As the dust settles on the Venice and Telluride film festivals, industry observers are sifting through the early buzz to identify potential awards season frontrunners and the films that didn't quite land. Telluride, known for its enthusiastic receptions, generally yielded a more positive outlook, while Venice presented a mixed bag of critical triumphs and divisive premieres.
Telluride audiences were particularly taken with a few Cannes holdovers, including Jordan Firstman’s “Club Kid” and Los Javis’ “La Bola Negra,” both positioned as strong contenders for 2027 Oscar nominations. However, the biggest surprise out of Telluride was the ecstatic reception for “You Can See Everything,” an Elizabeth Holmes documentary co-directed by Lance Oppenheim and Nathan Fielder, which premiered to immediate acclaim.
Venice, in contrast, offered fewer obvious awards contenders but still produced significant buzz. Lee Chang-dong’s elegantly crafted relationship drama “Possible Love” captivated critics, as did “NAZA,” a powerful new Gaza documentary from Oscar winners Yuval Abraham and Rachel Szor, which is expected to secure a major prize. May el-Toukhy’s “Woman Unknown,” a disturbing post-World War II drama set in Denmark, also garnered attention, particularly given the festival's ongoing discussions around gender parity in its competition.
Not every film emerged unscathed. Cristian Mungiu’s Palme d’Or winner “Fjord” received mixed reactions at Telluride after its Cannes debut, sparking political debate with its portrayal of a devout Romanian couple and their Norwegian neighbors. Florian Zeller’s “Bunker,” starring Javier Bardem and Penélope Cruz as a wealthy unraveling couple, received tepid reviews despite an enthusiastic audience ovation in Venice, casting doubt on its early Oscar hopeful status. Documentaries also faced scrutiny, with “Everest: The Other Side” by Elizabeth Chai Vasarhelyi and Jimmy Chin prompting debate over its moral complexities.
One of the most talked-about films was Lance Oppenheim’s “Primetime,” a “To Catch a Predator”-inspired thriller starring Robert Pattinson, which emerged from Venice with a decidedly divisive reception, ranging from mixed to great reviews.
Amidst the varied responses, Mike Leigh’s family drama “Tender Loving Care” stood out as a clear critical favorite. The film, potentially the 83-year-old British director’s final work, was adored for its heartfelt yet crushingly dark portrayal of people brought together and pulled apart by time. Featuring an outstanding ensemble cast including Kate O’Flynn, Marion Bailey, Paul Jesson, and Alice Bailey Johnson, it’s already being hailed as one of the best films of the fall season.
As the festival circuit continues, Venice and Telluride have provided a compelling, if sometimes contradictory, roadmap for the films that will shape the conversations leading up to the Oscars.