The 11 Best Movies of the 2025 Venice Film Festival

This year’s Venice Film Festival has drawn mixed reviews, with many commenting that it may not be one of its strongest line-ups in recent years. However, it is wise to hold off on a definitive verdict as history shows that dismissive opinions about festival films can sometimes prove incorrect. The hype surrounding a film can lead to disappointment if it deviates from expectations. That said, I’ve seen several movies at this year’s festival that I truly enjoyed and were already on my list of most-anticipated films. Some of these I believe will endure the test of time. There were even titles I quite liked that didn’t make it onto my final list. Here are my picks for the best films at the 20XX Venice Film Festival.

The Wizard of the Kremlin

In simpler terms, Olivier Assayas’s film portrays the story of Russia in the 21st century, focusing on a character inspired by real-life figures, such as a playwright, media mogul, and political strategist (played chilling by Paul Dano). This character helps put Vladimir Putin (delivered well by Jude Law) into power and works tirelessly to maintain his rule. He manipulates news, invents stories, stirs up discord, and teams up with the most radical segments of society to keep his chosen leader in office. As the movie races through significant events from the post-Soviet period, we witness a nation that was brimming with freedom and potential shut down and descend into brutal dictatorship, all under the guise of safety. Evidently, something similar could never happen anywhere else.

A House of Dynamite

Kathryn Bigelow’s gripping and suspenseful new thriller delves into the layers of the U.S. national security system when an unknown adversary launches a nuclear missile towards Chicago. The narrative unfolds in three separate segments, tracing the escalation of the crisis through the ranks of command, demonstrating that despite all our complex systems and technology, they are rendered insignificant against such devastating force. Beneath its exhilarating action-thriller veneer lies a poignant message of anger towards the relentless (and, to some, escalating) danger of nuclear annihilation. The “House of Dynamite,” as the title suggests, symbolizes our entire globe in an era of nuclear arms spread.

The Voice of Hind Rajab

This year’s most impactful film is a powerful work by Tunisian director Kaouther Ben Hania, who reconstructs a Red Crescent emergency call center during the 2024 Israeli army incident that resulted in the tragic death of a six-year-old Palestinian girl, named Hind Rajab. With the families’ consent, Ben Hania incorporates authentic recordings of Rajab’s distressing calls for help and the real audio of the ground rescue workers who were also killed during the event. The film’s structure carries an emotional immediacy while raising complex questions about the boundary between fiction and reality in storytelling.

Ben Hania’s methodical approach emphasizes the world’s impotence in the face of such unimaginable cruelty by setting most of the action within a single location, where we witness professionals providing care and assistance to an incident they cannot ultimately resolve. Occasionally, we hear and see real audio and footage of the call center volunteers, as actors listen to them, creating a mirror of their shared helplessness. The film was awarded this year’s Silver Lion Grand Jury Prize.

Below the Clouds

Gianfranco Rosi crafts thought-provoking documentaries with visually stunning cinematography, departing from traditional non-fiction narrative styles to focus on specific locations such as towns, cities, or highways. His latest work concentrates on Naples and the adjacent archaeological sites of Pompeii and Herculaneum. The film weaves together multiple threads: the archaeological remains of ancient towns, the illicit excavation of underground treasures for decades by grave robbers; the Syrian vessels transporting grain from conflict-ridden Ukrainian ports; a friendly elderly librarian’s after-school study group where children’s inquisitiveness is nurtured; emergency call centers that become busy with earthquakes and fires (both common events); an abandoned cinema, a unique historical ruin, where classic films about Naples and Pompeii are shown to empty, forlorn auditoriums. The film’s artistic quality is not elusive but rather inviting, as the director’s patient, curious approach ensures his introspective reflections resonate powerfully on an emotional level.

Jay Kelly

In Noah Baumbach’s lighthearted comedy set in Europe, George Clooney takes on a role that highlights his strengths. Unlike his typical roles, Jay Kelly portrayed by Clooney is endearing, kind, and charming. This character draws people in, making audiences feel a connection as well. Through this film, we witness his heroic acts, decency, and good-naturedness. However, it’s also revealed that despite these qualities, he has unintentionally caused harm to those around him due to his neglect, self-centeredness, and ambition. Remarkably, Clooney delivers a flawless performance in this complex character.

