The 83rd Venice Film Festival concluded with a notable shift away from blockbuster Hollywood productions, instead focusing on films that grappled with the state of the global landscape. This year's selections often served as mirrors to current events rather than escapist entertainment.
Elon Musk’s influence and presence were frequently noted, appearing in montages within documentaries like Danny Boyle's "Ink," which chronicled the transformation of Rupert Murdoch's The Sun newspaper. Musk was also depicted in relation to the current media environment in a coda created by Murdoch. Another film, "Oasis: Don't Look Back in Anger," placed Musk alongside images of the COVID-19 pandemic, Donald Trump, and international conflicts, framing these as elements of collective madness that bookended the band's past and future reunion.
Independent Russian journalists, in Julia Loktev’s documentary "My Undesirable Friends: Part II—Exile," discussed their efforts to cover the war in Ukraine using Starlink, a technology associated with Musk. Director Alex Gibney, whose documentary "Musk" examines the billionaire's life, failures, successes, and geopolitical influence, told The Associated Press that Musk has become a kind of "stock villain."
While the festival featured stars like George Clooney, the emphasis remained on global concerns. Films directly addressed pressing issues: "NAZA" featured Israeli military insiders detailing alleged systemic killing of Palestinian civilians in the Israel-Hamas war, and "My Undesirable Friends: Part II—Exile" highlighted the challenges faced by Russian journalists reporting on the war in Ukraine.
Disparities in wealth and social issues were also explored. Lee Chang-dong's "Possible Love" used the lens of a laid-off worker injured during police violence against strikers to examine wealth inequality in South Korea. "Woman Unknown" contemplated the possibility of transcending class in post-World War II Denmark.
Even films with Hollywood ties showed social consciousness. "Wild Horse Nine" critiqued the CIA's actions leading up to the 1973 Chilean military coup. "Bunker" questioned the motivations of tech billionaires preparing for the apocalypse despite fortunes built on connectivity. The 1969-set "Ink" reflected on the sensationalist media landscape and the loss of civility for profit, drawing parallels to modern media practices dramatized in "Primetime," which depicted the events leading to a suicide by a man targeted by the "To Catch a Predator" team.
Amidst the serious themes, a documentary about the band Oasis, "Oasis: Don't Look Back in Anger," unexpectedly moved many attendees to tears. The film, which coincided with the band's reunion tour, offered a moment of shared nostalgia and emotional release.
The festival also generated Oscar buzz for several actors. John Malkovich received attention for his portrayal of a dying CIA agent in "Wild Horse Nine," and Robert Pattinson was noted for his role as a calculating television host in "Primetime." A surprise family moment occurred when Ben Affleck supported his brother Casey Affleck and nephews in the gothic drama "Company," a film dedicated to their parents who passed away this year.
Discussions around politics and artificial intelligence were prevalent. Clooney commented on the current political climate, describing it as a "kakistocracy," while Susan Sarandon stated she has faced professional repercussions for her stance on the war in Gaza. Venice jury president Maggie Gyllenhaal asserted that films are "fundamentally, unavoidably political."
Concerns about AI's impact on journalism were voiced by Clooney and Boyle, though a documentary about Diesel founder Renzo Rosso embraced the technology. Veteran actress Ellen Burstyn, a recipient of the Golden Lion award, not only attended the ceremony but also appeared in two films, including a short where she portrayed Marilyn Monroe at 100. Burstyn expressed profound gratitude for the award, noting its significance alongside her Oscar, Tony, and Emmy wins.