjoyed the most, or those that I couldn’t stop thinking about, and I hope everyone else gives them a look, too. My favorites:

Poor Things – Directed by Yorgos Lanthimos

This certified Golden Lion winner is also my #1 film of the 2023 festival. And it’ll most likely find a spot somewhere on my Top 10 of the year as well. Yorgos! Yorgos! Yorgos! Everything about this film is fresh and fun and spunky and sultry. It’s witty and bold, a remarkably powerful modern feminist fable. It borrows from Frankenstein at the start, but it’s much more of an Alice in Wonderland-esque journey through the different realms of sex and satisfaction. I wrote in my glowing review that “it might be the raunchiest film of the entire decade…?!” With all the pointless debates on social media about sex scenes & nudity in cinema, Lanthimos has decided to dance in & decidedly say – screw that, sex is an important part of life and here is my glorious film taking us on a grand journey of sexual awakening & womanly emancipation. Emma Stone is outstanding, another unforgettable role in her remarkable oeuvre (she might end up winning a second Oscar for this performance). And the wickedly distinct score from Jerskin Fendrix adds another layer of mad genius to the cinematic experience. All-in-all a truly marvelous work of art from Greek maestro Yorgos.

Hit Man – Directed by Richard Linklater

Richard Linklater’s Hit Man is THE surprise hit of the festival this year. It was so exciting to experience this press screening, it’s rare to ever see a big crowd of tough European critics laugh this much and this loudly at an American comedy. But that enthusiastic vibe with the audience all in on this one is part of why it was such a delightful movie to discover late in the festival. Co-written by both Richard Linklater and Glen Powell, and directed by the masterful Richard Linklater, the story is actually based on a real guy named Gary Johnson. It’s yet another one of these bonkers how-is-this-true stories about an undercover cop. Aside from reminding the audience that “hitmen don’t really exist”, it flips a few of the tropes around, and borrows others but is playful with them in a way that enhances the entertainment. Best of all, Powell’s performance in this is one for the ages. It’s going to cement him as a massively talented movie star, capable of performing any role – serious, geeky, charming, sexy, weird, or wacky. He pulls off so many little roles in this, and he’s a perfect match with co-star Adria Arjona. Sexiest couple on screen this year? Yep, it’s true.

Daaaaaali! – Directed by Quentin Dupieux

Dali! C’est un fou!! Absolutely loved Quentin Dupieux’s Daaaaaali!, such a delight. And it’s only 77 minutes long!! Mad crazy genius filmmaking from one-and-only Quentin Dupieux remixing the myths of Salvador Dalí, using different actors to play the quirky artist as he bumbles around for an interview. Or rather, as he tries to avoid an interview. It’s hilarious in about 100 different ways. Everyone at my Venice press screening laughed & laughed & laughed. I don’t even know what the point of the whole film is, but who cares, I just know I enjoyed it immensely. One of Dupieux’s best wacky films, with an unforgettable set of performances. Still chuckling thinking about him and all the crazy lines he has. You’ll never forget the way he pronounces his own name. You’ll never forget the mustache, or all the kooky things he does in this film. It’s not really a biopic, it’s more of an experimental let’s-fuck-around-like-Dali-did creation meant to make us laugh at how absurd and eccentric genius artists can be. I want to watch it again!! It plays so well with an engaged crowd.

The Caine Mutiny Court-Martial – Directed by William Friedkin

I can’t stop thinking about how incredible this screenplay is (let’s talk about it!!), and how amazing all of the performances are bringing it to life on screen. I already wrote about this in my full review. Yes, it’s a story told many times before in a few other films (based on based on Herman Wouk’s 1953 play of the same name, also based on the novel The Caine Mutiny by Wouk). And it doesn’t do anything new or different in terms of style or cinematography. But I will continue to talk about William Friedkin’s version of The Caine Mutiny Court-Martial as one of the best plays as a film I’ve ever seen. It all takes place in one room, and it’s all about this one court martial, yet it’s as riveting and as smart (even moreso) as any Hollywood movie with massive sets and gigantic budgets spent on CGI or wardrobe. Kiefer Sutherland is exceptional as Queeg, Jason Clarke is also great again as another attorney (after Oppenheimer), Jake Lacy is unforgettable as Maryk. Whenever it gets released, I think it’s important to read between the lines with what’s really going on (and what Friedkin is actually commenting on) and analyze the final scene for more than only what is said.

