2024 brings new films, including Queer, Babygirl, and The Brutalist. They all debuted at the 81st Venice Film Festival and are now in cinemas. This year’s films, from bold stories to gripping dramas, promise to enthrall. Like real money slots, everyone is guessing which will be the biggest hit. SLEEK watched the screenings to give you an inside look at this year’s top films.
As per tradition, the Venetian island of Lido hosted the 81st Venice Film Festival. Despite a late-summer heatwave, the energy was high. Festival-goers, under the hot Italian sun, chased celebrities for autographs and selfies. They were lost in the magic of cinema.
Beetlejuice Beetlejuice
The festival kicked off with Tim Burton’s Beetlejuice Beetlejuice. It’s a sequel that retains the dark humor of the 1988 classic. Michael Keaton shines as Betelgeuse. Winona Ryder is now a TV host, Lydia. Jenna Ortega plays her rebellious daughter. Willem Dafoe is intriguing as a ghost detective. Monica Bellucci’s brief role as Betelgeuse’s ex-wife is a letdown.
The story is loose. But, the film dazzles visually. It has standout moments, like a “Soul Train”-style death scene and a magical score by Danny Elfman. It’s a nostalgic, fun ride for fans.
Nonostante
The Orizzonti Competition opened with Nonostante, directed by Italian actor Valerio Mastandrea. This fantasy film, set in a Roman hospital, offers a fresh take on life and death. It takes a thoughtful approach to the concept of “feeling better.”
The movie has relatable characters and mixed emotions. It invites viewers to reflect on their fears, love, and courage. Nonostante, like Wim Wender’s Wings of Desire, is reminiscent. But, it takes a unique, thought-provoking direction. It is a standout in the competition.
Maria
One of the most awaited films in Venice was Pablo Larraín’s Maria. It stars Angelina Jolie as the legendary opera singer Maria Callas. Set against the backdrop of 1970s Paris, this biopic captures a vivid era. It focuses on Callas’ final weeks, set in her opulent apartment and the warm autumn streets. The stunning costumes, inspired by Callas’ wardrobe, highlight the contrast with her struggles. She longs to return to the stage.
Black-and-white flashbacks reveal her romance with Aristotle Onassis and her troubled past. We see her desperate to be back on stage and adored. But, she is troubled by her memories. Jolie trained extensively, combining her vocals with Callas’ recordings for authenticity. Pierfrancesco Favino, as Callas’ butler, and Haluk Bilginer, as Onassis, give strong performances. They add to the film’s Oscar buzz.
Babygirl
On the festival’s third day, Babygirl, directed by Halina Reijn, made waves. Nicole Kidman stars as a CEO. She has a BDSM affair with a younger intern while married to a theater director (Antonio Banderas). It is marketed as an “erotic thriller.” But, it explores self-discovery and empowerment.
Reijn explores desire and identity without judging. It follows a woman balancing her passions and duties. Kidman’s raw, vulnerable performance could win Venice’s Best Actor award. Babygirl adds a new female voice to erotic fiction. It makes it bold and memorable.
The Order
On the fourth day, The Order, directed by Justin Kurzel, brought politics to the forefront. Inspired by real events, the story brings history to life. In the 1980s, white supremacists killed Jewish radio host Alan Berg. It draws parallels to modern issues like the Capitol attack and gun control debates. Jude Law stars as FBI agent Terry Husk, delivering a standout performance.
The cast excels. The stunning wide-angle shots of the landscape amplify the film’s emotional weight. With its gripping story and flawless execution, The Order is a top contender for this year’s Oscars.
The Brutalist
On the same day, The Brutalist, a 3.5-hour epic by Brady Corbet, stole the spotlight at the festival. A clear favorite among critics, it’s now touring festivals. It has earned praise for its bold execution and great performances. Adrien Brody shines as László Tóth, a fictional Hungarian Holocaust survivor. He is now an architect. A wealthy entrepreneur (Guy Pearce) changes his life after they meet. Together, they embark on creating a monumental Brutalist church.
Brody, inspired by his mother’s escape from Hungary in 1956, acts superbly. His performance deserves an Oscar. Spanning 30 years, the film chronicles László’s rise from poverty to success. This 7-year project, co-written with Corbet’s wife, Mona Fastvold, is a mix of fiction and real events. It is a great film.
