The best of Venice 83 - Venezia News

WOMAN UNKNOWN

GOLDEN LION

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DAU

SILVER LION BEST DIRECTOR

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NAZA

SPECIAL JURY PRIZE

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POSSIBLE LOVE

SILVER LION GRAND JURY PRIZE

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ALL THE AWARDS OF THE 83RD VENICE FILM FESTIVAL

Day in, day out

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Venice 2026, day by day. Stars, films, and sparks from the Lido: the red carpet front and center, paired with an intimate look into the heart of the Festival. A daily dose of stories, burning issues, buzz, and backstage scoops.

READ EVERY DAY IN 2026

Music&Film

The 83nd edition through un/forgettable cinematic soundtrack moments… and loads more music, served with sharp irony and a streak of madness…

READ ALL 2026 SOUNDTRACKS

DIRECTOR'S CUT

The Festival with Alberto Barbera. The Director’s daily debrief: artistic choices, films, and social reflections. A lucid look at the centrality of Venice and cinema’s challenges, poised between the present and the future…

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DIRECTOR’S CUTS 2026

CRITICS' RATINGS – FINAL RANKINGS

TUTTE LE VOTAZIONI FINALI | ALL FINAL RATINGS

GOLDEN LION

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WOMAN UNKNOWN by May El-Toukhy

HIGHLIGHTS

A two-hander

by Roberto Pugliese

Mario Martone reunites with Toni Servillo in Scherzetto

INTERVIEWS

A shift in pace

by Mariachiara Marzari

From the Blue Lounge to MYmovies' innovations: GEDI Group at Venice 83

FOCUS

Ali Asgari

by Davide Carbone

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

LA VERSIONE DI...

Hubert e Zanzim

by Loris Casadei

Between historical rigor and Platonic myth: a Renaissance disguise that demolishes gender hypocrisy

VENICE IMMERSIVE

Out of the Ashes

by Alberto Marzari

Memory, Loss, and Resilience in the Inferno of Los Angeles

SOUNDTRACK

Daily #2

by F.D.S.

Following Danny Boyle: The Composer Shaping the Zeitgeist to Match Cinema’s Breakneck Pace

ALL DAILIES

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3 September 2026

7 September 2026

6 September 2026

2 September 2026

5 September 2026

4 September 2026

8 September 2026

AWARDS

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GOLDEN LION

WOMAN UNKNOWN

May El-Toukhy

SILVER LION

GRAND JURY PRIZE

POSSIBLE LOVE

Lee Chang-dong

SILVER LION

BEST DIRECTOR

DAU

Ilya Khrzhanovsky

COPPA VOLPI

BEST ACTRESS

Mathilde Arcel

WOMAN UNKNOWN

May El-Toukhy

COPPA VOLPI

BEST ACTOR

John Malkovich

WILD HORSE NINE

Martin McDonagh

BEST SCREENPLAY

Stéphane Brizé, Coralie Amédéo, Olivier Gorce

UN BON PETIT SOLDAT

Stéphane Brizé

Special Jury Prize

NAZA

Yuval Abraham, Rachel Szor

PREMIO MASTROIANNI

BEST YOUNG ACTRESS

Malou Khebizi

15/18 (A PLACE TO HEAL)

Cédric Kahn

PREMIO VENEZIA OPERA PRIMA

"Luigi De Laurentiis"

LA MAISON DU VENT

Auguste Bernard Kouemo Yanghu

ORIZZONTI

BEST MOVIE

UN DÉTOUR PAR DIANE

Ann Sirot, Raphaël Balboni

ORIZZONTI

BEST DIRECTOR

A DAY IN THE LIFE OF JO: CHAPTER PHAEDRA

Jacqueline Lentzou

VENICE SPOTLIGHT

PEOPLE'S AWARD

I MATTER

Alina Șerban

83RD VENICE FILM FESTIVAL AWARDS

FRONT ROW

PAST CONFERENCE

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

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

Rachel Szor

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

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

Alba Rohrwacher

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

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

ILYA KHRZHANOVSKY

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

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

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

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

Florian Zeller

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

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

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

Ellen Burstyn

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

Jannis Lenz

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

Nanni Moretti

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

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

Lee Chang-dong

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

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

Theo Rollason

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

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

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

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

MARTIN MCDONAGH

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

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

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

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

CÉDRIC KAHN

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

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

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

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

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

Jim Jarmush

FESTIVAL PLAYLIST