Woman of… – Directed by Michal Englert & Malgorzata Szumowska

Another gorgeous film I can’t get off of my mind. I was profoundly moved by Michal Englert & Malgorzata Szumowska’s Woman of…, originally known as Kobieta z… in Polish. It is not easy to tell the entire life story of one person, nor is it easy to capture their heart and soul and feelings and sufferings and joys and experiences in a coherent and captivating story that anyone can connect with. Yet that is what this film has done, and even though it may not be as completely impactful in the end as it could be, it is still a superbly groundbreaking, elegant film about a trans woman in Poland. Starring a vibrant Malgorzata Hajewska as Aniela. Above all, the film deserves special praise for the astonishing cinematography, shot by co-director Michał Englert. Every single shot is lovely, but there are a few that took my breath away, framed perfectly with light shining through in just the right way. It’s awe-inspiring work that should be studied in great detail. It compliments the story by allowing a few stunning rays of light to shine in to Aniela’s life, to remind us how even in the toughest moments, expressing yourself honestly is always beautiful, always enlightening.

Priscilla – Directed by Sofia Coppola

This is one film where the more I think about it, the more it remains in my mind – even a week after first watching it. While they can’t rightfully be compared, along with Bradley Cooper’s Maestro, this film really stands out. Sofia Coppola’s film is an elegant, intimate retelling of the Elvis story – but it’s not really about Elvis of course. It really surprised me, better than I was expecting, though of course Coppola has this same light touch with her films when I think back about everything she’s made. Priscilla is actually quite light and sweet, all solely from Priscilla’s perspective, never drifting off to anything else with Elvis or anything that isn’t about her own experience with him while at Graceland. Cailee Spaeny as the young “Cilla” Beaulieu is tremendously good, deserving of the Best Actress Award from the festival. Jacob Elordi is also fantastic as Elvis Presley, in a role that is the complete opposite of Austin Butler in Baz Luhrmann’s Elvis movie; never grandstanding or overwhelming, only playing the part as the sweet Elvis who seems to have a wild side that we (or rather Priscilla) never actually gets to see. It’s another highlight within Sofia Coppola’s filmography.

The Killer – Directed by David Fincher

Even though pretty much everyone agrees that David Fincher’s assassin film The Killer doesn’t really try to do anything new or different, it’s still a damn good film. It’s hard to deny that. There’s just something about Fincher’s refined, meticulously precise filmmaking that fits nicely with a story about a refined, meticulously precise hitman. Plus it has Michael Fassbender being a slick, calculating badass who is always trying to stay ahead of everyone else. I just want to drift into the cinematography by DP Erik Messerschmidt and admire the perfectly shot, perfectly lit scenes. I’ll fully admit this is the main reason I am looking forward to rewatching The Killer, even if it’s at home on Netflix (so be it). There’s an impressive amount of gripping tension as “The Killer” makes his way around the world (and back) pulling off kills and staying ahead of everyone else every step of the way. Even if his killing isn’t your jam, watching him meticulously control & manage evidence and figure out how to outsmart all those that think they might outsmart him is engaging. I am choosing this one because it’s still better than a number of other bad films I saw at the festival this year.

