The 82nd Venice Film Festival is set to captivate audiences with a diverse program, where an unexpected political drama about a prominent Russian figure emerges as a focal point. This year`s lineup promises a blend of established masters and intriguing new narratives, drawing attention to complex geopolitical themes.
“The Kremlin Wizard”: A Deep Dive into Power Dynamics
Among the highly anticipated entries is Olivier Assayas’ French feature film, “The Kremlin Wizard.” This two-hour political thriller, filmed in Riga, draws its narrative from Giuliano da Empoli’s acclaimed book of the same name. The film chronicles the tumultuous 1990s in Russia through the eyes of Vadim Baranov, a character inspired by Vladislav Surkov, the political strategist often dubbed a “political technologist” who served a future Russian president.
The casting choices for this intriguing piece are themselves a testament to its ambition. American actor Paul Dano, known for his nuanced performances in films such as Steven Spielberg`s “The Fabelmans” and Paolo Sorrentino’s “Youth,” takes on the role of Baranov. His on-screen love interest is portrayed by Swedish actress Alicia Vikander, an Oscar winner recognized for her work in “The Danish Girl” and “Anna Karenina.” Adding another layer of Hollywood prestige, the role of a pre-presidency Vladimir Putin is handled by British and Hollywood stalwart Jude Law, celebrated for his roles in Sorrentino’s “The New Pope” and “The Young Pope,” as well as his portrayal of Watson in “Sherlock Holmes.” The assembly of such an international cast to depict figures from a distinct political landscape suggests a cinematic exploration of power that transcends national boundaries, aiming for universal appeal despite its specific origins. One might even muse that the drama of real-world statecraft is now being cast with the very best of dramatic arts.
A Kaleidoscope of Global Cinema
Beyond the political intrigue of the Kremlin, the 82nd Venice Film Festival boasts a robust main competition featuring 21 films, each a potential contender for the coveted Golden Lion. The festival opens with Paolo Sorrentino’s “Grace,” starring Toni Servillo, setting a high bar for the cinematic journey ahead, as expected from the acclaimed Italian director.
Italian cinema is strongly represented, with four native directors joining Sorrentino. Pietro Marcello, a noted admirer of Soviet and Russian cinema, presents “Duse,” featuring French-Italian actress Valeria Bruni-Tedeschi. Documentarian Gianfranco Rosi offers “Under the Clouds,” a grand-style piece intertwining modern Neapolitan life with ancient Pompeii. These selections underline Italy’s rich cinematic heritage and its contemporary relevance, a pleasant counterpoint to the more overtly political narratives.
Yorgos Lanthimos, a Golden Lion recipient for “Poor Things” two years prior, returns with “Bugonia,” a remake of the South Korean comedy “Save the Green Planet!” His presence alone is enough to generate considerable buzz. Meanwhile, Cannes regular Jim Jarmusch makes a surprising appearance in the Venice competition with “Father, Mother, Sister, Brother,” a complex family drama starring Cate Blanchett and Adam Driver. Other notable entries include Guillermo del Toro`s adaptation of Mary Shelley`s “Frankenstein,” Noah Baumbach`s “Jay Kelly” featuring George Clooney as an actor in crisis, and Kathryn Bigelow`s “Dynamite House,” which centers on a White House missile attack. France further contributes with François Ozon’s “The Stranger” and Valérie Donzelli’s “At Work,” while two Hungarian films, László Nemes’ “Orphan” and Ildikó Enyedi’s “Silent Friend,” signal a broader European representation, ensuring a truly international flavor.
The Marathon of Masterpieces and an Unexpected Inclusion
Festival Director Alberto Barbera has candidly addressed a growing trend: the increasing runtime of many competition films, with several exceeding two hours. This presents a logistical challenge for programming and a demanding task for the jury, chaired by American director Alexander Payne. The jury, a truly international assembly, includes Mohammad Rasoulof (Iran), Cristian Mungiu (Romania), Stéphane Brizé (France), Maura Delpero (Italy), Fernanda Torres (Brazil), and Zhao Tao (China).
In a notable and somewhat unexpected development, the documentary program features Alexander Sokurov’s “Director`s Notebook.” Clocking in at an imposing 305 minutes, this film, based on the master’s diary entries from the early 1960s, offers glimpses of ordinary people, Mikhail Gorbachev, and the life of a vast country through Sokurov’s personal lens. Its inclusion is particularly striking given recent trends that have seen Russian films less frequently featured at major international festivals. Sokurov’s distinctive, deeply personal approach to filmmaking suggests a unique historical and cultural perspective, inviting audiences to ponder the intertwined destinies of individuals and nations, perhaps even as a quiet counter-narrative to the more explicit political thriller in the main competition.
The 82nd Venice Film Festival promises to be a compelling platform for global cinematic expression, exploring themes from political manipulation to personal introspection, all delivered by a roster of world-renowned talent. It remains a crucial arbiter of taste and a bellwether for the cinematic landscape.
