But the world’s oldest film festival, now entering its 80th year, places equal emphasis on the new. The 11-day event kicked off on Wednesday with Adam Driver’s White Noise, marking the first time a Netflix film has officially opened Venice – seven years after the festival became the first to open its competition to streaming services. Directed by Noah Baumbach and based on Don DeLillo’s novel of the same name, White Noise is one of several Netflix entries competing for the top Golden Lion award this year as the streaming giant seeks to showcase its arthouse credentials. The dark comedy stars Driver as Jack Gladney, a middle-aged professor of Hitler Studies, Greta Gerwig as Babette, his estranged wife and a family of precocious children who together try to cope with an “Airborne Toxic Event”, the mundane conflicts of everyday life. life and the universal mysteries love and death. Adam Driver and Noah Baubach attend the photocall for White Noise at the 79th Venice International Film Festival on Wednesday. Photo: Elisabetta A Villa/Getty Images Baumbach’s last film at Venice, Marriage Story, also starring Driver, earned six Oscar nominations and a win for Laura Dern. Speaking Wednesday, the director said he read DeLillo’s novel in the ’80s and then again in 2020 and found it still felt relevant. A few weeks later, the world shut down due to Covid-19. “It felt familiar when I re-read it… I couldn’t believe how relevant it felt. I started not only taking over [DeLillo’s] language but I find my own voice in his.” Baumbach said the film was about “how we create rituals and strategies to prevent danger and death.” The story, he added, was a story of American culture: “I was a kid in the 80s, it was a very formative time for me. The films I saw then informed me.” Driver said that while he and his co-stars played the characters written for them in the script, it was easy to draw parallels to our times. He said: “You can’t ignore moments when you wear a mask, it’s a language that we are [now] more comfortable with.” Netflix next week premieres the highly anticipated Blonde, a dark retelling of the tragic life of Marilyn Monroe that could propel Cuban actress Ana de Armas from rising star to full-fledged A-lister. The streaming platform is also behind Bardo, the latest from Mexican director Alejandro González Iñárritu, who released his previous films Birdman and The Revenant at Venice on their way to Oscar glory. Florence Pugh in Don’t Worry Darling. Photo: AP Venice is well-suited to launch Oscar campaigns and has had a particularly strong track record for filmmakers in recent years. Eight of the last 10 Best Director Oscars have gone to films that premiered at Venice, including Jane Campion’s most recent winner for Power of the Dog. Among the other highly anticipated entries in the coming days is Bones and All, starring Timothée Chalamet as a sick cannibal on a road trip across America, reuniting him with Call Me By Your Name director Luca Guadagnino. There’s also early buzz about Darren Aronofsky’s Whale starring Brendan Fraser, who has been largely absent from the screen for two decades. Meanwhile, Olivia Wilde’s Don’t Worry Darling, which is playing out of competition and features music mogul Harry Styles in his first leading role, has already generated plenty of headlines, from Shia LaBeouf’s abrupt exit to the intrigue it sparks the paparazzi surrounding Wilde and Styles’ off-camera relationship. There was also uproar over its sex scenes and alleged clashes between leading lady Florence Pugh and Wilde – which the director dismissed as “inventing click-bait”. After two reduced editions, the festival returns this year without pandemic restrictions, but traditional cinemas continue to struggle, raising questions about their financial viability. Speaking at a press conference, jury president Julianne Moore said art must trump business in any discussion of the future of cinema. “There will always be different delivery systems. How we live, how the world progresses is constantly changing, but art does not change,” he said. Also in attendance on Wednesday was French actress Catherine Deneuve, who is receiving a lifetime achievement award. But the 78-year-old French legend – who has a long history with the festival, dating back to 1967 when she starred in Luis Buñuel’s Golden Lion-winning classic Belle de Jour – said she never saw herself as a sex symbol: “It’s not it’s the most important thing for me when I work.” Deneuve also emphasized that she likes to watch new movies in a crowd at a theater. “I love cinema. I like going to the cinema. I want to be in a movie theater with people I don’t know. It’s not just the sound. It’s the atmosphere. At home, it’s very different. You don’t feel the same things at all.”