Love Is a Gun – Directed by Hong-Chi Lee

One of my favorite discoveries at the 2023 festival was this Taiwanese film, marking the feature directorial debut of a Taiwanese actor named Hong-Chi Lee. He has starred in many acclaimed Taiwanese films, but this is his first time behind the lens making one. There’s something about his style and his minimalistic filmmaking choices that really impressed me. Love Is a Gun tells the story of a young reformed gangster known as “Sweet Potato”, who returns to his small town after finally getting out of prison. As with every story about this kind of person returning, he’s quickly whisked back into the gangster lifestyle, even though he’s hoping to not fall back into his old ways. However, this film makes some subversive choices and allows him to pushback against this, going in some unexpected directions. It’s also just a beautiful film, with some seriously stunning cinematography. I hope Hong-Chi Lee keeps making more films, as I’m certain he’ll only get better and better with everyone he makes – and will probably end up winning the Palme d’Or or Golden Lion or some other major prize one day soon. Keep an eye out for this film – here’s the festival promo trailer.

Recapping the entire festival, it was another good year but I actually prefer the 2022 line-up more. There were a number of iconic all-timer films in 2022 (last year’s favorites here), with only one or two in 2023. Poor Things and Hit Man have earned their place in cinema history, but how many other films have? Venice programs such a wide variety of exciting cinema that of course they’ll inevitably have a few duds in the mix. Not everything that is super artsy turns out good, and some filmmakers are more interested in confounding experimentation than anything smart. I did enjoy watching most of the 2023 selection, though I found a few of the more prominent films to be mid – Ava DuVernay’s Origin, Matteo Garrone’s Io Capitano, Agnieszka Holland’s Green Border, Bradley Cooper’s Maestro. They’re not the truly incredible films they could be, but they’re also not bad films either. I did hate Bertrand Bonello’s The Beast, which is some incomprehensible trash. And the Opening Night Italian submarine film Comandante was also terrible. I’m still sad that Luca Guadagnino had to pull Challengers, because that would’ve been the perfect film for the festival to kick off with. I’m always so lucky to cover this festival as press every year anyway. Thanks for reading my thoughts.

And that’s it for Venice 2023 (aka #Venezia80), wrapping up our updates from the fest for this year. As already mentioned before, Yorgos Lanthimos’ Poor Things won the Golden Lion – find the full list of 2023 awards winners here. My coverage wraps up with this list of favorites and final thoughts on the films this year. I’m very much looking forward to returning to Venice again in 2024, one of the best festivals in the world. I’m always ready to spend more time in this iconic Italian city and immerse myself in the latest films.

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Venice 2023: Ava DuVernay’s ‘Origin’ Film Barely Scratches the Surface | FirstShowing.net

Post By Entertainment aunjanue ellis-taylor, ava duvernay, caste: the origins of our discontents, isabel wilkerson, jon bernthal, origin film, origin review, review, venice 23, venice film festival

Venice 2023: Ava DuVernay’s ‘Origin’ Film Barely Scratches the Surface

by Alex Billington
September 9, 2023

“Caste is insidious and therefore powerful because it is not hatred, it is not necessarily personal. It is the worn grooves of comforting routines and unthinking expectations, patterns of a social order that have been in place for so long that it looks like the natural order of things.” I had such high hopes for this film. Going in to the very first press screening of Ava DuVernay’s film Origin at the 2023 Venice Film Festival, I wanted it to be a masterpiece, I wanted it to have the potential to change the world. I had a good feeling it might have that kind of real power. Alas, it is a let down… It’s not that isn’t a beautiful, soulful film made by a superbly talented filmmaker. It’s that there isn’t much being said. It’s just… so painfully surface-level and basic. It’s frustrating in how the blatantly obvious ideas are just repeated over and over. I honestly hate to say it, because it’s such a wonderfully made film, and it’s trying to be important, but after a while it gets so tedious and repetitive all of its real power fades away. I do still hope it has a great impact on some viewers.

