By Rebecca Ceccatelli. Cover image: Bart Ryker.
4 Venice 2025 Films Everyone’s Talking About—But We’re Still Not Sure About
With the 82nd Venice International Film Festival now concluded, attention is shifting to the films that will soon reach wider audiences. After premieres that sparked both praise and debate, it’s time to take stock of the biggest expectations—and the lingering fears—that emerged on the Lido. One thing is certain: the screenings generated plenty of buzz and set the stage for an exciting season ahead.
Bugonia by Yorgos Lanthimos: Are His Muses Still Inspiring or Getting Boring?
Yorgos Lanthimos clearly still needs Emma Stone. After The Favorite, Poor Things! and Kinds of Kindness, the actress once again joins forces with the Greek director, by now established as both his muse and the leading face of the critical success they’ve built together.
Often misunderstood—dismissed by some as either boring or abruptly cruel and disturbing—Lanthimos now returns with a remake of the South Korean sci-fi cult film Save the Green Planet!, this time renewed under the title Bugonia: a direct homage to the ancient myth in which swarms of bees are born from the carcass of an ox. It’s a fitting metaphor for Lanthimos’s exploration of conspiracy, perpetual rebirth, and the unsettling cycles of collective madness. Just like the bees emerging from dead matter, alternative “truths” and violent ideologies seem to regenerate endlessly, feeding on themselves and re-emerging in new forms.
Striking a balance between the raw existential revelations of Kinds of Kindness and the grotesque playfulness of Poor Things!, this time Stone plays both victim and enigmatic creature. She is kidnapped and accused of being an alien by Jesse Plemons, her co-star who clings obsessively to his theory.
Of course, these are not unfamiliar faces within Lanthimos’s universe. But after so many appearances that risk becoming a cliché, a question naturally arises: would his films work just as well without the safety net of these “go-to” actors? Is their presence a deliberate artistic inspiration—or a calculated marketing choice? While many voices have welcomed the idea of seeing new actors enter his world, many still continue to celebrate the undeniable strengths of his trusted collaborators. The final answer is up to us: out in all cinemas from October 23rd.
Frankenstein by Guillermo del Toro: Does the Remake Still Makes Sense in 2025?
Ten long years of desire and an endless struggle to find the right backers have finally paid off: Guillermo del Toro has brought to life his long-awaited adaptation of Mary Shelley’s Frankenstein. Yet one can’t help but ask—one, ten, or a thousand times—how many filmmakers have already reshaped this tormented tale? By now, the story has been revisited in countless ways, becoming a kind of open canvas for directors eager to project their own vision.
For del Toro, however, this is not unfamiliar territory. He has previously reimagined stories that had been retold many times before—most notably Pinocchio, which he transformed from a children’s fable into a political and revolutionary parable, earning widespread acclaim.
So what makes this Frankenstein different? While some critics argue it offers little that is new, others see it as the most complete expression of del Toro’s artistry. Frankenstein here is not just a gothic melodrama, but a fully realized world built from scratch: entire sets constructed by hand, tableaux vivants of breathtaking beauty—no one stages funerals quite like del Toro—and scenography that lives and breathes like another character. It is a handcrafted epic. In the words of Christoph Waltz, who declared at the press conference, “CGI is for losers,” the director relies on digital effects only when the physical is not enough. The heart of the film is tangible, sculpted, material.
Even the Creature itself is conceived differently: not sewn together with scars, bolts, and stitches, but sculpted like an alabaster statue—fragile, defenseless, and destined to be marked over time. “I wanted it to be beautiful,” del Toro explained. “I thought of it as a perfect being.” As much as Shelley wrote in the book: the creature was made of “beautiful pieces”.
The only price to pay for Del Toro? Once again, one of his movies won’t be experienced in cinemas: being Netflix the main supporter and sponsor of the production, the film will be released November the 7th on the digital platform. So now we wonder if all this beauty being declared will be suitable for the small screens. Ready to judge.
