Spoiler alert: I saw some of this year’s most anticipated films, and ate great Italian food too.
The Venice International Film Festival, held each September, is a surprisingly feasible trip, both in accessibility and cost.
I booked nine films over four days, including a premiere, The Testament of Ann Lee.
Depending on water transport to reach the festival worried me, but I was surprised how reliable it was. It was also a great way to see remarkable Venetian architecture.
After a bit of travel and ticket stress, I made the Palabiennale cinema on time. This picture house became my sanctuary for the trip.
Orphan, my first film, by Oscar-winning director Laszlo Nemes (Son of Saul, 2015 ) was one of my festival highlights, exploring the harsh reality of living in post-war, communist Hungary. An undeniably bleak film, but one I was deeply invested in. It also has a particularly memorable final image.
Totally different: The Last Viking is a Danish, dark comedy starring Mads Mikkelsen (Casino Royale ) as Manfred, the psychologically troubled brother of a convicted bank robber. Once released, the brothers travel to retrieve their hidden fortune. The comedy style might be quite polarising; unafraid to make mental illness the primary subject of its humour, but I admired the gonzo plot, and its shocking, unflinching violence. It is an uncommercial approach to comedy; not catering to the masses.
Late Fame gives Willem Dafoe the rare opportunity to lead a film. He plays a former poet who meets a group of young intellectuals, enamored with his mostly forgotten works. The unfiltered depiction of New York gives the film an immersive realism. The film’s momentum eventually wanes, but Dafoe’s understated performance is captivating.
You are bound to see a biopic in the awards mix. The Wizard of the Kremlin presents a history lesson on how modern Russia came to be, with an unnerving Jude Law performance as Vladimir Putin. The Smashing Machine is Dwayne ‘The Rock’ Johnson’s highly anticipated foray into dramatic acting. The latter is much more exciting and propulsive than the former, with impressive performances, and wrestling sequences that will make you wince.
Father Mother Sister Brother is a simple, yet resonant anthology film depicting three parent-child relationships, including a Dublin-set story starring Cate Blanchett. It was odd watching a starkly realistic version of Dublin, seated among a global audience.
Luca Guadagnino’s After The Hunt disappointed me. Julia Roberts stars as a university professor, embroiled in a scandal, with the chance to play a deeply complicated, morally ambiguous, female protagonist: a rarity in modern films. Unfortunately, the performances are gratingly melodramatic, and Guadagnino’s directing style does not suit the subject.
Major movies
My two big standouts were Frankenstein, (Guillermo Del Toro ) and The Testament of Ann Lee, (Mona Fastvold ). Both films have a hypnotic visual identity. Del Toro has always been an aesthetically pleasing filmmaker, with striking colours and his passion for this material is palpable.
The Testament of Ann Lee mesmerised me as I sat in the lavish Sala Grande theatre while the cast and crew of the film watched above me. Amanda Seyfried gives an intense, physical performance, as Ann Lee, founder of the Shakers religion. This unusual movement practiced “shaking” as a form of Godly worship. The Shaker hymns evolve into masterfully choreographed musical sequences that are enrapturing, and the distinctly textured cinematography absorbs you into the time period. This provoked a similar awe to The Brutalist in 2024.
The post-premiere standing ovation is a well-known festival tradition. For the first time, I participated in this ritual, staying for 10 of the reported 15 minutes. It was wholly deserved. The rare film-making achievement that warrants recognition. I gladly gave them their deserved plaudits.
The Smashing Machine and After the Hunt have October cinema releases while Frankenstein arrives on Netflix on November 7. If the opportunity arises, I would urge all to see it on the big screen.
With Pálás’ closure, the unfortunate reality is that films, such as Orphan and Late Fame, may not be available to see in Galway - ever. Anyone at the Venice screenings would recognise these films’ value.
My hope is that by mentioning them here, it adds to calls to retain an arthouse cinema capacity in our city.