Origin is filmmaker / writer / producer Ava DuVernay’s fifth narrative feature, following I Will Follow, Middle of Nowhere, Selma, and A Wrinkle in Time; along with the doc 13th. She has been making TV series over the past few years, telling important stories with “When They See Us”, “Queen Sugar”, and “Colin in Black & White”. Origin is an adaptation of the bestselling, highly acclaimed book Caste: The Origins of Our Discontents, written by Pulitzer Prize-winner Isabel Wilkerson. It’s not really a direct adaptation, per se – DuVernay reworks the film into a story about Isabel writing the book. Aunjanue Ellis stars as Isabel; we follow her on a journey at a pivotal moment in her life as she travels to Germany and India to do research. Coming off of her previous (and very first book) which won her a Pulitzer Prize, she isn’t quite sure what to do next, and various publishers want her to write articles for them, but after a few major incidents in life she decides to go on this voyage for this book. However, the film also is an adaptation in that it takes the ideas from the book and brings them to the screen, visualizing the stories & connections between three castes around the world: America’s racism, Nazis hate of / murder of Jewish people, India’s ongoing social caste.

Unfortunately that is all there is to this film. With a running time of over two hours, the film stretches this concept way, way too thin – repeating the “everyone-already-know-this” stories of Germany and India and America without any meaningful analytical attempt at understanding them. It’s a story about Isabel figuring out how to reject racism as the catch-all issue to discover the bigger picture of hate worldwide (meaning it goes beyond just racism) instead focusing on “caste” as the key to understanding oppression. Yes, America and Germany and India are great examples of subjugation, and they are connected as references for caste and how humanity forcefully divides itself so that one can rule over the other. However, the film never digs any deeper than this. Once setting up these connections, DuVernay could’ve used this to make an incredible leap into showing many of the problems around the world and how all of it is connected. There’s no mention of Indigenous people, or Native Americans, or anyone other oppressed groups. There’s barely one mention of Palestine in a quick sentence. There are so many other oppressed people that really could’ve had a chance to be linked to this “bigger picture” but they’re entirely ignored. One could say, this is not the film for all of this, but I disagree – it is exactly the time and place and moment to go this far and make this connection.

Ultimately, DuVernay’s film is an elementary school lesson in history and humanity. When it should’ve been a university course, instead it is teaching us what we all know: Nazi Germany was bad, they burned books, they didn’t like others, they killed many Jews and used America’s racist laws as a legislation framework for doing this; India has a horrible caste system, it is still prevalent today after thousands of years, they can’t get rid of it no matter how hard they try; America is racist, Black people have always been treated poorly, White Americans have never been doing enough to prevent racism and address its awful past. Yes, and…?? There’s even a conversation in the film where Isabel’s mom her stops her in a conversation and says “please, say that again in English” even though what she had just explain was already entirely understandable and basic to begin with. That is essentially how the whole film feels… I appreciate the documentary style to it, where many prominent and important people are interviewed and provide their knowledge. I just wanted to see this get into so much more, and open the doors to showing how horribly divided most of the world is. It also fails in its conclusion by never offering a single hint of a answer to the most important questions of all: how do we stop this, what more can we do, what is necessary, how do we dismantle caste and end racism??

Despite my complaints, I still think Origin is a beautiful film. It is profoundly moving. Bolstered by stirring performances, authentic emotions, the wondrous humanity she captures – it’s all so lovely. Jon Bernthal stars as Isabel’s husband, but he’s barely in the film, and we never get to spend enough time with him to feel their connection despite his love being such a powerful force for her. Aunjanue Ellis is terrific in the lead role as Isabel, but the film skips around too much to allow her to dazzle us with her might. There’s a handful of good performances from other cast members who show up in a quick scene or two then disappear. The cinematography by DP Matthew J. Lloyd is not excessively showy or spectacular, it’s more grounded and inviting, bringing us closer to these stories and these people. The score by Kris Bowers is the highlight of the film, so emotional and dreamy and moving in its own ways. But it also feels like something that is added to fill in the gaps in the few times where the rest of the film lacks depth . Overall, Origin really could’ve been something much more remarkable – stopping short of achieve that cinematic greatness that it was aiming for. I haven’t read the book, but it seems like it’s worth picking up to actually dig deeper into all these ideas.

