{"id":34028,"date":"2024-09-13T13:58:11","date_gmt":"2024-09-13T12:58:11","guid":{"rendered":"https:\/\/londoncult.co.uk\/?p=34028"},"modified":"2024-09-28T13:37:22","modified_gmt":"2024-09-28T12:37:22","slug":"venice-film-festival-2024-a-closer-look-at-the-winners","status":"publish","type":"post","link":"https:\/\/londoncult.co.uk\/en\/venice-film-festival-2024-a-closer-look-at-the-winners\/","title":{"rendered":"Venice Film Festival 2024: A Closer Look at the Winners"},"content":{"rendered":"<p class=\"s6\"><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">Whether cinema is truly in excellent shape, we<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">ll find out in the next six months when the competitors from the Venetian <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">lagoon<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> reach the screens of world cinemas. For now, it&#8217;s known that the process of determining the winners sparked considerable debate within the jury. Considering that over the past seven years, the festival<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">s <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">top<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> prize <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">has been<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> awarded five times to films produced in the USA, presenting this season&#8217;s Golden Lion to the obvious contender<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u2014\u201c<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">The Brutalist<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> by American Brady Corbet<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u2014<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">appeared, to say the least, a controversial decision for the oldest European (and world) film festival<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u2026<\/span><\/span><\/p>\n<p class=\"s6\"><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">The Brutalist<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> is a 3.5-hour opus<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">,<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> chronicling the journey of a Bauhaus<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> architect <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">(Adrien Brody) who, in the aftermath of the Holocaust tragedy, <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">relocates<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> to the USA, where a<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">n<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">enigmatic <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">patron<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> (Guy Pearce) rescues him from destitution and obscurity. Corbet<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">s <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">wholly original architectural narrative weaves a tapestry both self-contained and dynamic, deftly navigating weighty themes of history, recognition, and modernist aesthetics. Upon receiving the Silver Lion for Best Director, Corbet reflected on his work: &#8220;<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">I<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">t<\/span><\/span><span class=\"s7\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">s <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">3.5<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\"> hours long and it<\/span><\/span><span class=\"s7\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">s on 70mm. We [modern directors, obviously] <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">have the <\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">vision for a better cinema, a better world for my beautiful daughter and each and every one of your beautiful children, irrespective of their fucking passports. They deserve the world without borders, something boundless, something new.<\/span><\/span><span class=\"s5\" style=\"letter-spacing: 0em\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><\/p>\n<p><iframe title=\"The Brutalist Trailer 2024 | Joe Alwyn | Vanessa Kirby | The Brutalist Joe Alwyn|The Brutalist Movie\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/5Th026TP41k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p class=\"s6\"><span class=\"s5\"><span class=\"bumpedFont15\"><br \/>\nT<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">he festival&#8217;s highest honor was bestowed not upon the most audacious project, but rather on the most distinguished director. Surprisingly, it <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">became<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> Pedro Almod<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u00f3<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">var<\/span><\/span><span class=\"s7\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">s first major <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">award<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> in <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">a<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> long and illustrious career (discounting the honorary<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> \u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">lion<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">). <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">H<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">is debut full-length<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u00a0<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">English-language film<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">,<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">The Room Next Door,<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">stars<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> Tilda Swinton as Martha, a New York Times war correspondent, alongside Julianne Moore as her confidante, <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">the <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">writer Ingrid. Martha <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">has<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> led a man&#8217;s life, nearly lost contact with her daughter and <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">is <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">contemplating voluntary euthanasia, for which she acquires a lethal Swiss pill <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">from<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> the dark web. Secluded in a<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">n<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">idyllic New England house, she <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">implores<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> Ingrid to stay in the room<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> next door<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> until <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">it&#8217;s all over.<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> While Almod<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u00f3<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">var&#8217;s signature visual flair remains evident and the leading <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">actresses<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">masterfully navigate between the harrowing and the humorous, critics concurred that the director lacked his former zeal, and his first English-language <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">feature<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> came out without the Spanish passion.