Remake

Since the 1980s, Ross McElwee has been creating films that intertwine his personal experiences with broader historical and social themes. His movies, such as “Sherman’s March,” “Bright Leaves,” and “Time Indefinite,” have given viewers a deeply personal insight into this intriguing filmmaker who often stars in his own work. However, McElwee hasn’t produced a new film since the passing of his son Adrian in 2016, whose battle with addiction was a significant focus in the director’s 2011 film “Photographic Memory.”

In this latest production, titled “Remake,” McElwee delves into Adrian’s life and demise, contemplating his potential role in his son’s tragic descent. This poignant film is both unforgiving and beautiful, as it not only explores the sad tale of Adrian but also showcases footage that the young man himself filmed, making “Remake” a unique and moving shared experience between father and son.

Scarlet

In a fresh take inspired by William Shakespeare’s “Hamlet,” renowned animator Mamoru Hosoda presents a determined Danish princess seeking revenge against the uncle who seized her father’s throne. Instead of poison, she uses a public execution involving multiple swordsmen to bring about his downfall. The story diverges significantly from its source material: After her first attempt at vengeance fails, Scarlet, our vengeful heroine, becomes trapped in a desolate purgatory-like realm – a transitional phase between death and everlasting life. Here, she encounters Hijiri, a compassionate nurse from the 21st century who found herself in this limbo after a stabbing incident on a busy Tokyo street. The narrative includes intense sword fights, fisticuffs, massive armies clashing against towering volcanic mountains, and an imposing giant dragon. Despite its occasional cheesiness, it is breathtakingly beautiful. If you ever have the opportunity, watch it on a large screen.

No Other Choice

Park Chan-wook reimagines Donald Westlake’s 1997 novel “The Ax” (previously adapted by Costa-Gavras) with his unique blend of surrealism and humor. This fresh take transforms into a darkly humorous commentary on capitalism, set within a noir satire. The story revolves around an ordinary family man whose world turns upside down when he loses his longtime job at a paper mill. Facing the challenging landscape of industry consolidation, he resorts to a drastic measure: eliminating his main rivals for future employment opportunities. Park skillfully highlights the high-stakes nature of capitalism, depicting a society where career success determines personal value. The film’s outlandish premise seems less far-fetched when viewed in this context – in a world where jobs can mean life or death, isn’t it reasonable to consider extreme measures against those who obstruct one’s path?

Father Mother Sister Brother

In Jim Jarmusch’s latest film, which earned this year’s Golden Lion award, we find a poignant exploration of three conversations between adult children and their parents. The first two encounters are tense reunions between siblings and aging parents who haven’t been close, filled with awkward silences. The final exchange revolves around a brother and sister visiting the now-empty apartment once shared by their deceased parents. This emotionally intense narrative might be challenging for those who have recently lost family members. However, Jarmusch delves deeper than mere messages; he subtly emphasizes that despite our closest relationships, we will never truly comprehend each other. There’s a blend of pain and beauty in this thought-provoking concept.

Dead Man’s Wire

In a nod to the ’70s era, Gus Van Sant sets his fact-based crime drama, yet manages to address modern themes. The story unfolds as an ambitious, unsuccessful, somewhat eccentric Indianapolis businessman, portrayed by Bill Skarsgård, takes his broker, played by Dacre Montgomery, hostage. He demands a $5 million ransom and an apology from the mortgage company he feels has deceived him. Originally happening in 1977, this incident resonates with contemporary audiences due to its portrayal of capitalist disenchantment, where the oppressed rise against the smug and affluent. The film is a blend of suspense, satire, and historical reenactment, making it a complex production that Van Sant expertly navigates.

The Testament of Ann Lee

Mona Fastvold’s extraordinary musical biopic delves into the strict, revivalist mindset of 18th century England and America, while showcasing bizarre yet captivating musical sequences that blend traditional rhythms with bold, contemporary dance moves – they’re dynamic, rhythmic, reverent, yearning, intense. Daniel Blumberg’s score, crafted from reinterpretations of Shaker spirituals, greatly enhances the experience. The movie skillfully navigates a delicate balance: Fastvold acknowledges the Shakers for their forward-thinking principles and unwavering integrity in a world dominated by conformity. However, the musical numbers express the internal struggle inherent in the faith (and Ann Lee, as depicted in the film) – a community that denies so much can never truly attain ecstasy or joy. Yet, there’s a sense of beauty (and melancholy) in the endeavor.

2025-09-06 22:55