Father, Mother, Sister, Brother by Jim Jarmusch: The Family Dilemma Returns — But Is It Getting Repetitive?
Father Mother, Sister, Brother by Jim Jarmusch, winner of the Golden Lion for Best Film at the 82nd Venice Film Festival, weaves together three stories in a daring twist —each a thread in the rich tapestry of family life, stretching from the bustling streets of the U.S. to the lush landscapes of Ireland and the romantic corners of France. You can almost feel the weight of expectation hanging in the air—his trademark deadpan humor, the minimalist frames that seem to breathe, and a pacing that invites contemplation. Ordinary moments—like a shared glance or a hushed argument—are poised to morph into profound reflections on life.
The tension between parents and their grown children, the unspoken histories swirling among siblings, and the quirky habits that define each household—these elements promise to be captured with Jarmusch’s keen eye, crafting intimate snapshots that echo far beyond their physical locales. Yet, there’s a nagging worry—could his signature stillness, while visually striking, risk blending these distinct families into a single, indistinct narrative? Might Ireland’s charm feel too much like the familiarity of the U.S., or Paris lose its unique flair, becoming just another backdrop for familial strife?
The real challenge? Finding that delicate balance between universality and specificity—how to portray love, guilt, and the generational tug-of-war in a way that feels both personal and relatable. Expectations rest on Jarmusch’s shoulders, as he must wield his cinematic style not merely as a signature, but as a lens—one that allows each family’s unique rhythm and emotional depth to burst forth. If he pulls it off, audiences will be reminded of why Jarmusch is revered as one of the most insightful observers of human connections in modern cinema—transforming the simplest gestures into echoes that linger long after the credits roll…
Ah, but will he? Or… will we be left with a sense of something unfinished, a whisper of what could have been? Out December 18th.
La Grazia by Sorrentino: A Visual Triumph or Style Over Substance?
For now, it only seems to be an applause calamite. Paolo Sorrentino is back in Venice with La Grazia, a film that already feels like a victory lap. Teaming up once more with Toni Servillo, the same actor who dazzled us in The Great Beauty, Sorrentino weaves a tapestry of bittersweet comedy that dances between satire, a tinge of sadness, and sheer spectacle. Picture this: Mariano De Santis, a fictional Italian president nearing the end of his reign, grappling with moral quandaries, the weight of family expectations, and the heavy cloak of power. And just when you think it can’t get any more vibrant, Servillo drops some bars, Guè Pequeno’s beats pulse through the air, and tricolored jets slice through the sky—Sorrentino’s signature flair is unmistakable.
At its heart, this film is a deep dive into the murky waters of power, memory, and our all-too-human flaws. De Santis finds himself amidst a motley crew—loyal allies, a daughter who won’t take no for an answer, a whimsical critic friend, and even a black Pope zipping around on a scooter. It’s a blend of absurdity and sharp insight that keeps you on your toes. Love, betrayal, the heavy burden of choices—whether it’s about granting pardons or navigating the tricky waters of euthanasia—these themes swirl together like a storm, punctuated by striking visuals, from a horse on its last legs to a robotic dog leading the president’s entourage.
The buzz is palpable; Sorrentino is expected to once again fuse humor, grandeur, and emotional resonance, crafting a film that’s as visually rich as it is narratively profound. But there’s a whisper of concern—could the flamboyant style or quirky characters eclipse the very essence of humanity that lies at the story’s core? Yet, early whispers from the audience suggest that La Grazia is quintessential Sorrentino—playful, tragic, and deeply human. And now, with Venice officially behind us, the film’s reception has gone from buzz to recognition: Toni Servillo has been awarded the Coppa Volpi for Best Actor, confirming that La Grazia is not just a visual triumph, but a performance-driven one too. It’s a reminder of why this director stands tall in the realm of contemporary Italian cinema… or maybe it’s just a reminder that we’re all a little lost in the grand spectacle of life. Out in cinemas on December the 5th.
