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Venice Film Festival Reveals 2025 Lineup

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Venice Film Festival artistic director Alberto Barbera has unveiled a rich mix of buzzy movies with big stars — as well as smaller titles with awards potential — that will be vying for the Golden Lion during the event’s upcoming 82nd edition. 
  
Hotly anticipated new works from Kathryn Bigelow, Guillermo Del Toro, Chloe Zhao, Noah Baumbach, Luca Guadagnino, Yorgos Lanthimos, Olivier Assayas, Park Chan-wook, Benny Safdie and more are set for Lido launches, making for a cornucopia of cinematic offerings. 
  
As anticipated by Variety, big-name films premiering at Venice include Safdie’s “The Smashing Machine” from A24, featuring Dwayne Johnson as two-time UFC heavyweight champ Mark Kerr and Emily Blunt as his wife Dawn; Focus Features’ “Bugonia,” the latest collaboration between Yorgos Lanthimos and Emma Stone, who were last at the fest in 2023 with the Oscar-winning “Poor Things”; and Luca Guadagnino’s psychological drama “After the Hunt” starring Julia Roberts, Andrew Garfield and Ayo Edebiri. Guadagnino’s latest feature film, which hails from Amazon MGM Studios, is in an out-of-competition slot. 
  
Mona Fastvold’s musical “The Testament of Ann Lee,” starring Amanda Seyfried as the titular founding leader of the Shaker Movement who was proclaimed as the female Christ by her followers, will bow in competition. The indie film, inspired by real events, was co-written by Fastvold and her partner Brady Corbet (“The Brutalist”). 
  
Netflix – as has been the case in the past – will have a robust Venice presence with a trio of high-profile movies, all in competition.  
  
The streaming giant’s Lido launches comprise Kathryn Bigelow’s politically charged “A House of Dynamite,” marking Bigelow’s first time behind the camera since 2017’s “Detroit.” Set during a fictional national security crisis at the White House, “House of Dynamite” stars Idris Elba, Rebecca Ferguson, Greta Lee, Gabriel Basso and Jared Harris.  
  
Then there is Noah Baumbach’s comedy-drama “Jay Kelly,” starring George Clooney as its enigmatic titular character, and Guillermo del Toro’s “Frankenstein,” a new take on the classic monster movie with Jacob Elordi, Oscar Isaac and Mia Goth. They are all Netflix original films. 
  
But when it comes to streamers making a splash on the Lido, this year’s big novelty is repped by expanding arthouse platform Mubi.  
  
Mubi has the fest’s previously announced opener, Paolo Sorrentino’s love story “La Grazia,” which re-teams the Oscar-winning Italian director with “The Great Beauty” actor Toni Servillo. The specialty streamer is also on the Lido with Jim Jarmusch triptych film “Father Mother Sister Brother,” which stars Cate Blanchett, Vicky Krieps, Adam Driver and Charlotte Rampling. Mubi also has South Korean auteur Park Chan-wook’s 12th feature “No Other Choice,” marking 20 years since his “Lady Vengeance” made a major splash on the Lido. 
  
Also launching in the Lido competition from Asia are “The Sun Rises on Us All” by veteran auteur Can Shangjun, who won the Silver Lion for best director at Venice in 2011 with “People Mountain People Sea,” and “Girl,” the directorial debut of Taiwanese superstar Shu Qi, a frequent Hou Hsiao-hsien collaborator. 
  
Standout out-of-competition titles incude Julian Schnabel’s  star-studded crime mystery “In The Hand of Dante,” with an ensemble cast comprising Oscar Isaac, Gal Gadot, Gerard Butler and Martin Scorsese (who plays Dante Alighieri’s mentor); Gus Van Sant’s hostage thriller “Dead Man’s Wire” with Bill Skarsgård, Colman Domingo and Al Pacino; Sofia Coppola’s documentary tribute to fashion designer Marc Jacobs “Marc by Sophia”; Werner Herzog’s doc “Ghost Elephants,” which follows a mysterious herd of elephants in the jungles of Angola; and Lucrezia Martel’s “Nuestra Tierra,” about the murder of indigenous activist Javier Chocobar. 
  