title: “The Venice Film Festival Kicks Off With White Noise Oscar Buzz And A Reluctant Sex Symbol Venice Film Festival 2022 Klmat” ShowToc: true date: “2022-10-30” author: “Mary Hicks”

But the world’s oldest film festival, now entering its 80th year, places equal emphasis on the new. The 11-day event kicked off on Wednesday with Adam Driver’s White Noise, marking the first time a Netflix film has officially opened Venice – seven years after the festival became the first to open its competition to streaming services. Directed by Noah Baumbach and based on Don DeLillo’s novel of the same name, White Noise is one of several Netflix entries competing for the top Golden Lion award this year as the streaming giant seeks to showcase its arthouse credentials. The dark comedy stars Driver as Jack Gladney, a middle-aged professor of Hitler Studies, Greta Gerwig as Babette, his estranged wife and a family of precocious children who together try to cope with an “Airborne Toxic Event”, the mundane conflicts of everyday life. life and the universal mysteries love and death. Adam Driver and Noah Baubach attend the photocall for White Noise at the 79th Venice International Film Festival on Wednesday. Photo: Elisabetta A Villa/Getty Images Baumbach’s last film at Venice, Marriage Story, also starring Driver, earned six Oscar nominations and a win for Laura Dern. Speaking Wednesday, the director said he read DeLillo’s novel in the ’80s and then again in 2020 and found it still felt relevant. A few weeks later, the world shut down due to Covid-19. “It felt familiar when I re-read it… I couldn’t believe how relevant it felt. I started not only taking over [DeLillo’s] language but I find my own voice in his.” Baumbach said the film was about “how we create rituals and strategies to prevent danger and death.” The story, he added, was a story of American culture: “I was a kid in the 80s, it was a very formative time for me. The films I saw then informed me.” Driver said that while he and his co-stars played the characters written for them in the script, it was easy to draw parallels to our times. He said: “You can’t ignore moments when you wear a mask, it’s a language that we are [now] more comfortable with.” Netflix next week premieres the highly anticipated Blonde, a dark retelling of the tragic life of Marilyn Monroe that could propel Cuban actress Ana de Armas from rising star to full-fledged A-lister. The streaming platform is also behind Bardo, the latest from Mexican director Alejandro González Iñárritu, who released his previous films Birdman and The Revenant at Venice on their way to Oscar glory. Florence Pugh in Don’t Worry Darling. Photo: AP Venice is well-suited to launch Oscar campaigns and has had a particularly strong track record for filmmakers in recent years. Eight of the last 10 Best Director Oscars have gone to films that premiered at Venice, including Jane Campion’s most recent winner for Power of the Dog. Among the other highly anticipated entries in the coming days is Bones and All, starring Timothée Chalamet as a sick cannibal on a road trip across America, reuniting him with Call Me By Your Name director Luca Guadagnino. There’s also early buzz about Darren Aronofsky’s Whale starring Brendan Fraser, who has been largely absent from the screen for two decades. Meanwhile, Olivia Wilde’s Don’t Worry Darling, which is playing out of competition and features music mogul Harry Styles in his first leading role, has already generated plenty of headlines, from Shia LaBeouf’s abrupt exit to the intrigue it sparks the paparazzi surrounding Wilde and Styles’ off-camera relationship. There was also uproar over its sex scenes and alleged clashes between leading lady Florence Pugh and Wilde – which the director dismissed as “inventing click-bait”. After two reduced editions, the festival returns this year without pandemic restrictions, but traditional cinemas continue to struggle, raising questions about their financial viability. Speaking at a press conference, jury president Julianne Moore said art must trump business in any discussion of the future of cinema. “There will always be different delivery systems. How we live, how the world progresses is constantly changing, but art does not change,” he said. Also in attendance on Wednesday was French actress Catherine Deneuve, who is receiving a lifetime achievement award. But the 78-year-old French legend – who has a long history with the festival, dating back to 1967 when she starred in Luis Buñuel’s Golden Lion-winning classic Belle de Jour – said she never saw herself as a sex symbol: “It’s not it’s the most important thing for me when I work.” Deneuve also emphasized that she likes to watch new movies in a crowd at a theater. “I love cinema. I like going to the cinema. I want to be in a movie theater with people I don’t know. It’s not just the sound. It’s the atmosphere. At home, it’s very different. You don’t feel the same things at all.”

