Venice Film Festival — A–Z of films

There is more melancholy in About Endlessness, however, than in his preceding 'Living Trilogy', as despite moments of humour and hopefulness, its dominant themes are regret and loss.

Gray's film is so visually stunning in places, you'll wish that Roy would pipe down a bit and let you enjoy it.

A film full of despair and tortured masculinity.

Milla might be dying but she's also, paradoxically, finding her way in the world and working out what she wants, even if time is short.

Although he is dealing specifically with one instance in Romania, it's easy to see evidence of greater global malaise reflected here.

There are themes around punishment and forgiveness running throughout this film but they're rarely simple.

Certainly not a film for the masses.

Despite its reliance on the crutch of cliche in terms of plotting there is much to admire here stylistically.

Di Girolamo has a compelling intensity in the role but it's still hard to believe that everyone would fall quite so hard and fast for Ema's devil may care charms and unpredictability, especially with so much on the line.

You are never sure what is actually happening, what is real and what is pretending to be real.

It's testament to Williams' ability that he is able to keep viewers identifying with him throughout, never becoming an object of pity or mockery.

Phoenix strips the skin off your eyeballs. What happens next is a gasp away from easy.

All its genre elements are the neat packaging for some grim state-of-the-nation commentary, showing an aspect of Iranian society that is seldom explored on film.

Greenfield keeps tight control, allowing Marcos to say what she wants, while busily illustrating the opposing perspective.

The film is at its best when it is portraying conflicted emotions - as old love underlies fresh acrimony.

Luca Marinelli is excellent in the lead, balancing intensity with intelligence, convincing at every stage of Martin's journey.

Brummer is the perfect choice to play Nick.

Smutný gives us faces that will stories even when they're still, the weight of long experience etched into every line.

The film generates a feel-good vibe even if beneath the pleasant froth lies a rather predictable polemic against the patriarchy.

There is a lot going on here on both a family and a political level, but Barsaoui sensibly avoids spelling things out letter by letter.

What the cumulative effect of masterfully restored newsreel may lack in action, it more than makes up for with the numbing, slow-burn sensation of being drawn under the spell of state-orchestrated mass mourning.

In less sensitive hands than Kore-eda's, it could have come across as cloyingly introverted but instead there is wit and warmth in the observed relationship between the two women.

Rylance is superb throughout in a role perfectly suited to his talents.

Court is diligent in his management of movement, with the most vulnerable characters almost static unless physically moved by others, as if they were mere props.