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A two-hander

Mario Martone reunites with Toni Servillo in Scherzetto
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Intimacy under siege

Nicolas Pariser brings relationships, memory, and male crisis to Competition
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Geographies of loneliness

Grzegorz Dębowski’s moral noir in search of dignity in the shadows
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Orizzonti in Short

The first day of short films kicks off between competition and out-of-competition selections
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Thursday, 10 september 2026

DAY 9

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by F.D.S.

Within the sizeable French contingent (four directors) competing at this year’s Venice Film Festival, a welcome surprise could well come from Nicolas Pariser – a fifty-year-old Parisian whose broad background in youth led him from film criticism to filmmaking, tracing a storied path canonized by the Nouvelle Vague. Today, this intriguing French auteur presents Un peu avant minuit in Competition, starring Melvil Poupaud and Chiara Mastroianni, filmed between Paris and Ferrara.
Pariser’s filmography remains relatively compact, having made his feature debut just over a decade ago: three films to date alongside this Venice contender, two of which received Italian theatrical releases…

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Soundtrack Awards 83

Cinema is watched with the eyes, but endured through the ears. From claustrophobic nightmares to the most intimate nocturnal lyricism, we celebrate the musical choices that did far more than set a backdrop this year—they rewrote the very soul of their films. Here are the winners.
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  • Director's Cut
I fell in love with this film the moment I saw it. It is exceptionally well written, in the grand tradition of French word-driven cinema, bringing Rohmer to mind. It is a generational film that questions what an eighteen-year-old boy can grasp about the struggles of our generation, looking back at the 1980s and 1990s...
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TODAY's RATINGS

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DAU

STAMPA ITALIANA
F. Caprara
LA STAMPA
Rated 3.5 out of 5
IL CORRIERE
DELLA SERA
Rated 3.5 out of 5
A.FINOS
REPUBBLICA
Rated 3.5 out of 5
F. Alò
Il messaggero
Rated 4.5 out of 5
A. De Grandis
Il Gazzettino
Rated 3.5 out of 5
CORRIERE
DEL VENETO
Rated 3.5 out of 5
LA NUOVA
VENEZIA
Rated 3 out of 5
IL FATTO
QUOTIDIANO
Rated 3 out of 5
P. Armocida
IL GIORNALE
Rated 3 out of 5
C. Piccino
IL MANIFESTO
Rated 2 out of 5
F. Ferzetti
L'Espresso
Rated 4 out of 5
G. Bianconi
IL TEMPO
Rated 4 out of 5
G. Bianconi
IL TEMPO
Rated 4 out of 5
QUOTIDIANO
NAZIONALE
Rated 3.5 out of 5
T. Marchesi
Domani
Rated 3 out of 5

3.39

INTERNATIONAL CRITICS
THE HOLLYWOOD
REPORTER
Rated 4.5 out of 5
THE FILM
VERDICT
Rated 5 out of 5
B. Bastide
Le Monde
Rated 3 out of 5
B. CROLL
THE WRAP
Rated 3.5 out of 5
J. ROMNEY
THE OBSERVER
Rated 5 out of 5
E. Fernández-Santos
EL PAIS
Rated 5 out of 5
J.H. L. Ramos
EXPRESSO
Rated 2 out of 5
FRANKFURTER
RUNDSCHAU
Rated 3 out of 5

3.88

UN BON PETIT SOLDAT

STAMPA ITALIANA
F. Caprara
LA STAMPA
Rated 5 out of 5
IL CORRIERE
DELLA SERA
Rated 4 out of 5
A.FINOS
REPUBBLICA
Rated 4.5 out of 5
F. Alò
Il messaggero
Rated 3.5 out of 5
M. Mancuso
Il Foglio
Rated 3 out of 5
A. De Grandis
Il Gazzettino
Rated 4.5 out of 5
CORRIERE
DEL VENETO
Rated 4 out of 5
LA NUOVA
VENEZIA
Rated 4.5 out of 5
IL FATTO
QUOTIDIANO
Rated 3.5 out of 5
P. Armocida
IL GIORNALE
Rated 4 out of 5
C. Piccino
IL MANIFESTO
Rated 2.5 out of 5
F. Ferzetti
L'Espresso
Rated 3.5 out of 5
G. Bianconi
IL TEMPO
Rated 3.5 out of 5
G. Bianconi
IL TEMPO
Rated 3.5 out of 5
QUOTIDIANO
NAZIONALE
Rated 4 out of 5
T. Marchesi
Domani
Rated 4 out of 5

