{"id":689913,"date":"2025-09-13T19:35:14","date_gmt":"2025-09-13T16:35:14","guid":{"rendered":"https:\/\/buradabiliyorum.com\/en\/best-of-the-fall-fests-thrs-critics-picks\/"},"modified":"2025-09-13T19:35:14","modified_gmt":"2025-09-13T16:35:14","slug":"best-of-the-fall-fests-thrs-critics-picks","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/best-of-the-fall-fests-thrs-critics-picks\/","title":{"rendered":"Best of the Fall Fests: THR\u2019s Critics Picks"},"content":{"rendered":"
\n

\n\tVENICE, TORONTO<\/strong><\/p>\n

\n\tDocumaker Gianfranco Rosi returns to his native Italy for this stunningly shot look at life at the foot of Mount Vesuvius, then and now. The film surveys Pompeii\u2019s prized ruins; ventures into the tunnels beneath them, dug by tomb robbers selling antiquities on the black market; hovers over the Gulf of Naples to reveal a region in danger if Vesuvius ever erupts again; visits a call center as residents fear the worst after an earthquake; and hops back outside to find local youths setting fire to the streets. It\u2019s a portrait of a place forever on the brink of disaster. \u2014 JORDAN MINTZER<\/p>\n

\n\tVENICE, TELLURIDE, TORONTO<\/strong><\/p>\n

\n\tLaura Poitras and Mark Obenhaus\u2019 doc brings prominent investigative reporter Seymour Hersh, still going strong at 88, into exhilarating focus. The film moves between past and present with a fitting sense of discovery and momentousness, Maya Shenfeld\u2019s score pulsing with suspense. Hersh himself is thoroughly engaging \u2014 by turns charming, surly and vulnerable \u2014 while evocative vintage footage helps illuminate his key areas of revelation, among them the CIA\u2019s domestic spying, Watergate and the Iraq War. \u2014 SHERI LINDEN<\/p>\n

\n\tTORONTO<\/strong><\/p>\n

\n\tThe overcrowded \u201cunraveling woman\u201d subgenre gets a shot in the arm with this lush, hypnotic character study from Swiss-Argentinian filmmaker Milagros Mumenthaler. Conjuring the troubled inner life of a young, beautiful and successful Buenos Aires fashion designer with an uncommon mix of stylistic rigor and feeling, the film frays your nerves. But it also stirs your emotions, deploying bold colors, an immersive soundscape that mingles a spectrum of ambient noise with surges of classical music and a lead performance of riveting translucency. \u2014 JON FROSCH<\/p>\n

\n\tVENICE<\/strong><\/p>\n

\n\tJim Jarmusch has been doing his idiosyncratic thing for so long, we sometimes take him for granted. But then he comes along with a film as delicate and lovely, as singular and perfectly realized as this one (winner of the Golden Lion) and quietly floors you. What makes the trip<\/a>tych of thematically connected snapshots \u2014 set in the Northeast U.S., Dublin and Paris \u2014 so memorable is its deftly unfussy observation of the unknowability that can endure among people who share the same bloodlines. The superb ensemble includes Adam Driver, Cate Blanchett, Tom Waits and Indya Moore. \u2014 DAVID ROONEY<\/p>\n

\n\tVENICE, TORONTO<\/strong><\/p>\n

\n\tGuillermo del Toro\u2019s sumptuous adaptation of Mary Shelley\u2019s novel is, of course, a film of heady sensorial pleasures. But it also has a dazzling emotional force thanks in large part to its two leads. Oscar Isaac plays the titular scientist with the intensity of a tortured artist, his arrogance steadily consumed by remorse; and Jacob Elordi, as the Creature, gives a revelatory performance notable for its expressive physicality but even more so for its innocence, its deep yearning and the crushing sense of emptiness that follows as he comes to understand who and what he is. \u2014 D.R.<\/p>\n

\n\tVENICE, TELLURIDE<\/strong><\/p>\n

\n\tPaolo Sorrentino imagines the final days in office of a fictional Italian president (a marvelous Toni Servillo, Venice\u2019s best actor winner) in this exquisite character study. The absence of corruption and scandal makes it a revitalizing break from real-world concerns, without in any way veering into sapp<\/a>y idealism. By the director\u2019s standards, this is a sober, distinctly mature film, but it still boasts the customary creative arias, the witty humor and visual delights that have distinguished his best work. \u2014 D.R.<\/p>\n

\n\tTELLURIDE, TORONTO<\/strong><\/p>\n

\n\tChlo\u00e9 Zhao\u2019s adaptation of Maggie O\u2019Farrell\u2019s novel, a fictionalized account of Shakespeare and his wife as they fall in love, start a family and face unexpected tragedy, is a gorgeous tearjerker. Paul Mescal is wonderful as the Bard, underplaying when one might expect him to go big \u2014 which makes the moments he does explode all the more impactful. But it\u2019s Jessie Buckley who really stuns as Agnes, grounding a character who could have seemed too ethereal in raw feeling. Zhao\u2019s eye for natural grandeur shines through, as does her attention to detail. \u2014 ANGIE HAN<\/p>\n

\n\tVENICE<\/strong><\/p>\n

\n\tKathryn Bigelow\u2019s unrelenting choke-hold thriller is so controlled, kinetic and immersive that you stagger out at the end wondering if the world is intact. Capturing from multiple perspectives the White House response to an unattributed missile launch headed for a major U.S. city in the 20 minutes until projected impact, the film is of a piece with Bigelow\u2019s later-career gut punches, The Hurt Locker<\/em> and Zero Dark Thirty<\/em>. The ensemble, featuring Idris Elba, Rebecca Ferguson, Jason Clarke and Greta Lee, has no weak link. \u2014 D.R.<\/p>\n

