Internationally recognised art and literary critic, writer and cultural producer. Published in ELLE, Glamour, Esquire and Cosmopolitan; member of the Union of Writers.
The 2024 Venice Film Festival concluded with a wave of both excitement and debate. As one of the “big three” international film festivals alongside Cannes and Berlin, Venice has long been a crucial platform for directors to present their work to a global audience, setting the tone for awards season. Yet, this year’s edition has left critics and audiences alike reflecting on the state of cinema and whether it is living up to its potential. Despite undeniable artistry, some argue that the Venice Film Festival 2024, like its counterparts earlier this year, promised much but delivered less.
An Underwhelming Year for Film Festivals?
This year’s Venice Film Festival was marked by polarising opinions and persistent conversations about the heat – not just in the atmosphere, but within the critical discourse surrounding the films showcased. With Berlin in February and Cannes in May both receiving lukewarm reception, Venice followed suit. There was an undercurrent of disappointment permeating the Lido as the festival progressed. The highly anticipated releases did not quite deliver on the grandeur and prestige typically associated with the oldest film festival in the world.
However, even amid scepticism, one cannot overlook the festival’s determination to celebrate the power of cinema. Isabelle Huppert, chair of the jury, remarked during her concluding speech that “cinema remains in great shape.” This optimism, albeit met with some resistance, set the tone for the festival’s closing discussions.
The Controversy Surrounding ‘The Brutalist’
The most debated film of the festival was undeniably The Brutalist, a 3.5-hour magnum opus directed by Brady Corbet. This American production took home the prestigious Silver Lion for Best Director, yet many attendees felt conflicted about its selection. Corbet’s film, centring around a Bauhaus architect (played by Adrien Brody) who emigrates to the United States following the Holocaust, blends history, art, and personal tragedy in a contemplative exploration of post-war modernism.
Despite its critical success, the decision to award The Brutalist a major prize at a European festival was seen as a nod to the dominance of US productions in recent years. Over the past decade, Venice has awarded the Golden Lion to American films on five occasions. With The Brutalist coming close to securing the top prize, some critics felt the festival was repeating its trend of privileging American cinema over other international works, even as European and Asian filmmakers brought deeply original stories to the table.
Corbet’s use of 70mm film and lengthy runtime was a deliberate homage to the great auteurs of cinema, with comparisons drawn to Stanley Kubrick and Andrei Tarkovsky. Yet, there were grumblings that his heavy-handed storytelling weighed down the film, leaving it feeling over-ambitious and cumbersome. In his acceptance speech, Corbet mused on the future of cinema, stating, “We [directors] have our own vision of what cinema should become, a borderless future for our children.” Whether his vision resonates with modern audiences remains to be seen as the film makes its way to global screens.
Pedro Almodóvar’s Long-Awaited Victory
On the opposite end of the spectrum, Pedro Almodóvar’s first English-language feature The Room Next Door was hailed as a career-defining achievement for the iconic Spanish filmmaker. Almodóvar, known for his vibrant, emotionally intense narratives, took home the Golden Lion for Best Film, finally securing the top prize after decades of lauded films.
In a surprising turn, The Room Next Door is an intimate, restrained portrayal of mortality, starring Tilda Swinton as a war correspondent contemplating assisted suicide and Julianne Moore as her reclusive writer friend. The two women isolate themselves in a secluded New England home, where Swinton’s character, Martha, faces the ultimate decision while Moore’s Ingrid occupies the adjacent room. The emotional weight of the film is palpable, as Almodóvar strips away the melodrama typically associated with his Spanish-language works, favouring a more subdued approach.
The film’s nuanced performances, particularly from Swinton and Moore, were universally praised, though some critics felt it lacked the fiery passion characteristic of Almodóvar’s oeuvre. Still, the director’s ability to transition into English-language cinema without losing his unique artistic identity was seen as a triumph in itself.
Dea Kulumbegashvili’s Striking Vision in ‘April’
One of the most talked-about films from this year’s festival was Dea Kulumbegashvili’s April, which earned the Special Jury Prize. The Georgian director, whose debut Beginning (2020) had already garnered significant attention, returned with a haunting exploration of female experiences in a patriarchal society. Set in the rural Georgian countryside, the film follows Nina, a midwife, as she navigates a series of life-altering events against the backdrop of a society steeped in tradition.
Kulumbegashvili’s signature style is evident throughout April, particularly in its opening sequence, a ten-minute real-time depiction of childbirth. This immersive approach captivated audiences and demonstrated her commitment to authenticity. The director spent a year shadowing maternity ward staff to ensure the portrayal was as true to life as possible.
With a minimalist score by Matthew Herbert, whose recent work Horse featured music played on instruments made from horse bones, the film builds a slow, deliberate tension, ultimately delivering an emotional punch that lingers long after the credits roll. April was both praised for its stark realism and critiqued for its slow pace, yet few could deny Kulumbegashvili’s profound ability to convey the human condition.
‘Mountain Bride’ and the Art of Subtlety
Another film that quietly captivated the Venice audience was Maura Delpero’s Mountain Bride, which took home the Grand Jury Prize. Known for her poetic visual language, Delpero enlisted the expertise of Mikhail Krichman, the cinematographer behind many of Andrey Zvyagintsev’s films, to capture the expansive landscapes of the Italian mountains.
Set during the aftermath of World War II, Mountain Bride tells the story of a young woman facing the devastating consequences of the war, yet the film contains not a single scene of combat. Instead, Delpero focuses on the psychological and emotional toll of the conflict, portraying a world where the horrors of war seep into every aspect of daily life. This understated approach was praised for its quiet intensity, with Delpero showing restraint and maturity in her storytelling.
Venice 2024: A Reflection on Modern Cinema
As the 2024 Venice Film Festival drew to a close, it left behind a mixed legacy. While some films, such as The Brutalist and The Room Next Door, captured global attention, others, like April and Mountain Bride, provided quieter but no less significant contributions to the world of cinema. What is evident from this year’s festival is that modern filmmakers are grappling with complex themes of identity, history, and humanity’s future. The conversation around cinema’s role in society is more relevant than ever, and festivals like Venice remain a crucial space for these dialogues to unfold.
As the prize-winners make their way to screens around the world, only time will tell which films will stand the test of time. But one thing is certain: the Venice Film Festival 2024, for all its controversies and surprises, has reaffirmed cinema’s power to provoke, inspire, and reflect the ever-changing landscape of the human experience.
