Arts: Film

The Venice Film Festival

KAYLA TOMLINSON | CONTENT WRITER

The 31st August marked the start of arguably one of the most prestigious events in cinema: the Venice Film Festival. Lasting for a little longer than a week, it is the ultimate celebration of film, with many flocking to the city to watch world premieres and see the most anticipated new releases. This year was no different and, with the festival coming to a close, here are what films audiences should be most excited to see once they finally arrive on our screens.

The first notable release is Noah Baumbach’s White Noise. Centring around a college professor, the film depicts the physical and emotional fallout a town goes through after a devastating train crash. White Noise is an adaption of Don DeLillo’s novel and while it is the first of the director’s features to not have an original story of its own, it does hold all the trademark characteristics of a typical Baumbach film: namely, the recurring casting of Greta Gerwig and Adam Driver. The comedy premiered on the festival's opening day to mixed reviews, with many unsure of Baumbach’s first venture into cinematic horror. To see the film audiences will have to wait for the worldwide release on Netflix on the 30th December.

Darren Aronofsky’s The Whale, which premiered on the 3rd September, was another highly anticipated release. Driven by public attention following leading man Brendan Fraser, The Whale saw a return to form from Fraser, who only recently has begun returning to our screens after the ‘#MeToo’ movement empowered him to come forward about the blackballing and abuse he suffered from Hollywood.

Source: The cast of The Whale at Venice Film Festival, Instagram

His performance has been highly praised, often being dubbed the ‘Brenaissance’ by fans, alongside calls for Oscar nominations. Releasing on the 9th December, those who wish to watch The Whale will be treated to the evocative tale of a father trying to reconnect with his estranged daughter, played by Sadie Sink. The Venice Film Festival cannot be discussed without the mention of its winner of the Best Director award, Bones & All, by Luca Guadagnino. Starring leads Timothée Chalamet and Taylor Russell, Bones & All is a touching story about cannibalism, queerness, and trauma. If that is not eye-catching enough, it also doubles as a roadtrip feature throughout eighties-era America, with Chalamet taking on a punkesque persona in his role as Lee. Taylor Russell is the real breakout here though, previously seen in A24’s film Waves (2019) and has been highly praised for both performances. It is no surprise that they too, like Fraser, already have calls for Oscar nominations and (hopefully) wins. Other films that premiered at the festival include Ti West’s Pearl, a prequel to last year's A24 hit X. Tar, which features Cate Blanchett, received a sixminute standing ovation and finally there is Olivia Wilde’s sophomore film, Don’t Worry Darling, which is drenched in backstage drama. If audiences missed the Venice Film Festival and would like a chance to see some of these films, the BFI Festival takes place at the end of September, and tickets are available to buy online. HBO Max & the tragedy of Batgirl DEVESH SOOD | MANAGING EDITOR

In late 2020, after the announcement of a samethan the cancellation of Batgirl, a film by Bilall Fallah and Adil El Arbi, who had just come from While there have been a few bright spots, day release strategy for films in theatres and home, director Christopher Nolan had this to say; ‘Warner Bros. had an incredible machine for getting a filmmaker’s work out everywhere, both in theatres and in the home, and they are dismantling it as we speak. They don’t even understand what they’re losing’. Well, given the events of the last few weeks, if they were merely dismantling the machine at the time, to learn what they have been doing to it now is truly scary. Having merged with Discovery earlier this year, the new CEO, David Zaslav, made sure everyone knew this would be a new era. Throughout the month of August, there was no sacred ground; any project, no matter if it had been filmed and completed, or simply existed in the back of some lonely executive's mind, could be gone forever. Over 30 projects, primarily streaming-originals and animation, have been cancelled. This included the second season of Chad, which had been completed and was mere days away from airing; Batman: Caped Crusader, the spiritual successor to the beloved Batman: The Animated Series from Matt Reeves, Bruce Tim, and JJ Abrams; and Scoob!: Holiday Haunt, the sequel to one of the few pandemic success stories. However, none were more shocking directing some of the strongest episodes of the Ms. Marvel series. The film was to star the likes of Brendan Fraser and JK Simmons, and the long-awaited return of Michael Keaton as Batman would finally be seen. With the protagonist being played by Leslie Grace, who had just come from the acclaimed musical adaption of In The Heights, this had seemed to be a bright spot amongst the continuing messiness of what is the DC Universe, especially when placed next to the ever-increasing real-life drama surrounding Ezra Miller and Amber Heard. Yet, with the obsession to create a cinematic-universe, it was the tax write-off that killed the beast. On top of this, Zaslav has readjusted the main board of WB Discovery, opting for a group that is more ‘white-male’ oriented, and announced the upcoming plans to merge the two streaming services, HBO Max and Discovery+. To suggest the activity going on at WB is unprecedented would be an understatement. Despite claims that many of these cancellations were aiming to reduce costs, the firm still lost $3.4 billion in Q2 2022: these financial woes have also meant only two more releases this year, Black Adam alongside Don’t Worry Darling, as they reportedly cannot afford to release any more. such as news of the Joker sequel and Matt Reeves’ Batman series, it is likely that the activity over the last month will have severe long-term repercussions. Why would any creative want to approach Warner Bros, if the chance their work could be scrapped at any given moment exists? Maybe there is a plan, one that will soon show a light at the end of this tunnel but, as of now, that remains to be seen.