Alex’s Venice 2023 Rating: 6 out of 10
Follow Alex on Twitter – @firstshowing / Or Letterboxd – @firstshowing

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Fall Film Festival Season 2023 Begins – 10 Most Anticipated Premieres | FirstShowing.net

Post By Entertainment cinema, feat, indies, most anticipated, nyff, tiff, toronto film festival, Venezia, venice 23, venice film festival

Fall Film Festival Season 2023 Begins – 10 Most Anticipated Premieres

by Alex Billington
August 29, 2023

It’s that time of year again! The fall film festival season is beginning. Starting with the 80th Venice Film Festival this week in Italy, along with the 50th Telluride Film Festival in Colorado – two of the most iconic festivals both celebrating major milestones. Then the 48th Toronto Film Festival will take over in mid-September, before Fantastic Fest in Austin, TX (starting on Sept. 21) and the 61st New York Film Festival in NYC (starting on Sept. 29). This is when all the movies that they’ve been saving for the end of the year finally make their first appearance, and it’s an exciting time for cinephiles who make the voyages to these cities to discover the latest that the world of cinema has to offer us. We’ve been covering these festivals for the last 17 years – can’t miss them. In the midst of the ongoing WGA and SAG-AFTRA strikes (which we fully support!) the finished films must premiere anyway. I’d prefer it if there weren’t any red carpets, so we can actually focus on the films, but a few of the premieres have been given exceptions from SAG. I’ll be back in Venice to watch films during the festival – though this list contains films from all of these upcoming fests.

The challenge with film festivals nowadays is that it’s impossible to see everything at every festival, and it’s unaffordable to go to every festival all over the world (as much as I wish I could). Each of these fests has its own set of world premieres & special presentations – I decided to pick my own Top 10 Most Anticipated from among the entire set of films debuting this fall. Not just the ones at Venice or at TIFF or otherwise. Alas, I won’t be able to watch all of these listed as I won’t be able to attend the Toronto and New York Film Fests. But I still think these are some of the most interesting premieres. Choosing only 10 films is always a daunting task – I could name 50 films I want to see right now. However, this is always what’s so enticing and exhilarating about festivals, and why I always go back year after year. Let’s go watch and discover something new and discuss cinema! Let’s celebrate all of these achievements – and make sure writers and actors and the entire film crew are paid fairly & treated with respect. Anyway, enough of my rambling, onto the films…

The Holdovers – directed by Alexander Payne – TIFF

There’s something about this film that gives me a warm & fuzzy feeling. Especially with the first trailer out, I’ve got good vibe that this might just turn out wonderful. I wish it was also premiering at the Venice Film Festival, but Toronto got the scoop instead – and it’ll probably show up in Telluride, too. Not everyone is so fond of Alexander Payne much recently, after Nebraska and Downsizing, but I still think he’s a talented storyteller who makes engaging and thoughtful films. His latest, The Holdovers, seems like a wholesome, classic Americana drama with some feel good vibes – featuring Paul Giamatti turning from a grumpy ol’ teacher into a kind friend. “With no family and nowhere to go over Christmas holiday in 1970, Paul remains at school to supervise students unable to journey home. After a few days, only one student holdover remains — a trouble-making 15-year-old named Angus, a good student with bad behavior.” Joining Paul & Angus on the stay is the school’s head cook, Mary. It also stars Dominic Sessa & Da’Vine Joy Randolph as Mary.

