Telluride, Venice, and All the Oscar Buzz in Between
Hello from Telluride! The sun and the stars are out, the altitude is catching up to me, and Oscar buzz seems to be taking direct flights by the hour from Venice’s Lido to the Colorado mountains. I’m David Canfield, and my colleague Rebecca Ford and I are already running around town in anticipation of screening some of the season’s biggest—and, surely, awards-bound—films. Today, the festivities kick off with the Patron brunch, which finds top talent at the festival mingling over coffee and bagels and fruit, against a gorgeous mountain backdrop. By day’s end, we’ll have attended a secret screening—too early for murmurs on what it might be—as well as the world premiere of Women Talking, Sarah Polley’s anticipated chamber drama, and the US premiere of Alejandro G. Iñárritu’s new movie, Bardo.
Speaking of Bardo: Expectations were high for the Mexican filmmaker’s latest, given that his last two films won him the best-director Oscar (Birdman and The Revenant) and this one, a nearly three-hour epic, is said to be his most personal movie ever. Alas, critics in Venice were not too kind, with both Rotten Tomatoes and Metacritic placing the film in the danger zone. Maybe American audiences will be kinder, though it feels like the kind of movie that’d hit best on the arty-leaning Lido. Like I said: This time of year, Oscar buzz runs faster than an Aaron Sorkin monologue. I’ve heard Netflix really believes in the film and its prospects, so this stumble hardly marks the end of its awards journey, but Bardo has quickly gone from early heavy hitter to improbable underdog—one that might struggle to find fans where it needs to most.
The news was far better for Tár, Todd Field’s first movie in 16 years (his last was Little Children) which played to a rousing reception in Italy. Critics were universally effusive, the premiere’s standing ovation—a ridiculous measure, but a measure nonetheless—was long and emotional. Plus, it’s already got a best-actress front-runner in an arguably career-best Cate Blanchett, a supporting sleeper in Nina Hoss(Phoenix fans, reveal yourselves!), and a hell of a score from Joker Oscar winner Hildur Guðnadóttir. (The movie is about a legendary conductor.) The tricky, timely story line feels primed for juicy discussion and debate, of the kind of staying power that marks a true across-the-board player. Welcome back to the race, Mr. Field. We’ve missed you.
More to come this weekend and beyond over in Venice, where Richard Lawson is holding down the fort for us, including the bows of the Brendan Fraser vehicle, The Whale, the Tilda Swinton–Joanna Hogg ghost story, The Eternal Daughter,and Martin McDonagh’s gloriously Irish The Banshees of Inisherin. (Wouldn’t you know it, we’ve got exclusive first looks at all three movies!) Here in Telluride, Sam Mendes’s Empire of Light debuts Saturday afternoon—star Micheal Ward, said to give a knockout performance, will be in attendance with the director—and Blanchett will receive a splashy tribute award in the evening—her campaign truly couldn’t get off to a better start.
Be sure to follow along with our ever-updated live blog, which collects all of our reviews, exclusive interviews (stay tuned!), fashion coverage, and stray encounters in one convenient place, and in real time. If you’re reading this from home, trust that plenty of good stuff is coming your way soon enough. And if you happen to be at one of the major festivals this month—that includes Toronto, which Richard, Katey Rich, and I will be coming to you from next week—don’t forget to make time for the movies. It’s already shaping up to be a special year.
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