Venice Review: ‘Babyteeth’ is a magnificent portrayal of love
Milla is a teenager, she lives with her parents Henry, a psychiatrist, and Anna, former…
Roberto Ruggio
Roberto is a 32-year-old movie buff hailing straight from Venice-ish, Italy. Disdained by the modern world and its ostracism against Ken Russell’s undisputable masterpiece “The Devils”, he finds solace in watching films of debatable quality, sipping beer and being as queer as possible.
Venice Review: Rylance shines in promising but unfocused ‘Waiting For The Barbarians’
Colombian director Ciro Guerra made himself known to the film world with his sizzling masterpiece…
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2019 Venice Film Festival Awards: Predictions and Preferences
It’s Friday night while I’m writing this post, and the 2019 Venice Film Festival has…
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Venice Review: ‘About Endlessness’ is a triumph
Roy Andersson shocked the 2014 Venice Film Festival when his A Pigeon Sat On A…
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Venice Review: ‘The King’ is a satisfying look into the Middle Age
We’re in the 15th century. The reign of Henry IV (Ben Mendehlson) is reaching its…
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Venice Review: ‘The Laundromat’ is a missed opportunity
April 3, 2016. German newspaper Suddeutsche Zeitung publishes an enquiry penned by Bastian Obermayer on…
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Venice Review: ‘Joker’ is Joaquin Phoenix’s glorious dance of madness
Ridi, Pagliaccio. Opera fans will instantly recognize what I’m talking about. It’s a very famous…
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Venice Review: ‘J’Accuse’, or Polanski at his Polanskiest
It’s never easy to talk about Roman Polanski and his films. Remember the old saying…
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Venice Review: James Gray’s ‘Ad Astra’ is ambitious but disappointing
A popular Latin expression reads “per aspera ad astra”, signifying the journey of self-realization of…
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Venice Review: The affecting power of family and film in ‘The Truth’
Truth. A simple word that can change lives. We seem to want it, we desperately…