Lee – directed by Ellen Kuras – TIFF

As a photographer myself, I’m always interested films about photographers. This is another new one and the set photos (like the one above) have also intrigued me to find out more and watch this. From TIFF: “Oscar winner Kate Winslet stars in this fascinating portrait of the talented American photojournalist Lee Miller, whose singular talent and ferocious tenacity gave us some of the 20th century’s most indelible images.” The film is the first narrative feature directed by an acclaimed cinematographer named Ellen Kuras (she was DP on Summer of Sam, Bamboozled, Blow, Eternal Sunshine of the Spotless Mind, Be Kind Rewind, Away We Go). I’m excited that she’s telling the story of photographer Elizabeth ‘Lee’ Miller, a fashion model who became an acclaimed war correspondent for Vogue magazine during World War II. The impressive cast also includes Alexander Skarsgård, Andy Samberg, Marion Cotillard, Noémie Merlant, Andrea Riseborough, and Josh O’Connor. There’s not much more they can say that will make me any more interested in watching this than I already am. The world premiere is at TIFF (on Sept. 10), wish I could be there for that screening.

Poolman – directed by Chris Pine – TIFF

This year’s The Beach Bum? This year’s Under the Silver Lake? Both combined? With a dash of Chinatown thrown in? Or something else entirely? We’ll find out soon! Actor Chris Pine makes his feature directorial debut with Poolman, a film he shot and starred in and co-wrote and produced – filmed in Los Angeles in 2022. The one-liner for this does make it sound like some kooky mystery fun: “A kinetic noir comedy where he plays an anxious pool cleaner who uncovers a curious conspiracy in the city of Los Angeles.” The cast also includes Annette Bening, Danny DeVito, DeWanda Wise, and Jennifer Jason Leigh. Maybe I’m just hopeful, but I don’t think anyone should be writing this off yet. Sounds like it might be really good! Poolman “follows a hapless dreamer and would-be philosopher who spends his days looking after the pool of the Tahitian Tiki apartment block in sunny LA. When he uncovers the greatest water heist, he does what he can to protect his precious LA.” Who else is sold from that? Catch everyone at the world premiere at TIFF – if you’ll be there?

Woman of the Hour – directed by Anna Kendrick – TIFF

Now what we do have here? Another surprise appearance of a fresh film playing on 2023 film festival circuit is this feature debut of the actress Anna Kendrick. She has directed a crime film called Woman of the Hour, taking us back to the 70s for a very creepy story. I’m curious to see which tone she went with for this – more thriller or dark comedy or what. Since it sounds rather unsettling. Here’s the intro for Woman of the Hour: “In the 1970s Rodney Alcala went on a murder spree, luring women by posing as a photographer looking for models. Though [he was] already a registered sex offender and recently released from prison, he infamously appeared on The Dating Game, a show that introduced a set of three new bachelors each week, hidden from view as a woman asked them amusing questions before choosing a winner to go on an all-expenses-paid trip with her.” Uh wow, okay. The film also stars Tony Hale, Daniel Zovatto, & Nicolette Robinson. Premiering at TIFF first (on Sept. 8) as a “Special Presentation” there. Keep an eye out for this.

Foe – directed by Garth Davis – NYFF

“I don’t want a robot living with my wife!” This wouldn’t have even been on my radar if not for the stellar trailer that MGM dropped last week. Foe is making a late appearance at the festivals – skipping a few others and heading straight to the New York Film Festival for its world premiere at the end of September. Then it opens in select theaters not too long after anyway. As many have already pointed out, this looks surprisingly similar to the recent “Black Mirror” episode “Beyond the Sea“, which debuted in Season 6 on Netflix. Foe is about: “Hen and Junior farm a secluded piece of land that has been in Junior’s family for generations, but their quiet life is thrown into turmoil when an uninvited stranger shows up at their door with a startling proposal.” That sci-fi proposal, revealed in the trailer, is to take the husband Junior up into space to work on a space station, and replace him with an exact android replica on Earth, to have him “be there” with his wife (even though he’s far away). It’s almost more of a prequel to this BM episode. The cast is mainly three people: Saoirse Ronan, Paul Mescal, and Aaron Pierre. I’m very much looking forward to watching it.