The Bingelist: three recs for your winter watchlist JETHRO ROBATHAN | FILM EDITOR

Choosing your next shameless Netflix/Prime/Apple 2. This Way Up (Channel 4/Hulu, Comedy-Drama, 2 exclusive maps out the bloody, sexy and funny moments that of themselves. When asked why she is competing in the Each young woman has her TV/‘insert-streaming-servicehere’-binge has become quite the task with the plethora of options available. For those of us who tend to hibernate as we approach the winter months of hot drinks and hoodies, here are three bingeable recs for your consideration: 1. The Expanse (Amazon Prime née Syfy, Sci-Fi, 6 Seasons, 2015-2022) When James Holden sees a button, he pushes it. What happens next is anyone’s guess but if there is one thing you can be sure of, it is going to be great. The Expanse has a rocky life story: mid-life cancellation followed by a second-wind courtesy of the Amazon production juggernaut. January 2022 saw the release of the final season and the finale is near flawless. It almost makes up for their decidedly unsanctimonious practices. Almost. This series is rooted in a nearfuture sci-fi setting, yet it is so much more than the standard, sigh-inducing fare of space battles and aliens. The Expanse is at once political thriller, action thriller, family thriller, romance thriller, thriller thriller… In the interests of objectivity, I should add in the disclaimer about the opening episodes. The pacing until episode four may be slightly arduous. The dense worldbuilding you endure does pay dividends, resulting in a superbly executed layering of sub-plots, characterization and one-liners. Final cherry on top: the cast are absolutely gorgeous, with eye-candy aplenty for any and all sexualities. Okay, you get the message. Watch it. Not enough people do. Seasons, 2019-2021) Aisling Bea’s This Way Up is much more digestible than The Expanse for those who are pressed for time – two seasons, twelves episodes, twentyish minutes apiece. Easy. There is no need to even get an extension for your three deadlines this term to fit this one in. This Way Up follows the trials and tribulations of Aine, a single, Irish, ESL teacher paving her way in London. Bea, who both writes and stars as Aine, accomplishes what many fail to: a sensitive, real account of the everyday struggles with mental health (and life in general) without getting bogged down in dreary political correctness and/or performative misanthropy. Aine flourishes in the peak awkward moments on screen, a relentless string of tangible second-hand embarrassment is inevitable for viewers. Perhaps it’s her background in standup? The constant exposure to awkward experiences no doubt provides ample source material for Bea to draw upon, and boy does she draw. She paints, complimented by a small, but recurring, crew of supporting characters. Not unlike life itself. 3. The Last Kingdom (Netflix (née BBC), Historical Drama, 5 Seasons, 2015-2022) The fifth and final season of The Last Kingdom finally arrived this year and my longawaited giddiness was amply rewarded. Based on Bernard Cornwell’s book series The Saxon Stories, this Netflix led to the founding of England. Any English or Drama students may recognise a few familiar faces amongst the cast, rich in theatrical talent – David Dawson’s King Alfred I carries the early seasons particularly hard. The Last Kingdom is definitely the most plot-driven series in this mini-list (not to say the other titles are lacking in any way) but if any fellow degenerate bingers find themselves fiending for a story that flows effortlessly, this one goes out to you. Beard lovers and long-haired students will also find abundant inspiration too: method-acting Vikings and all that business. For your consideration: Drop Dead Gorgeous (1999) ASHTON KESSLER | CONTENT WRITER

In the eternal words of Becky Ann Leeman: dark humour and depiction of the absurdity of beauty pageants. The laugh at both the absurdity ‘Jesus Loves Winners. That’s why no matter what I do, I aim to win.’ This the ethos of Michael Patrick Jann’s 1999 feature Drop Dead Gorgeous, a black comedy set in the small Minnesota town of Mount Rose. Participating in the Sarah Rose Cosmetics American Teen Princess Pageant is a rite of passage for every young woman to make something pageant, one of the contestants answers, ‘If you’re 17, and you’re not a total fry, it’s just what you do.”’ Drop Dead Gorgeous is a satirical mockumentary which highlights the pure absurdity of beauty pageants and smalltown life. Audiences follow the contestants as they prepare for the pageant by learning dance routines and practicing their talents. The girls aim to prove they have what it takes to be the next Miss Teen American Princess. The film focuses in on the underdog contestant of Amber Atkins (played by Kirsten Dunst) who sees the pageant as her means to leave Mount Rose and become a television journalist. The other front runner is Rebecca (Denise Richards), the daughter of a previous Miss Teen Princess winner and the wealthiest man in town. However, as the pageant nears, the bodies start to pile up and it becomes clear that someone is willing to kill to ensure that their girl will be the winner. While Drop Dead Gorgeous flopped at the box office after its release in 1999, it has since gained a cult following of fans who adored its fictional town of Mount Rose and its depiction of small-town America strikes at the holier than thou attitude of those in power, as well as these young women destroying themselves (and each other) for a simple crown. That said, to some of the film’s contestants, this is the sole shot they have to escape the repetitive lives of their parents. is the sole shot they have to escape the repetitive lives of their parents. own dreams and interests, and the film allows us to get to know them as they progress in their journey. Some aspects have aged poorly, such as the mentally disabled brother of one of the judges who is less of a person and more of a walking punchline. However, the film shines most when it focuses on the contestants themselves, bringing forth the wackiness of life in a small town as it compounds with the intricacies of teenage girlhood. Ultimately, this film is one to watch if you’re in the mood to of small-town America and pure late 90’s fashion.