Click the titles to see what the critics are saying about them.
Alexandros Avranas’s Miss Violence.
John Curran’s Tracks.
Emma Dante’s A Street in Palermo.
Xavier Dolan’s Tom at the Farm.
James Franco’s Child of God.
Stephen Frears’s Philomena.
Philippe Garrel’s Jealousy.
Terry Gilliam’s The Zero Theorem.
Jonathan Glazer’s Under the Skin.
David Gordon Green’s Joe.
Philip Gröning’s The Police Officer’s Wife.
Peter Landesman’s Parkland.
Hayao Miyazaki’s The Wind Rises.
Errol Morris’s The Unknown Known.
Kelly Reichardt’s Night Moves.
Tsai Ming-liang’s Stray Dogs.
OUT OF COMPETITION
Alfonso Cuarón’s Gravity.
Alex Gibney’s The Armstrong Lie.
Miguel Gomes’s Redemption.
Kim Ki-duk’s Moebius.
Steven Knight’s Locke.
Frederick Wiseman’s At Berkeley.
Gia Coppola’s Palo Alto.
Lukas Moodysson’s We Are the Best!
Uberto Pasolini’s Still Life.
Sion Sono’s Why Don’t You Play in Hell?
Ti West’s The Sacrament.
Samantha Fuller’s A Fuller Life.
Gabe Klinger’s Double Play: James Benning and Richard Linklater.
Yuval Adler’s Bethlehem.
Bruce LaBruce’s Gerontophilia.
And we’re gathering notes on critical reaction to the other films here.
VENICE INTERNATIONAL CRITICS WEEK
It’s all here.
SPECIAL EVENTS, TRIBUTES, AND AWARDS
The Financial Times‘ Nigel Andrews is one of the few to have written about a collection of 70 shorts by 70 directors, made as part of the Venezia 70 – Future Reloaded project: “‘Future overloaded’ might be a better title for this. Bidding to turn a Babel of trans-global artists—Olmi, Bertolucci, Schrader, last year’s Lion winner Kim Ki-Duk—into a symphony, or ‘cinergy,’ the film is intriguing if erratic. Gifted creators are given short straws (100-odd seconds each) and told to make bricks with them. Bertolucci is best, expressing the tragedy of disability—the director is permanently wheelchaired after a failed back operation—in the intricate, mesmerizing dance of a wheelchair’s wheels as they cross cobblestones. The title Red Shoes, the color of the otherwise unseen rider’s footwear, is a homage to Michael Powell’s dance drama classic, shod in irony here yet also in a kind of heroic defiance.”