In the realm of cinema, the Venice International Film Festival in Mostra, Italy, has emerged as the stage for premiering Oscar-winning films in recent years. It marks the final European destination for the world's cinematic giants, offering audiences a tantalizing glimpse of what's to come and a momentous occasion for both mainstream moviegoers and auteur film aficionados alike. Unlike Cannes, with its traditional mid-May schedule, Venice rounds off the cinematic calendar in August-September. While other prominent European autumn-winter film festivals like San Sebastian exist, Venice remains distinct in its unwavering focus on Hollywood and its ability to harmoniously blend European and American cinematic flavours, despite criticisms from some quarters about the preponderance of American cinema and the scarcity of representation from Asian counterparts.

The 80th Venice Film Festival, the world's oldest film festival, brought together a myriad of cinematic experiences and controversies that are worth exploring.

A HISTORIC FIRST: ARMENIAN DIRECTOR’S DEBUT IN VENICE

The Venice International Film Festival, inaugurated from August 6 to August 21, 1932, owes its existence to the visionary collaboration between Count Giuseppe Volpi di Misurata, a multifaceted politician and businessman, and film critic Luciano De Feo. The festival received immediate backing from the authorities, and its maiden voyage took place at the illustrious Excelsior Hotel's terrace on Lido Island in Venice. Interestingly, the festival didn't start as a competitive event but rather as a platform for introducing new films to the public and art enthusiasts. What makes this inaugural edition even more remarkable is that the very first film featured was "Doctor Jekyll and Mr. Hyde," directed by the innovative Armenian filmmaker Ruben Mamulyan. It was showcased on August 6, 1932, at 9:15 p.m., marking a historic moment for Armenian cinema.

ACTIONS OF PROTEST AND SUPPORT

Before the festival's commencement, questions swirled around including directors Woody Allen, Luc Besson, and Roman Polanski in the festival's program. Each of them faced accusations of sexual violence and harassment. Alberto Barbera, the president of the Venice Film Festival, staunchly defended their inclusion, citing their legal innocence due to the absence of formal charges. Barbera also praised Polanski as one of the last great masters of European cinema. However, amidst the festival, the Tapis Rouge Colere Noire group unleashed a series of provocative posters across Venice, bearing slogans like "Monsters in Mostra" (Monsters in Film Festivals).

In a compelling counteraction, a support campaign emerged. On the festival's fourth day, individuals stood in solidarity with Iranians and Iranian filmmakers near the red carpet. Portraits of Makhsa Amini, tragically murdered, decorated with the powerful slogan "Woman, Life, Freedom," and Said Rusta, the director of "Leila's Brothers" (who had faced a six-month prison sentence for screening the film at Cannes the previous year), became poignant symbols of the movement.

WINNERS AND HIGHLY ANTICIPATED FILMS

The coveted "Golden Lion" award for Best Film found its home with "Poor Things," directed by the visionary Yorgos Lanthimos. Tony McNamara penned the screenplay, drawing inspiration from a 1992 novel by Scottish writer and artist Alasdair Gray. The film intricately weaves the tale of Bella, portrayed by the talented Emma Stone. Bella's story is marked by her suicide attempt and a unique revival by Professor Godwin, played by the versatile Willem Dafoe, who transplants the brain of her future child into her. Bella undergoes a rapid transition from childhood to adolescence, navigating the turbulent waters of puberty and grappling with profound social, philosophical, and gender-related questions.

Sofia Coppola's "Priscilla," based on Priscilla Presley's autobiographical novel "Elvis and I," offers a fresh perspective on a couple's journey through adolescence and adulthood. Kayleigh Spain's exceptional portrayal of Priscilla earned her the Wolf Cup for Best Actress, while the series "Euphoria" star Jacob Elordi steps into the iconic role of Elvis. Notably, Peter Sarsgaard clinched the Best Actor award from the festival's jury for his remarkable performance in Michel Franko's drama "Memory," where he shares the screen with the talented Jessica Chastain. The film delves into the complexities of a couple attempting to build a relationship while contending with profound health and psychological challenges.

Matteo Garrone, celebrated for his versatility across various genres, was rightfully hailed as the Best Director for "I, Captain." This compelling drama unfurls the harrowing journey of two young Senegalese individuals navigating a dangerous and illegal path in their quest to reach Italy.

The festival also celebrated Japanese director Ryusuke Hamaguchi, who received the Special Grand Jury Prize for his film "Evil Does Not Exist." At the same time, the accolade for Best Screenplay was bestowed upon Chileans Pablo Larraín and Guillermo Calderon for "The Count," a daring portrayal of Augusto Pinochet as a vampire. Another noteworthy inclusion was "Green Border" by Polish director Agnieszka Holland, which earned the special jury prize. This socio-political drama delves into the harsh realities of the Polish-Belarusian border and the inhumane treatment of refugees. The film stirred controversy, drawing criticism from Poland's Minister of Justice, Zbigniew Ziobro. In response, the director, who has personal connections to the Holocaust and the Warsaw Uprising, received support from colleagues and members of the Association of Polish Women Film Directors.