Leading the crème de la crème French contingent in competition are two major auteurs backed by Gaumont. The venerable French studio will premiere Olivier Assayas’ big-budget political thriller “The Wizard of the Kremlin” which explores the rise of Vladimir Putin — played by Jude Law — and also stars Paul Dano, Alicia Vikander and Zach Galifianakis.  
  
Gaumont will also showcase Francois Ozon’s comeback to the Lido with “The Stranger,” his adaptation of the Albert Camus classic exploring themes of human cruelty, existentialism and post-colonialism in 1930s Algeria. 
  
Francois Ozon is back on the Lido with “The Stranger” his adaptation of the Albert Camus classic exploring themes of human cruelty, existentialism and post-colonialism in 1930s Algeria. 
  
Actor-director Valérie Donzelli is in competition with “The Infinite Present Ends,” a drama based on the fictionalized memoir of a psychiatric nurse. The film is co-written by Audrey Diwan (“Happening”), with whom Donzelli previously collaborated on “Just the Two of Us.” 
  
France also has the fest’s out-of-competition closer: Studiocanal’s dystopian thriller “Chien 51,” directed by Cedric Jimenez, starring two of the country’s most bankable actors: Adèle Exarchopoulos (“Beating Hearts”) and Gilles Lellouche (“The Stronghold”). The movie is produced by the Mediawan-owned Chi-Fou-Mi banner. 
  
From elsewhere in Europe, Oscar-winning Hungarian helmer László Names  (“Son of Saul”) is in competition with period drama “Orphan,” about a Jewish boy raised by his mother with idealized tales of his deceased father. Also competing from Hungary is the drama “Silent Friend” by Ildiko Enyedi (“On Body and Soul”), centered around a majestic tree in a botanical garden that observes humans, with an ensemble cast comprising Hong Kong’s Tony Leung Chiu-wai in his first role in a European film. 
  
The Middle East and North Africa (MENA) region is repped in competition by Tunisian director Kaouther Ben Hania’s hot-button political drama “The Voice of Hind Rajab,” about the killing of a 5-year-old Palestinian girl who was left stranded in a car that had been attacked by Israeli forces in Gaza on Jan. 29, 2024 and later found dead. Saudi Arabian director Shahad Ameen, whose feminist fable “Scales” made a splash after launching from Venice in 2019, is back on the Lido with “Hijra,” a drama centered on the bond formed between different generations of Saudi women during a journey across the desert. “Hijra” will play in Venice’s new Venezia Spotlight section that replaces Horizons Extra. 
  
Opening the Horizons section dedicated to more cutting-edge works is “Mother,” which marks the English-language debut of North Macedonian filmmaker Teona Strugar Mitevska (“God Exists, Her Name Is Petrunya”) and stars Noomi Rapace as Mother Teresa. 
  
The robust Italian roster includes “Below the Clouds,” the new high-profile doc by Gianfranco Rosi whose “Sacro GRA” scooped the 2013 Venice Golden Lion and “Duse,” Pietro Marcello’s biopic of legendary Italian stage diva Eleonora Duse, played by Valeria Bruni Tedeschi, in competition. “A Year of School” by rising auteur Laura Samani, who made a splash with “Small Body” in 2021, is launching in Horizons, as is “The Kidnapping of Arabella,” the sophomore film by Carolina Cavalli whose “Amanda” was a standout in Orizzonti Extra in 2022. Italy’s Benedetta Porcaroli (“The Leopard”) and Chris Pine co-star in “Arabella”. 
   
Interestingly, Italian directors have secured three of Venice’s four slots dedicated to TV series. Veteran auteur Marco Bellocchio will launch a show titled “Portobello” that reconstructs one of Italy’s most clamorous travesties of justice, while genre specialist Stefano Sollima will bow Netflix original “The Monster of Florence,” about a harrowing string of sex-related murders that took place outside Florence from the late 1960s to the mid-1980s. Studiocanal series “A Prophet,” directed by Italy’s Enrico Maria Artale (“Django” the series), is an adaptation of Jacques Audiard’s 2009 film with a diverse new cast led by Mamadou Sidibé. 
  
The fourth TV series premiering at Venice is “Etty,” an adaptation of the diaries of Dutch author Etty Hillesum, who was murdered in Auschwitz. It’s directed by Hagai Levi, the creator of Israeli TV series “Be’Tipul,” which was adapted into HBO’s “In Treatment.” 
  