3.87

INTERNATIONAL CRITICS
SCREEN
INTERNATIONAL
Rated 4 out of 5
THE HOLLYWOOD
REPORTER
Rated 3.5 out of 5
THE FILM
VERDICT
Rated 4 out of 5
B. Bastide
Le Monde
Rated 4.5 out of 5
B. CROLL
THE WRAP
Rated 2.5 out of 5
E. Fernández-Santos
EL PAIS
Rated 3.5 out of 5
J.H. L. Ramos
EXPRESSO
Rated 4 out of 5
B. HOLLENDER
rzeczpospolita
Rated 3 out of 5
FRANKFURTER
RUNDSCHAU
Rated 4.5 out of 5

3.72

IL FUOCO CHE TI PORTI DENTRO

STAMPA ITALIANA
F. Caprara
LA STAMPA
Rated 4 out of 5
IL CORRIERE
DELLA SERA
Rated 3 out of 5
A.FINOS
REPUBBLICA
Rated 4.5 out of 5
F. Alò
Il messaggero
Rated 3 out of 5
M. Mancuso
Il Foglio
Rated 3 out of 5
A. De Grandis
Il Gazzettino
Rated 2.5 out of 5
CORRIERE
DEL VENETO
Rated 2.5 out of 5
LA NUOVA
VENEZIA
Rated 2 out of 5
IL FATTO
QUOTIDIANO
Rated 2.5 out of 5
P. Armocida
IL GIORNALE
Rated 3.5 out of 5
C. Piccino
IL MANIFESTO
Rated 1.5 out of 5
F. Ferzetti
L'Espresso
Rated 3.5 out of 5
G. Bianconi
IL TEMPO
Rated 3 out of 5
G. Bianconi
IL TEMPO
Rated 3 out of 5
QUOTIDIANO
NAZIONALE
Rated 4 out of 5
T. Marchesi
Domani
Rated 4 out of 5

3.1

INTERNATIONAL CRITICS
THE HOLLYWOOD
REPORTER
Rated 3 out of 5
THE FILM
VERDICT
Rated 3.5 out of 5
B. Bastide
Le Monde
Rated 2.5 out of 5
J.H. L. Ramos
EXPRESSO
Rated 2.5 out of 5
B. HOLLENDER
rzeczpospolita
Rated 4 out of 5
FRANKFURTER
RUNDSCHAU
Rated 4 out of 5

3.25

TUTTE LE VOTAZIONI | ALL RATINGS

COVER STORY

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GROUND FLOOR by Gábor Reisz

On Screen

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NAZA

NAZA

  • Concorso Venezia 83

INTERVIEWS

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Child’s play

Child’s play

Mario Martone adapts Domenico Starnone within the labyrinth of an inner Naples

INSIGHTS

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  • Highlights

Agenda #9

by Redazione VeNews
What’s On at the Festival: September 10
  • Highlights

AI Acts

by Riccardo Triolo
Between Barbera’s open-door policy and Cannes’ ban, the algorithm lands at Venice 83
  • The version of...