<\/span><\/span><\/p>\n<p><iframe title=\"The Room Next Door - Teaser Trailer - Warner Bros. UK &amp; Ireland\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/v2KzqkCIAxQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p class=\"s6\"><span class=\"s5\"><span class=\"bumpedFont15\"><br \/>\nThere was no shortage of passion<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">s<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> in <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">April<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> by Georgian filmmaker Dea Kulumbegashvili, which earned the Special Jury Prize. Echoing themes from her 2020 debut<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> \u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">Beginning<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">,<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> Kulumbegashvili paints a panorama of women&#8217;s destinies and aspirations within the patriarchal setting <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">of<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">rural Georgia. The protagonist, Nina (Ia Sukhitashvili), works as a<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">n<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> obstetrician, and the film opens with a raw<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">, <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">ten-minute real-time birth scene. To capture this shocking content, Kulumbegashvili spent a year visiting the hospital as if it were her <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">job<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">, fostering trust with staff and expectant mothers. Despite the film<\/span><\/span><span class=\"s7\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">s measured <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">pace<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">, <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">it<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> builds into a catastrophe of biblical proportions, where the <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">nature<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">s<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> fury and human anguish are underscored by Matthew Herbert&#8217;s minimalist soundtrack. Notably<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">, <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">Herbert recent album <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">Horse<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> features the London Contemporary Orchestra performing on instruments crafted from equine bones.<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"><\/span><\/span><\/p>\n<p><iframe title=\"April new clip official - Venice Film Festival 2024\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/rr1E7scivUM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p class=\"s6\"><span class=\"s5\"><span class=\"bumpedFont15\">The Grand Jury Prize was awarded to <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<span>Vermiglio<\/span><\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">,<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> its visual landscape crafted by Mikhail Krichman, Andrey Zvyagintsev&#8217;s longtime cinematographer. Krichman&#8217;s lens finds ample inspiration in the expanses of an Italian mountain village<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">: <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">t<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">he film&#8217;s charm is quiet and unhurried, with an <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">over<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">tone of mounting horror. In depicting the World War II era, director Maura Delpero convey<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">ed<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> its catastrophe without ever depicting a single frame of combat.<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"><\/span><\/span><\/p>\n<p><iframe title=\"Vermiglio new clip official - Venice Film Festival 2024 - 2\/2\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/70_YSnUGTG8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p class=\"s6\"><span class=\"s5\"><span class=\"bumpedFont15\"><br \/>\n<strong>Full list of Venice Film Festival 2024 winners:<\/strong><\/span><\/span><\/p>\n<ul>\n<li class=\"s6\"><span class=\"s4\"><span class=\"bumpedFont15\"><strong>Golden Lion<\/strong>:<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> \u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">The Room Next Door<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">(Pedro Almod<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u00f3<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">var)<\/span><\/span><\/li>\n<li class=\"s6\"><span class=\"s4\"><span class=\"bumpedFont15\"><strong>Silver Lion for Best Director<\/strong>:<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> Brady Corbet, <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">The Brutalist<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><\/li>\n<li class=\"s6\"><span class=\"s4\"><span class=\"bumpedFont15\"><strong>Silver Lion Grand Jury Prize<\/strong>:<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> \u2018\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">Vermiglio<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">(Maura Delpero)<\/span><\/span><\/li>\n<li class=\"s6\"><strong><span class=\"s4\"><span class=\"bumpedFont15\">Special Jury Prize:<\/span><\/span><\/strong><span class=\"s5\"><span class=\"bumpedFont15\"> \u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">April<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">(D<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u00e9<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">a Kulumbegashvili)<\/span><\/span><\/li>\n<li class=\"s6\"><span class=\"s4\"><span class=\"bumpedFont15\"><strong>Best Screenplay<\/strong>:<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> Murilo Hauser and Heitor Lorega, <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">I<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u2019<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">m Still Here<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><\/li>\n<li class=\"s6\"><span class=\"s4\"><span class=\"bumpedFont15\"><strong>Best Actress<\/strong>:<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> Nicole Kidman, <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">Babygirl<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><\/li>\n<li class=\"s6\"><span class=\"s4\"><span class=\"bumpedFont15\"><strong>Best Actor<\/strong>:<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"> Vincent Lindon, <\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">The Quiet Son<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\"><\/span><\/span><\/li>\n<li class=\"s6\"><span class=\"s4\"><span class=\"bumpedFont15\"><strong>Marcello Mastroianni Best Young Actor Award<\/strong>:<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">Paul Kirscher, <\/span><\/span><span class=\"s7\"><span class=\"bumpedFont15\">\u201c<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">And Their Children After Them<\/span><\/span><span class=\"s5\"><span class=\"bumpedFont15\">\u201d<\/span><\/span><\/li>\n<\/ul>\n<p class=\"s8\"><span>\u00a0<\/span><\/p>\n<p class=\"s6\"><span>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>It was hot on Lido this year, at least outside the Palazzo del Cinema and screening pavilions. In the 2024 season, the general trend of the \u201cBig Three\u201d festivals seemed to adhere to the principle of \u201cpromise more, deliver less.\u201d The Berlinale in February was one of the least engaging in a decade, resembling more of an indie film showcase on a grand scale; the Cannes competition program proved significantly weaker than pre-festival rumors suggested, fallingshort of the Riviera\u2019s usual glitz and glamour; consequently, in Venice, discussions largely revolved around the weather. However, there will always be dissatisfied voices, while the president of the 2024 Mostra, Isabelle Huppert, remained optimistic in her closing speech, assuring that \u2018cinema is in excellent shape.\u2019<\/p>\n","protected":false},"author":107,"featured_media":34020,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86],"tags":[],"type_post":[],"column":[],"class_list":["post-34028","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"_links":{"self":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/34028","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/users\/107"}],"replies":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/comments?post=34028"}],"version-history":[{"count":0,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/34028\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media\/34020"}],"wp:attachment":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media?parent=34028"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/categories?post=34028"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/tags?post=34028"},{"taxonomy":"type_post","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/type_post?post=34028"},{"taxonomy":"column","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/column?post=34028"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}