Pieta, a shocking new work by Korean filmmaker Kim Ki-Duk about a small-time crook’s attempted redemption after he rediscovers his humane side in a society corrupt by money won the Golden Lion for Best Film at the 69th Mostra last night. “I wish to thank all those who contributed to this film as well as the Venice Festival and Italian audiences, and, finally, the members of the jury,” the filmmaker said upon accepting his prize. Next

[jwplayer config=”Default-Post-Player” mediaid=”13268″]

The Toronto Festival launched yesterday with Bruce Willis and Joseph [...]

[jwplayer config=”Default-Post-Player” mediaid=”13253″]

[jwplayer config=”Default-Post-Player” mediaid=”13245″]

Stormy skies have threatened to overflow the lagoon and the part of this year’s Selection that’s already been screened is stoking an enthusiasm that’s mitigated. It’s near the end of the festival and this 69th edition of the Venice Film Festival is still struggling to gain traction and also get in step with the bold ambitions of its new artistic director, Alberto Barbera. And yet this year’s poster was handsome enough and significant changes have been

To properly discuss David Cronenberg’s “Cosmopolis,” we need to discuss something that film reviews rarely touch: the relationship between film and literature, in a general and historical sense. The challenge that cinema placed upon the primacy of literature in the last century has resulted in marketplace rivalry. Like any good products, the two began to differentiate. Film became the reserve of action, plot, emo-