Domenico Starnone

by Loris Casadei
From Trick to Martone's film: a balcony facing the abyss, the challenge between grandfather and grandson, and the inscrutable mystery of talent
  • Venice Immersive

Octopocalypse

by Alberto Marzari
Three people to save Earth from an alien invasion: an experiment in synthetic cinema on the borderline between technology and empathy
  • Highlights

Orizzonti in Short

by Redazione VeNews
The first day of short films kicks off between competition and out-of-competition selections
  • Highlights

A two-hander

by Roberto Pugliese
Mario Martone reunites with Toni Servillo in Scherzetto
  • Highlights

A space for freedom and the future

SIC@SIC 11: seven premiere shorts and a new generation of women filmmakers

TODAY

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ARRIVALS

Yuval Abraham, Rachel Szor, Nicolas Pariser, Melvil Poupaud, Chiara Mastroianni, Clara Pacini, Léonie Simaga, Mario Martone, Giovanni Veronesi, Pierfrancesco Favino, Silvio Orlando, Francesco Carrozzini, Renzo Rosso, Yves Montmayeur, Grzegorz Dębowski, Monika Sabina Kwiatkowska, Cudze Rzeczy, Robert Mania, Ewa Pająk, Martyna Rozwadowska, Aleksandra Kolan, Jelena Maksimović, Lena Trifunović, Andrija Krivokapić, Irina Hotomski, Stefan Tarabić, Alessandro Ingaria, Valentina Carnelutti, Sebastiano Kiniger, Beatrice Elena Festi, Annie Ning, Lou Justine Moua Nédellec, Cao Jiong Zhang, Jing Ji Liu, Tommaso Acquarone, Alba Gaviraghi, Saoirse Ronan, Martha Malone, Clare Dunne, Amir Houshang Moein, Jessica DiCosta, Gabriella Hirschson, Audley Anderson, Gábor Reisz, Ádám Tompa, Rodrigo Crespo, Bettina Józsa, Damilola Orimogunje, Tosin Adeyemi, William Benson, Uzoamaka Power, Bimbo Akintola, Ignacio Masllorens, Laura Citarella, Gianfranco Pannone, Giuseppe Schillaci, Patrice Lutier, Giulia Cosentino, Bibiana Rojas Gómez, Juan David Cárdenas

PRESS CONFERENCE

palazzo del casinò

12.30 BE BRAVE (Venice Open – Out of Competition)
13.10 NAZA (Venezia 83)
14.00 UN PEU AVANT MINUIT (Venezia 83)
14.45 SCHERZETTO (Venice Open – Out of Competition)

Solo accreditati, prenotazione obbligatoria/ Press holders, only upon reservation

TODAY'S AGENDA

MOVIES

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11:00

Sala Corinto

  • Venice Classics

LOS DE LA MESA 10

Simón Feldman

(83')

11:00

Sala Perla

  • Venice Days

THE PHANTOM

Ignacio Masllorens, David Lamelas

(96')

13:45

Sala Perla

  • Film Critics’ Week

THE END OF TIMES

Bibiana Rojas Gómez, Juan David Cárdenas

(80')

14:00

Sala Corinto

  • Venice Classics

THE WILD ANGELS

Roger Corman

(86')

14:15

Sala Darsena

  • Orizzonti

WHAT BELONGS TO OTHERS

Grzegorz Dębowski

(105')

14:30

Sala Grande

  • Venice Open

BE BRAVE

Francesco Carrozzini

(90')

15:00

Sala Casino

  • Venice Open

PECCATO

Valerio Vestoso

(180')

16:30

Sala Perla

  • Venice Days

DEAR AJAYI

Damilola Orimogunje

(120')

17:00

Sala Darsena

  • Orizzonti

UNTIL THE DAY ENDS

Jelena Maksimović

(90')

17:00

Sala Corinto

  • Venice Open

TWIST & SHOOT MISTER SUZUKI

Yves Montmayeur

(93')

19:15

Sala Grande

  • Concorso Venezia 83

UN PEU AVANT MINUIT

Nicolas Pariser

(111')

21:00

Sala Giardino

  • Venezia Spotlight

GROUND FLOOR

Gábor Reisz

(108')

21:45

Sala Grande

  • Venice Open

SCHERZETTO

Mario Martone

(116')

FRONT ROW

PAST CONFERENCE

ANUPARNA ROY
THE FILM DRAWS FROM MY OWN LIFE AS A MIGRANT, WATCHING WORKING-CLASS LIVES SLOWLY DISSOLVE INTO THE RESTLESS PULSE OF THE CITY

