IMDb's Venice 2024 Cheat Sheet

Todd Phillips' JOKER debuted on August 31st, 2019, 34 days before its wide release in the U.S. on October 4th. It tore the Venice critics in two. I had a memorable, heated exchange on the beach below the Hotel Excelsior (the fulcrum of the Lido events) about what it meant and what it was going to do. Neither of us really knew what the future held but I was quite sure it would be terrific, in the sense of it being substantial, and maybe a hit, while my sparring partner thought the film was dangerous and would not be received by the public. The same sense of anxiety and anticipation appears to hang off FOLIE à DEUX, a purported musical (but the original was too, in many ways). In another way of history rhyming, JOKER: FOLIE à DEUX premieres October 4th this year too.

I'm looking forward to Kevin Costner's HORIZON: AN AMERICAN SAGA – CHAPTER 2 precisely because CHAPTER 1, which engrossed me, just kindof ended. It was as if Costner finally was so amazed and depleted after getting the first one done, and aware of what was coming down the line, that he shoed it out to make room for the next one. But you could tell he was aiming for something huge, off in the distance, something even he couldn't even get his hands around, at least not in CHAPTER 1. Let's hope things come more into focus for CHAPTER II.

Director Luca Guadagnino was supposed to kick off Venice last year with CHALLENGERS as the Opening Night Film but it was not to be. The film was supposedly pulled because the ongoing dual strikes in Hollywood wouldn't allow the talent (like Zendaya) to participate and was bumped to April 26th of this year in the States. It's a shame because Venice has mostly been very, very good to Luca's narrative features. I AM LOVE debuted there in 2009, A BIGGER SPLASH in 2015, SUSPIRIA (the exception) in 2018 and BONES AND ALL in 2022. I'm looking forward to this protean director's take on the William Burrough's novel.

There are plenty of reasons for my interest in this film. First off, the actual events took place in the backyard of Seattle, where I work, and I know the story of the rise of The Order fairly well. Second, the director excels at the real crime scenarios, like his debut THE SNOWTOWN MURDERS. Third, look at that cast: Nicholas Hoult, Jude Law, Tye Sheridan, Jurnee Smollett, George Tchortov & Alison Oliver.

A new Pedro Almodóvar! We haven't had a feature from him in three years, the last being PARALLEL MOTHERS in '21. This time out he's not working with his longtime cinematographer, José Luis Alcaine, but the more journeyman, Eduard Grau (though it must be said that Grau's black and white work on PASSING was singled out for notice in that film, winning a Spirit Award). This is also, amazingly, the first time the great Spanish director has worked with Moore.

No, it isn't the pairing of two of the old time stars of Hollywood, George Clooney and Brad Pitt, disembarking from a wooden speed boat that thrills me here. If you'd seen 2015's COP CAR, Jon Watt's smart little hit at Sundance, the one that got him the 2017 SPIDER-MAN gig, then you'd know that anything he'd had sitting in a desk drawer, while he went out and made three very entertaining Spidey movies, must be worth the wait.

Director Halina Reijn made the sadly overlooked BODIES BODIES BODIES and her ability to mix satire, with out-and-out humor, and biting drama make this an unexpected must-see.

I've been waiting for director Walter Salles to make something with the strength and conviction of 2004's THE MOTORCYCLE DIARIES ever since. 2012's ON THE ROAD, sadly, wasn't it. Back in his home turf perhaps this is what I've been waiting 20 years for.

It's seven minutes and it's written and directed by Nic Refn, whom I personally love. Not to mention that Refn has single-shot scenes in features that run longer than seven minutes! All joking aside, Refn is always more than just a watch. He demands active participation.

I normally kindof avoid Series at film festivals--what's the point?--but this is from Thomas Vinterberg, he of ANOTHER ROUND, THE HUNT, and FESTEN. So that's the point.

Again, it's a stacked cast with Adrien Brody, Felicity Jones, Guy Pearce
& Joe Alwyn, so I'm going to look past the fact that Brady Corbet wrote and directed VOX LUX, a cerebral hemorrhage starring Natalie Portman, from 2018.

Does this look like a bit of treacle from the man who brought us A MAN AND A WOMAN, some 60 years ago? Why, yes, yes it does, and I'll be watching what the 86-year-old Lelouch has to say, thankyouverymuch.

Actor Vincent Lindon is having a great third act in his career. He was the confused, tragic fireman/father in TITANE and happily droll in THE SECOND ACT by Quentin Dupieux. His weathered face lends credibility instantly from the audience, which he can use for good, or for ill.

I'm a big fan of the Venice Immersive program of VR installations. Some of my most memorable times have been in the small island, just off of the Lido, that was used in the 17th century as a holding pen for lepers being shipped away. I'm not really sure what WHAT IF is doing there but I'm going to find out.

Cinema Bienalle director Alberto Barbera must be looking at the directors the fest has corralled and chuckling. Tim Burton is one of those creators that can be referred to with just the last name, like some of the earlier picks on this list, Guadagnino, Almodovar, & Refn. No, the numerous versions of the trailer, have not thrilled me but I'm hoping there's still some juice left in the old beetle.

Experimental filmmaker Harmony Korine could be messing with us all again (most likely) in this first-person-shooter work. But Korine made SPRING BREAKERS so he gets a lot of latitude here.

You can't tell it from the title (and they really should fix that) but this is the documentary about Jerry Lewis’ infamous, unreleased Holocaust film THE DAY THE CLOWN CRIED. In 1972 the famed comedian directed and starred as Helmut Doork, a clown condemned to entertain Jewish children being forced into gas chambers.
The finished film was supposedly so bad that the star hid all the footage and CLOWN has never been seen in its entirety. Before his death in 2017 Lewis donated a version to the Library of Congress, where it will be available to view in 2025, per Lewis' stipulation. Could this be like THE OTHER SIDE OF THE WIND, Orson Welles' last film, which debuted at Venice in 2018?