title: “The Venice Film Festival Kicks Off With White Noise Oscar Buzz And A Reluctant Sex Symbol Venice Film Festival 2022 Klmat” ShowToc: true date: “2022-10-22” author: “Sarah Cunningham”

But the world’s oldest film festival, now entering its 80th year, places equal emphasis on the new. The 11-day event kicked off on Wednesday with Adam Driver’s White Noise, marking the first time a Netflix film has officially opened Venice – seven years after the festival became the first to open its competition to streaming services. Directed by Noah Baumbach and based on Don DeLillo’s novel of the same name, White Noise is one of several Netflix entries competing for the top Golden Lion award this year as the streaming giant seeks to showcase its arthouse credentials. The dark comedy stars Driver as Jack Gladney, a middle-aged professor of Hitler Studies, Greta Gerwig as Babette, his estranged wife and a family of precocious children who together try to cope with an “Airborne Toxic Event”, the mundane conflicts of everyday life. life and the universal mysteries love and death. Adam Driver and Noah Baubach attend the photocall for White Noise at the 79th Venice International Film Festival on Wednesday. Photo: Elisabetta A Villa/Getty Images Baumbach’s last film at Venice, Marriage Story, also starring Driver, earned six Oscar nominations and a win for Laura Dern. Speaking Wednesday, the director said he read DeLillo’s novel in the ’80s and then again in 2020 and found it still felt relevant. A few weeks later, the world shut down due to Covid-19. “It felt familiar when I re-read it… I couldn’t believe how relevant it felt. I started not only taking over [DeLillo’s] language but I find my own voice in his.” Baumbach said the film was about “how we create rituals and strategies to prevent danger and death.” The story, he added, was a story of American culture: “I was a kid in the 80s, it was a very formative time for me. The films I saw then informed me.” Driver said that while he and his co-stars played the characters written for them in the script, it was easy to draw parallels to our times. He said: “You can’t ignore moments when you wear a mask, it’s a language that we are [now] more comfortable with.” Netflix next week premieres the highly anticipated Blonde, a dark retelling of the tragic life of Marilyn Monroe that could propel Cuban actress Ana de Armas from rising star to full-fledged A-lister. The streaming platform is also behind Bardo, the latest from Mexican director Alejandro González Iñárritu, who released his previous films Birdman and The Revenant at Venice on their way to Oscar glory. Florence Pugh in Don’t Worry Darling. Photo: AP Venice is well-suited to launch Oscar campaigns and has had a particularly strong track record for filmmakers in recent years. Eight of the last 10 Best Director Oscars have gone to films that premiered at Venice, including Jane Campion’s most recent winner for Power of the Dog. Among the other highly anticipated entries in the coming days is Bones and All, starring Timothée Chalamet as a sick cannibal on a road trip across America, reuniting him with Call Me By Your Name director Luca Guadagnino. There’s also early buzz about Darren Aronofsky’s Whale starring Brendan Fraser, who has been largely absent from the screen for two decades. Meanwhile, Olivia Wilde’s Don’t Worry Darling, which is playing out of competition and features music mogul Harry Styles in his first leading role, has already generated plenty of headlines, from Shia LaBeouf’s abrupt exit to the intrigue it sparks the paparazzi surrounding Wilde and Styles’ off-camera relationship. There was also uproar over its sex scenes and alleged clashes between leading lady Florence Pugh and Wilde – which the director dismissed as “inventing click-bait”. After two reduced editions, the festival returns this year without pandemic restrictions, but traditional cinemas continue to struggle, raising questions about their financial viability. Speaking at a press conference, jury president Julianne Moore said art must trump business in any discussion of the future of cinema. “There will always be different delivery systems. How we live, how the world progresses is constantly changing, but art does not change,” he said. Also in attendance on Wednesday was French actress Catherine Deneuve, who is receiving a lifetime achievement award. But the 78-year-old French legend – who has a long history with the festival, dating back to 1967 when she starred in Luis Buñuel’s Golden Lion-winning classic Belle de Jour – said she never saw herself as a sex symbol: “It’s not it’s the most important thing for me when I work.” Deneuve also emphasized that she likes to watch new movies in a crowd at a theater. “I love cinema. I like going to the cinema. I want to be in a movie theater with people I don’t know. It’s not just the sound. It’s the atmosphere. At home, it’s very different. You don’t feel the same things at all.”