The Killer – directed by David Fincher – Venice

Fincher!! It’s Fincher!! Need I say anything more?? The Killer is filmmaker David Fincher’s latest feature – with a nice 1-hour-58-minute running time. His last was Mank that premiered during the early pandemic in late 2020. Netflix teamed up with Fincher yet again to let him make this film, some kind of hitman drama. Based on a graphic novel, the actual Fincher plot remains a big mystery. There is only this: “After a fateful near-miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.” Michael Fassbender stars as the Assassin, along with Tilda Swinton, Charles Parnell, and Arliss Howard. From a screenplay by Andrew Kevin Walker, whom Fincher has been raving about. His “director’s statement” is a rather peculiar intro: “The Killer is my attempt to reconcile notions I’ve had for years about cinematic stories and their telling. I have always held: ‘What were you doing in Chinatown?… As little as possible’ — to be the single greatest evocation of backstory I’ve ever heard… I was also playfully curious about the revenge genre as a tension delivery-system.” Whatever it is, excited to find out in Venice.

The Beast (La Bête) – directed by Bertrand Bonello – Venice & TIFF & NYFF

This film was originally expected at the 2023 Cannes Film Festival, but after a bit of longer wait – it’s now ready to make its mark this fall. The Beast, also known as La Bête in French, is the latest from acclaimed French filmmaker Bertrand Bonello (known for House of Tolerance, Saint Laurent, Nocturama, Zombi Child). It’s an intriguing new sci-fi film of some kind, though it seems to be more of a romantic thriller with a strong love story at its core. Léa Seydoux stars as a woman who decides to use new tech to stop having any emotions. “In the near future where emotions have become a threat, Gabrielle finally decides to purify her DNA in a machine that will immerse her in her previous lives and rid her of any strong feelings. She then meets Louis and feels a powerful connection, as if she has known him forever.” Here’s the real hype: it is set across three time periods. The film also stars George MacKay (a truly spectacular actor – always great) and Dasha Nekrasova. I have a really, really strong feeling this is going to be something special and completely win over the fall festival season this year (premiering in Venice on Sept. 3). I can’t wait to watch.

Evil Does Not Exist – directed by Ryusuke Hamaguchi – Venice & TIFF & NYFF

Another mysterious fall festival surprise. Japanese filmmaker Ryusuke Hamaguchi is already back again with not one, but two, new films this fall season. So soon after he made a splash with 4 noms total and one Oscar win for Drive My Car early in 2022, which is why it’s especially exciting to see him back. His first big premiere is Evil Does Not Exist (悪は存在しない), debuting at the Venice Film Festival (on Sept. 4) before going on to show at TIFF & NYFF. The film seems to be an eco-drama about a community in Japan. “Takumi and his daughter live in Mizubiki Village, close to Tokyo. Like generations before them, they live a modest life according to the cycles and order of nature. One day, the village inhabitants become aware of a plan to build a glamping site near Takumi’s house offering city residents a comfortable ‘escape’ to nature. When two company representatives from Tokyo arrive in the village to hold a meeting, it becomes clear that the project will have a negative impact on the local water supply, causing unrest.” Hamaguchi also has a film called Gift, that might premiere at Belgium’s Film Fest Gent in October – the two films are said to be related somehow.

Aggro Dr1ft – directed by Harmony Korine – Venice & TIFF & NYFF

Hmm. I don’t want to put this on the list, to be honest, but I have to. From cinema provocateur Harmony Korine (of Gummo, Trash Humpers, Mister Lonely, Spring Breakers, The Beach Bum), Aggro Dr1ft is filmed entirely with the infrared / thermal lenses. Yes, that’s the point, whatever it means. Whether this will work or not is part of the experience of watching this film (especially fresh at a festival before everyone else has something to say about it). I want to be clear – I am not sold on this infrared camera gimmick. I am not going to say that just because he’s tRyInG sOmEtHiNg NeW in cinema that it’s genius. It might be cool, it might be shit. But of course there is only one way to find out – and I’ll admit they really got my attention. I just have to see WTF is going on in this and if it’s any good. And it’s only 80 minutes. Korine’s director’s statement is hilarious & fascinating: “Wild days, wild nights. Wasn’t wanting to make a movie. Was wanting to make what comes after movies. Was wanting to be inside the world. More like a video game. But who’s playing who. GAMECORE. Edglrd. Something new on the horizon. Life is good. Without it we’d be dead. AGGRO DR1FT. In between worlds. Locked and loaded. An ode to the aggressive drifter.” Well, okay then.