ANUPARNA ROY

Rachel Szor
IN A FILM YOU CAN SHOW THINGS THAT ARE MISSING SOMEHOW IN JOURNALISM

Rachel Szor

Marco Bechis
I AM NOT MARIANO. I CHOSE FICTION BECAUSE SOMETIMES IT IS THE ONLY WAY TO APPROACH A TRUTH THAT MEMORY ALONE FAILS TO TELL

Marco Bechis

Alba Rohrwacher

THE MECHANISMS OF POWER FRIGHTEN ME, BUT I BELIEVE ART IS CAPABLE OF FINDING INTELLIGENT, ALTERNATIVE, SURPRISING ESCAPE ROUTES

Alba Rohrwacher

NICOLAS PARISER

NOT A LOVE STORY SET IN THE PRESENT, BUT THAT OF A MAN IN 2026 TRYING TO REINTERPRET HIS PAST LOVE LIFE. FOR EVERY POLITICAL REVOLUTION INEVITABLY BRINGS ABOUT A MORAL SHIFT

NICOLAS PARISER

ILYA KHRZHANOVSKY
THE FILM DAU BUILDS ITS WORLD WITH ARCHAEOLOGICAL PRECISION WHILE OBEYING THE FREE LAWS OF ART

ILYA KHRZHANOVSKY

STÉPHANE BRIZÉ
THIS IS WHERE THE RISK OF ARENDT’S BANALITY OF EVIL COMES INTO PLAY: ORDINARY, AMBITIOUS AND ZEALOUS PEOPLE WHO SUBMIT COMPLETELY TO AUTHORITY

STÉPHANE BRIZÉ

Casey Affleck
HOW DO WE MAKE PEACE WITH THE LIVES WE’VE ACTUALLY BEEN GIVEN? THAT’S A QUESTION I’VE BEEN LIVING WITH FOR A LONG TIME

Casey Affleck

Ellen Burstyn

IF A SCRIPT MAKES ME LAUGH, THAT’S GOOD. IF IT MAKES ME CRY, THAT’S GOOD. IF IT MAKES ME LAUGH AND CRY, THAT’S TERRIFIC

Ellen Burstyn

Florian Zeller

WHAT EXACTLY ARE WE BEING INVITED TO WITNESS? A GLIMPSE OF REALITY? FICTION? OR A META-EXAMINATION OF THE TRUTH?

Florian Zeller

SOPHIE FIENNES
AS SLAVOJ SAYS IN THE FILM, “OUR DUTY IS TO SEE THINGS THE WAY THEY ARE, AND TO DO THIS, WE NEED CINEMA.”

SOPHIE FIENNES

Hirokazu Kore-eda
The sound of them DRAWING MANGA, CHANGING OVER TIME, PLAYS A MAJOR ROLE IN THE FILM AS A NON-VERBAL FORM OF EXPRESSION, ALONGSIDE THE MUSIC

Hirokazu Kore-eda

Ellen Burstyn
I WANTED TO PORTRAY WOMEN AS HEROES BECAUSE THAT’S WHAT THEY ARE

Ellen Burstyn

Jannis Lenz
WE LIVE IN AN AGE THAT WATCHES YOUNG PEOPLE CONSTANTLY, YET RARELY SEES THEM

Jannis Lenz

Nanni Moretti
...QUITE SIMPLY, IN THIRTY YEARS MY FILMS HAVE NEVER BEEN READY IN TIME FOR SUMMER.

Nanni Moretti

Andrea Pallaoro
THE ECHO CHAMBER IS ABOUT THE RESIDUES PEOPLE LEAVE INSIDE ONE ANOTHER – MEMORIES, WOUNDS, DESIRES, DEPENDENCIES – AND THE WAYS RELATIONSHIPS CAN BECOME SPACES OF BOTH REFUGE AND ENTRAPMENT

