IN COMPETITION
‘The Fire Within You’ review: Vanessa Scalera’s invigorating performance fuels Italian Christmas-from-hell drama
Edoardo De Angelis’s darkly comic feature premieres in Venice competition
‘NAZA’ review: Urgent, gut-punch doc from ‘No Other Land’ directors interviews Israeli operatives about their actions in Gaza
‘A Good Little Soldier’ review: A magnetic Alba Rohrwacher anchors Stéphane Brizé’s study of toxic workplace culture
‘Dau’ review: Ilya Khrzhanovsky’s sprawling new installment in his conceptual project is an affecting study of Soviet tyranny
‘Company’ review: Casey Affleck directs, co-writes and stars in atmospheric but convoluted slice of American Gothic
‘Bunker’ review: Javier Bardem and Penélope Cruz navigate a marriage under siege in Florian Zeller’s elegant drama
‘The Spiral’ review: Paolo Strippoli’s dark Italian family fable promises more than it delivers
‘Look Back’ review: Hirokazu Koreeda sketches a tender but overly sentimental portrait of young friendship
‘Woman Unknown’ review: May el-Toukhy’s Venice competition title is formal yet ferocious post-war Danish drama
‘The Echo Chamber’ review: Andrea Pallaoro turns Bernardo Bertolucci’s final script into precise, somewhat odd study of love and dependency
‘Possible Love’ review: Lee Chang-dong explores class, desire and exploitation in powerful Venice competition return
‘It Will Happen Tonight’ review: Nanni Moretti’s latest is unashamedly melodramatic Italian romance
‘Primetime’ review: Robert Pattinson is ‘To Catch A Predator’ host Chris Hansen in visually striking, dramatically contrived thriller
‘Mr. Nelson, Did You Kill People?’ review: Shinya Tsukamoto’s muddled portrait of Vietnam veteran activist Allen Nelson suffers an identity crisis
‘Wild Horse Nine’ review: John Malkovich and Sam Rockwell command Martin McDonagh’s potent 1970s character study
‘Bucking Fastard’ review: Kate and Rooney Mara are perfectly in sync in Werner Herzog’s strange tale of sisterly devotion
‘Ink' review: Jack O’Connell is magnetic as ‘The Sun’ tabloid editor Larry Lamb in Danny Boyle’s feverish Venice opener
HORIZONS
‘Lovers In The Blue Night’ review: Anapurna Roy’s modest second feature interweaves migrant lives and loves in Mumbai
Roy returns to Venice Horizons after winning the best director prize in 2025 for her debut film Songs Of Forgotten Trees
‘Big Little Things’ review: A gay Chinese woman invents a boyfriend to appease her family in candid, personal debut
‘Until The Day Ends’ review: Vivid if limited portrait of revolutionary youth in modern-day Serbia
‘The Color Of The Sun’ review: Sensual Okinawa-set coming-of-age tale makes for a striking, enigmatic debut
‘A Common Story’ review: Alba Rohrwacher is extraordinary in distinctive, daring Italian empty nest drama
‘A Day In The Life Of Jo: Chapter Phaedra’ review: Formally bold, compassionate drama is inspired by a real-life Greek tragedy
‘The Burning Giants’ review: Shape-shifting Thai displacement drama blurs myth and reality
‘The Difficult Bride’ review: A fairytale Bangladeshi wedding turns into a nightmare in sharp feminist body horror
'Diane In the Loop’ review: Quirky Belgian drama confronts the legacy of sexual violence
‘Eklipse’ review: Tender 1999-set debut explores an Austrian childhood in the shadow of AIDS
‘House Of The Wind’ review: A tender Cameroonian study of solitude and unexpected kinship
‘Too Much Sugar’ review: Robert Greene delivers a clear-eyed portrait of family dysfunction and filmmaking as therapy
‘Falling House’ review: Unsubtle Iranian family drama turns a condemned home into a symbol of patriarchal control
‘The Girl With The Leica’ review: Gerda Taro biopic struggles to bring its pioneering photojournalist subject into focus
OUT OF COMPETITION
‘Place To Be’ review: Ellen Burstyn and Taika Waititi star in odd-couple comedy which never quite takes flight
Kornél Mundruczó follows up Berlin title ‘At The Sea’ with Venice out of competition premiere
‘Union Town’ review: Fifty years after ‘Harlan County, USA’, Barbara Kopple returns to the frontline of America’s labour struggle
‘Musk’ review: Alex Gibney presents a gripping if glossy study of controversial billionaire Elon Musk
‘Boatbuilders’ review: Luke Lorentzen’s Maine-set boatyard documentary is a finely crafted delight
‘Holy Wood Dust’ review: Victor Kossakovsky’s study of trees lacks the revelatory magic of his best works
‘Citizen Osama’ review: A Palestinian journalist balances war reportage with family life in harrowing Gaza doc
‘Jupiter’ review: Denis Menochet is imposing in blunt, airless French nuclear war drama
‘Queer Edward II’ review: Intimate doc links the making of Derek Jarman’s 1991 feature Edward II and wider LGBTQ+ activism
‘My Undesirable Friends: Part II - Exile’ review: Julia Loktev’s portrait of Russian journalists in exile deepens in its second chapter
‘Forsaken’ review: Docudrama about 2020 murder of a French schoolteacher is uneasy retelling of a national trauma
VENICE DAYS
‘My Notes On Mars’ review: Lili Horvat opens Venice’s Giornate degli Autori with genre-coded tale of love, desire and control
Mackenzie Davis and Rupert Friend star in this enigmatic English-language relationship drama set in Hungary.
CRITICS' WEEK
‘Our Share Of Sand’ review: A move from the UK to rural India proves a painful rite-of-passage in quietly powerful debut
Shalini Adnani’s level-headed Venice Critics Week titles features a strong performance from newcomer Maya Mehta