title: “The Venice Film Festival Kicks Off With White Noise Oscar Buzz And A Reluctant Sex Symbol Venice Film Festival 2022 Klmat” ShowToc: true date: “2022-11-21” author: “John Henderson”

But the world’s oldest film festival, now entering its 80th year, places equal emphasis on the new. The 11-day event kicked off on Wednesday with Adam Driver’s White Noise, marking the first time a Netflix film has officially opened Venice – seven years after the festival became the first to open its competition to streaming services. Directed by Noah Baumbach and based on Don DeLillo’s novel of the same name, White Noise is one of several Netflix entries competing for the top Golden Lion award this year as the streaming giant seeks to showcase its arthouse credentials. The dark comedy stars Driver as Jack Gladney, a middle-aged professor of Hitler Studies, Greta Gerwig as Babette, his estranged wife and a family of precocious children who together try to cope with an “Airborne Toxic Event”, the mundane conflicts of everyday life. life and the universal mysteries love and death. Adam Driver and Noah Baubach attend the photocall for White Noise at the 79th Venice International Film Festival on Wednesday. Photo: Elisabetta A Villa/Getty Images Baumbach’s last film at Venice, Marriage Story, also starring Driver, earned six Oscar nominations and a win for Laura Dern. Speaking Wednesday, the director said he read DeLillo’s novel in the ’80s and then again in 2020 and found it still felt relevant. A few weeks later, the world shut down due to Covid-19. “It felt familiar when I re-read it… I couldn’t believe how relevant it felt. I started not only taking over [DeLillo’s] language but I find my own voice in his.” Baumbach said the film was about “how we create rituals and strategies to prevent danger and death.” The story, he added, was a story of American culture: “I was a kid in the 80s, it was a very formative time for me. The films I saw then informed me.” Driver said that while he and his co-stars played the characters written for them in the script, it was easy to draw parallels to our times. He said: “You can’t ignore moments when you wear a mask, it’s a language that we are [now] more comfortable with.” Netflix next week premieres the highly anticipated Blonde, a dark retelling of the tragic life of Marilyn Monroe that could propel Cuban actress Ana de Armas from rising star to full-fledged A-lister. The streaming platform is also behind Bardo, the latest from Mexican director Alejandro González Iñárritu, who released his previous films Birdman and The Revenant at Venice on their way to Oscar glory. Florence Pugh in Don’t Worry Darling. Photo: AP Venice is well-suited to launch Oscar campaigns and has had a particularly strong track record for filmmakers in recent years. Eight of the last 10 Best Director Oscars have gone to films that premiered at Venice, including Jane Campion’s most recent winner for Power of the Dog. Among the other highly anticipated entries in the coming days is Bones and All, starring Timothée Chalamet as a sick cannibal on a road trip across America, reuniting him with Call Me By Your Name director Luca Guadagnino. There’s also early buzz about Darren Aronofsky’s Whale starring Brendan Fraser, who has been largely absent from the screen for two decades. Meanwhile, Olivia Wilde’s Don’t Worry Darling, which is playing out of competition and features music mogul Harry Styles in his first leading role, has already generated plenty of headlines, from Shia LaBeouf’s abrupt exit to the intrigue it sparks the paparazzi surrounding Wilde and Styles’ off-camera relationship. There was also uproar over its sex scenes and alleged clashes between leading lady Florence Pugh and Wilde – which the director dismissed as “inventing click-bait”. After two reduced editions, the festival returns this year without pandemic restrictions, but traditional cinemas continue to struggle, raising questions about their financial viability. Speaking at a press conference, jury president Julianne Moore said art must trump business in any discussion of the future of cinema. “There will always be different delivery systems. How we live, how the world progresses is constantly changing, but art does not change,” he said. Also in attendance on Wednesday was French actress Catherine Deneuve, who is receiving a lifetime achievement award. But the 78-year-old French legend – who has a long history with the festival, dating back to 1967 when she starred in Luis Buñuel’s Golden Lion-winning classic Belle de Jour – said she never saw herself as a sex symbol: “It’s not it’s the most important thing for me when I work.” Deneuve also emphasized that she likes to watch new movies in a crowd at a theater. “I love cinema. I like going to the cinema. I want to be in a movie theater with people I don’t know. It’s not just the sound. It’s the atmosphere. At home, it’s very different. You don’t feel the same things at all.”