Origin – directed by Ava DuVernay – Venice

AvaDuVernay’s got a new film ready! Origin is premiering at the Venice Film Festival near the end of the festival, on the second Wednesday. There’s not too much known about it yet, or revealed so far. The film is described simply: “Origin chronicles the remarkable life and work of Pulitzer Prize winning author Isabel Wilkerson as she investigates the genesis of injustice and uncovers a hidden truth that affects us all.” The 2-hour-10-minute drama is also produced and written by DuVernay, who last directed her own feature in 2018 with A Wrinkle in Time (which didn’t get great reviews) along with the acclaimed films 13th and Selma before, and the acclaimed series “When They See Us” and “Colin in Black & White” after. The film explores “the hierarchy of injustice that has shaped America and unflinchingly examine society and its relationships with race.” Which is still vague, so I’m extra interested in really finding out what the narrative threads are. The superb cast features Aunjanue Ellis-Taylor & Jon Bernthal (seen embracing in the one-and-only photo), Niecy Nash-Betts, Vera Farmiga, Audra McDonald, Nick Offerman, Blair Underwood, and Connie Nielsen.

There are SO many other films to see this year: Pablo Larraín’s El Conde (aka The Count) about a vampire Augusto Pinochet (trailer); Michael Mann’s Ferrari mainly to see Adam Driver; Bradley Cooper’s Maestro about composer / conductor Leonard Bernstein; Yorgos Lanthimos’ funky Poor Things with Emma Stone; Timm Kröger’s in-the-mountains philosophical thriller film The Theory of Everything (trailer); William Friedkin’s final work The Caine Mutiny Court-Martial; kooky French filmmaker Quentin Dupieux’s latest film Daaaaaali! about the artist Dali; Richard Linklater’s latest Hit Man with Glen Powell; Wes Anderson’s The Wonderful Story of Henry Sugar; a little film called Sidonie in Japan feat. Isabelle Huppert in Japan; obviously Hayao Miyazaki’s The Boy and the Heron; another little gem – the Ross Brothers’ Gasoline Rainbow; Taika Waititi’s new soccer movie Next Goal Wins also with Fassbender; Dream Scenario feat. Nicolas Cage; the extra peculiar Dicks: The Musical (trailer); Greek director Christos Nikou’s new sci-fi romance Fingernails; French director Ladj Ly’s latest film Les Indésirables; Mexican director Michel Franco’s latest Memory; Ethan Hawke directing a new film called Wildcat; and a dark horror comedy from Montreal titled Humanist Vampire Seeking Consenting Suicidal Person.

With the Venice Film Festival beginning soon, I’ll be dedicated entirely to this festival and catching films for the next two weeks and writing about them. Venice 2023 runs from August 30th until September 9th, ending Saturday night with the awards (the Golden Lion). Follow my daily coverage and instant reactions on Twitter/X as usual @firstshowing, follow my photography posts as always on Instagram @abillington, follow my reviews on Letterboxd, and check the site for daily updates on films + reviews. Back in 2016, I wrote an essay about Why I Can’t Stop Going to Film Festivals. What I said then is still true. It always is. I’m still totally addicted film festivals, and they still fill me with so much joy and inspiration. Let’s hope some of these films turn out to be all-timers – like Dune and Tar and First Man in the years before. I’m so glad to be back, so ready to start watching and analyzing, hopeful that this fest season will be another memorable one.

Find more posts: Feat, Indies, Venice 23

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