Andrea Pallaoro

Lee Chang-dong
NO MATTER HOW LABOUR,CAPITAL, OR OTHER FORCES SHAPE OUR LIVES, I BELIEVE WE CAN STILL MOVE TOWARD FREEDOM

Lee Chang-dong

Noel & Liam Gallagher
THE DOCUMENTARY, LIKE THE REUNION AND THE TOUR, TOOK ON A LIFE OF ITS OWN. IT IS ULTIMATELY A FILM ABOUT FORGIVENESS AND ACCEPTANCE, AND HOPEFULLY ONE THAT STRIKES A CHORD IN THE TIMES WE ARE LIVING

Noel & Liam Gallagher

Theo Rollason
I THINK DEREK JARMAN SHOWED THAT YOU CAN MAKE FIERCELY POLITICAL ART AND NOT SACRIFICE AN OUNCE OF CREATIVITY

Theo Rollason

Lance Oppenheim
I LIKED THE IDEA OF REVISITING THE MEDIA CULTURE OF THE EARLY 2000s, BEFORE THE NEWS LANDSCAPE FRACTURED, WHEN A “PRIMETIME” SLOT FELT LIKE A MATTER OF LIFE OR DEATH. FOR SOME, IT WAS

Lance Oppenheim

Nanni Moretti
IT’S A FILM ABOUT FEELINGS AND THE NEED TO NAME THEM: LETTING THEM SURFACE, UNRESERVEDLY ADMITTING THAT WE CARE FOR ONE ANOTHER, TELLING EACH OTHER WITHOUT SHAME THAT WE ARE IN LOVE

Nanni Moretti

JOHN MALKOVICH
I have no intention of retiring. As long as there are stories worth telling and directors worth working with, I'll keep going.

JOHN MALKOVICH

MARTIN MCDONAGH
In my movies I’m always questioning authority or what we have been told

MARTIN MCDONAGH

Takashi Miike

I INVITE YOU TO EXPERIENCE ON SCREEN THE PIERCING GAZE OF A DEMONIC INTENSITY THAT STRIKES THROUGH THE SOUL OF THOSE WHO WISH TO BE FREED FROM SHALLOW WORDS SUCH AS “MOVING”

Takashi Miike

Werner Herzog

IT’S THE SPIRIT OF THE FILM. LIKE OPEN HEART SURGERY, GOING TO THE ESSENTIALS RIGHT AWAY. ONE CAMERA, ONE TAKE (MAYBE TWO, OR THREE). THAT’S IT

Werner Herzog

Shinya Tsukamoto

WHILE IT IS NATURAL TO FEAR BECOMING A VICTIM OF WAR, THIS STORY MAKES US REALISE THAT BECOMING A PERPETRATOR IS JUST AS TERRIFYING

Shinya Tsukamoto

CÉDRIC KAHN

WE WANTED TO LISTEN TO THEIR VOICES. AND IT WAS FROM THOSE VOICES THAT THE SCREENPLAY EMERGED

CÉDRIC KAHN

Gianni Amelio
NESSUN DOLORE comes from a distant need: looking past the chronicle of the exodus in Lamerica, my film from thirty years back, left hanging on a ship in the middle of the Adriatic. What has really changed since? Just who is “the immigrant”?

Gianni Amelio

Alberto Barbera
Watching the two Mara sisters perform is utterly mesmerizing—they are magnificent. How Herzog pulled off keeping them in perfect sync throughout the entire film is beyond me: it’s crazy, borderline pathological.

Alberto Barbera

ALBERTO BARBERA
Wild Horse Nine is a masterclass in narrative intelligence. Equal parts delightful, hilarious, and deeply unsettling, it tackles things we basically already know about the CIA, but renders them completely fresh and utterly gripping

ALBERTO BARBERA

Maggie Gyllenhaal
How can we sit here talking about film right now when the world is falling apart? For me, it all comes down to empathy.

Maggie Gyllenhaal

Jim Jarmush
I don’t really know where the hell the story came from.

Jim Jarmush

FESTIVAL PLAYLIST

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VENEZIA NEWS #313-314

VeNewsletter

Ogni settimana / Every week

il meglio della programmazione culturale di Venezia / the best of Venice's cultural life

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VENEZIA NEWS #313-314

VeNewsletter

Ogni settimana

il meglio della programmazione culturale
di Venezia