\n\tVENICE, TORONTO<\/strong><\/p>\n

\n\tThe superb first nonfiction feature from Argentinian director Lucrecia Martel focuses on the killing of an Indigenous community leader by white landowners in northwest Argentina. It\u2019s a searing, detailed chronicle of murder, bigotry and robbery on a massive scale. It\u2019s also \u2014 and this is rare for a true-crime doc \u2014 filled with flashes of visual splendor, as the camera rises to a bird\u2019s-eye view to reveal the scope of the land in question, reminding that what\u2019s at stake is not only an entire people\u2019s culture but nature itself. \u2014 J.M.<\/p>\n

\n\tVENICE, TORONTO<\/strong><\/p>\n

\n\tMads Mikkelsen brings a deadpan look and lots of grace to his role as a psychologically troubled man who insists he\u2019s John Lennon in the latest from Denmark\u2019s Anders Thomas Jensen. It\u2019s an absurdist black comedy that\u2019s also a heist story marked by bloody violence, knockabout slapstick and a theme of family bonds. Few would be able to juggle genres and navigate shifts in tone as fluidly as Jensen does; on paper, none of it should work, but the film is consistently entertaining, weird and ultimately touching. \u2014 CARYN JAMES<\/p>\n

\n\tTORONTO<\/strong><\/p>\n

\n\tJohn Early\u2019s goofy yet poignant directorial debut, about a woman chef (played by Early himself) who hides her eating disorder from her husband and friends, is like a Lifetime movie made by Comedy Central, marrying a somber premise with playfully absurd twists. Via visual gags, a cast of gifted comic actors and a script that pulls both from \u201980s and \u201990s TV movies<\/a> and screen classics like Suddenly, Last Summer<\/em> and The Children\u2019s Hour<\/em>, Maddie\u2019s Secret<\/em> straddles the line between comedy and melodrama, creating a wholly unique cinematic experience. \u2014 JOURDAIN\u00a0SEARLES<\/p>\n

\n\tVENICE<\/strong><\/p>\n

\n\tPicture Brokeback Mountain<\/em> crossed with a gruesome episode of Narcos: Mexico<\/em>, then filled with enough sex and nudity to earn an NC-17 rating, and you\u2019ll get an inkling of David Pablos\u2019 transgressive genre flick. As tough as that pitch may sound, what\u2019s most surprising about this Mexican film (Diego Luna is a producer) is how tender and moving it is. The setting is a long highway to hell, yet amid the violence, blood and other bodily fluids lies a deeply felt romance about two men who find each other in a very dark place. \u2014 J.M.<\/p>\n

\n\tVENICE<\/strong><\/p>\n

\n\tThis profound, piercing documentary from 78-year-old Ross McElwee, like most of his work, juxtaposes two seemingly unrelated things: his son Adrian\u2019s battles with addiction and mental health, resulting in his death from an overdose in 2016; and a Hollywood director trying to turn McElwee\u2019s 1985 doc, Sherman\u2019s March<\/em>, into a feature-length comedy. Both strands are about legacy \u2014 about what you create and leave behind \u2014 and the viewer gradually realizes that McElwee is reflecting on the impossibility of getting to remake your own life. \u2014 J.M.<\/p>\n

\n\tVENICE, TORONTO<\/strong><\/p>\n

\n\tThe third feature from Macedonian director Tamara Kotevska (Honeyland<\/em>) \u2014 part nature film, part parable, part ground-level snapshot of downward-spiraling economies \u2014 is a doc set in a village where farmers, whose numbers have been dwindling, coexist with the largest white stork population in North Macedonia. An absolute charmer, the film is an affecting look at the human-avian bond, with all its mysteries, warmth and ungainly practicalities. \u2014 S.L.<\/p>\n

\n\tVENICE, TORONTO<\/strong><\/p>\n

\n\tIn her soul-shaking film, Tunisian director Kaouther Ben Hania dramatizes the hours of Jan. 29, 2024, when Palestine Red Crescent volunteers tried to calm a terrified 6-year-old girl and get an ambulance to her in Gaza as Israeli tanks surrounded the car she was in. Ben Hania lights a connective fuse between documentary and drama, using the actual recordings of the panicked girl and the emergency workers \u2014 the latter played by actors who hold the screen with pulsing immedia<\/a>cy. \u2014 S.L.<\/p>\n

\n\tThis story appeared in the Sept. 10 issue of The Hollywood Reporter magazine. Click here to subscribe<\/a><\/em>.<\/p>\n<\/div>\n

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Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

VENICE, TORONTO Documaker Gianfranco Rosi returns to his native Italy for this stunningly shot look at life at the foot of Mount Vesuvius, then and now. The film surveys Pompeii\u2019s prized ruins; ventures into the tunnels beneath them, dug by tomb robbers selling antiquities on the black market; hovers over the Gulf of Naples to…<\/p>\n","protected":false},"author":1,"featured_media":689914,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2025\/09\/NEW-25rev_festival_web-SPLASH-2025.jpg?w=1440&h=810&crop=1","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[158467,27143,158266,38022,27144,157820,34009],"class_list":["post-689913","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-telluride-2025","tag-tiff","tag-tiff-2025","tag-toronto-film-festival","tag-toronto-international-film-festival","tag-venice-2025","tag-venice-film-festival"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/689913","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=689913"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/689913\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/689914"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=689913"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=689913"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=689913"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}