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Focus Ali Asgari

Clashing with power in modern-day Tehran: a five-film guide to the cinema of Ali Asgari
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An open wound

Marco Bechis brings Argentina's living memory to the Competition
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The heresy of laughter

Giovanni Veronesi closes the festival with Favino and Orlando in an obscurantist seventeenth century
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The invention of love

Anuparna Roy returns to Orizzonti on the threshold between desire and survival
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Saturday, 12 september 2026

All the Prizes of the 83rd Venice International Film Festival

DAY 10

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by F.D.S.

Ali Asgari belongs to the youngest generation of internationally acclaimed Iranian directors: roughly ten years younger than Farhadi and Rasoulof, more than twenty years younger than Panahi and Makhmalbaf, and forty years younger than Kiarostami. Beyond each filmmaker’s individual style, it is evident that, from Kiarostami to Asgari, Iranian cinema has undergone a radical geographic shift in its landscape – a complete transformation in the settings at the center of narrative focus…

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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
A Bit of Light is profoundly moving. Asgari tells the story of a physician whose clinic was ransacked by the Revolutionary Guards after he treated young demonstrators wounded in street protests. Unable to bear living in a country stripped of freedom, he resolves to end his life...
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TODAY'S RATING

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A BIT OF LIGHT

STAMPA ITALIANA
F. Caprara
LA STAMPA
Rated 3.5 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
A. De Grandis
Il Gazzettino
Rated 3 out of 5
CORRIERE
DEL VENETO
Rated 3 out of 5
LA NUOVA
VENEZIA
Rated 3 out of 5
IL FATTO
QUOTIDIANO
Rated 3 out of 5
P. Armocida
IL GIORNALE
Rated 3.5 out of 5
C. Piccino
IL MANIFESTO
Rated 2.5 out of 5
G. Bianconi
IL TEMPO
Rated 4.5 out of 5
G. Bianconi
IL TEMPO
Rated 4.5 out of 5
QUOTIDIANO
NAZIONALE
Rated 4 out of 5
T. Marchesi
Domani
Rated 5 out of 5

3.5

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

3.44

RITORNO A BUENOS AIRES

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 3.5 out of 5
CORRIERE
DEL VENETO
Rated 3.5 out of 5
LA NUOVA
VENEZIA
Rated 4 out of 5
IL FATTO
QUOTIDIANO
Rated 3.5 out of 5
P. Armocida
IL GIORNALE
Rated 3.5 out of 5
C. Piccino
IL MANIFESTO
Rated 3.5 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 4 out of 5

3.63

INTERNATIONAL CRITICS
THE HOLLYWOOD
REPORTER
Rated 3.5 out of 5
THE FILM
VERDICT
Rated 5 out of 5
B. Bastide
Le Monde
Rated 4 out of 5
E. Fernández-Santos
EL PAIS
Rated 2 out of 5
J.H. L. Ramos
EXPRESSO
Rated 3 out of 5
B. HOLLENDER
rzeczpospolita
Rated 3.5 out of 5
FRANKFURTER
RUNDSCHAU
Rated 2 out of 5

3.29

TUTTE LE VOTAZIONI | ALL RATINGS

COVER STORY

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Dio Ride by Giovanni Veronesi

On Screen

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INTERVIEWS

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The heresy of laughter

The heresy of laughter

Giovanni Veronesi closes the festival with Favino and Orlando in an obscurantist seventeenth century
Streaming Rebel

Streaming Rebel

From dial-up to AI: 26 years of MYmovies as told by CEO Gianluca Guzzo
The audiovisual challenge

The audiovisual challenge

Chiara Sbarigia outlines APA's priorities across credit guarantees, foreign markets, and new formats

INSIGHTS

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  • Highlights

Pratt Comes Home to Venice 83″

by Chiara Sciascia
Stefano Knuchel's documentary, a joint SIC & GDA production, closes the trilogy dedicated to the creator of Corto Maltese
  • Interviews

The heresy of laughter

by Marisa Santin
Giovanni Veronesi closes the festival with Favino and Orlando in an obscurantist seventeenth century
  • Highlights

Auteur sparks

by Roberta De Rossi
Gyllenhaal, Donzelli, Cavalli at the helm of the Venice 83 Juries
  • Highlights

INTERFILM Awards Brizé

by Redazione VeNews
Un bon petit soldat wins il 15th INTERFILM Award for Promoting Interreligious Dialogue
  • Venice Immersive

Tomori

by Alberto Marzari
Peering through the darkness of memory: the immersive experience of an unforgiving past
  • Highlights

Corsair Family

by Redazione VeNews
Isola Edipo turns ten, celebrating with Tre Allegri Ragazzi Morti
  • Highlights

New arenas of action

by Redazione VeNews
Inside the Lido home of Italian audiovisuals with Roberto Stabile

TODAY

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ARRIVALS

Francesco Gheghi – attore (Dio Ride) , Maurizio Lombardi – attore (Dio Ride) , Alma Noce – attrice (Dio Ride) , Paolo Rossi – attore (Dio Ride) . Stefano Knuchel – regista (Il desiderio di essere inutile – Hugo a Venezia)

PRESS CONFERENCE

palazzo del casinò

1.00 PM GOD LAUGHS (Venice Open – Out of Competition) To follow, the Awards Ceremony: 9.15 PM The Juries of the 83rd Venice International Film Festival 10.00 PM The Winners of the 83rd Venice International Film Festival

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

TODAY'S AGENDA

MOVIES

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09:00

Sala Casino

  • Film Critics’ Week , 
  • Venice Days

HUGO IN VENICE – A YEARNING TO BE OF NO USE

Stefano Knuchel

(100')

21:30

Sala Grande

  • Venice Open

DIO RIDE

Giovanni Veronesi

(114')

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

CloseMenu
VENEZIA NEWS #313-314

VeNewsletter

Ogni settimana

il meglio della programmazione culturale
di Venezia