Two-time Oscar winner Alexander Payne will preside over the main jury. 
  
The 82nd edition of Venice will run Aug. 27-Sept. 6. 

See the full lineup below.

COMPETITION

“La Grazia,” Paolo Sorrentino (opening film)

“The Wizard of the Kremlin,” Olivier Assayas 

“Jay Kelly,” Noah Baumbach 

“The Voice of Hind Rajab,” Kaouther Ben Hania 

“A House of Dynamite,” Kathryn Bigelow 

“Ri Gua Zhong Tian” (“The Sun Rises on Us All”), Cai Shangjun  

“Frankenstein,” Guillermo del Toro 

“Elisa,” Leonardo di Costanzo 

“À Pied d’Oeuvre,” Valérie Donzelli 

“Silent Friend,” Ildikó Enyedi 

“The Testament of Ann Lee,” Mona Fastvold 

“Father Mother Sister Brother,” Jim Jarmusch 

“Bugonia,” Yorgos Lanthimos 

“Duse,” Pietro Marcello 

“Un Film Fatto Per Bene,” Franco Maresco 

“Orphan,” László Nemes 

“L’Étranger,” François Ozon 

“Eojjeol Suga Eopda” (“No Other Choice”), Park Chan-wook 

“Sotto Le Nuvole,” Gianfranco Rosi 

“The Smashing Machine,” Benny Safdie 

“Nühai” (“Girl”), Shu Qi 

OUT OF COMPETITION — FICTION

“Chien 51,” Cédric Jimenez (closing film)

“Boşluğa Xütbə” (“Sermon to the Void”), Hilal Baydarov 

“L’Isola di Andrea,” Antonio Capuano 

“Il Maestro,” Andrea di Stefano 

“After the Hunt,” Luca Guadagnino

“Hateshinaki Scarlet,” Mamoru Hosoda  

“Den Sidste Viking” (“The Last Viking”), Anders Thomas Jensen 

“In the Hand of Dante,” Julian Schnabel 

“La Valle Dei Sorrisi,” Paolo Strippoli 

“Dead Man’s Wire,” Gus Van Sant 

“Orfeo,” Virgilio Villoresi 

OUT OF COMPETITION — SERIES

“Portobello” (Ep. 1-2), Marco Bellocchio  

“Un Prophète” (Ep. 1-8), Enrico Maria Artale

“Etty” (Ep. 1-6), Hagai Levi

“Il Mostro” (Ep. 1-4), Stefano Sollima

OUT OF COMPETITION — NON-FICTION

“Kabul, Between Prayers,” Aboozar Amini 

“Ferdinando Scianna – Il Fotografo Dell’Ombra,” Roberto Andò

“Marc by Sofia,” Sofia Coppola 

“I Diari di Angela – Noi Due Cineasti. Capitolo Terzo,” Yervant Gianikian and Angela Ricci Lucchi

“Ghost Elephants,” Werner Herzog 

“Baba Wa Al-Qadhafi” (“My Father and Qaddafi”), Jihan K

“The Tale of Sylian,” Tamara Kotevska  

“Nuestra Tierra,” Lucrecia Martel 

“Remake,” Ross McElwee 

“Kim Novak’s Vertigo,” Alexandre Philippe 

“Cover-Up,” Laura Poitras and Mark Obenhaus

“Broken English,” Jane Pollard and Iain Forsyth

“Zapiski Nastoyashego Prestupnika” (“Notes of a True Criminal”), Alexander Rodnyansky and Andriy Alferov    

“Director’s Diary,” Aleksander Sokurov 

“Hui Jia” (“Back Home”), Tsai Ming-liang  

OUT OF COMPETITION — FILM & MUSIC

“Nino. 18 Giorni,” Toni D’Angelo

“Piero Pelù. Rumore Dentro,” Francesco Fei

“Newport and the Great Folk Dream,” Robert Gordon and Joe Lauro

“Francesco de Gregori Nevergreen,” Stefano Pistolini 

OUT OF COMPETITION — SHORTS

“Origin,” Yann Arthus-Bertrand

“Boomerang Atomic,” Rachid Bouchareb

“How to Shoot a Ghost,” Charlie Kaufman

HORIZONS

“Mother,” Teona Strugar Mitevska

“Komedie Elahi” (“Divine Comedy”), Ali Asgari

“Hiedra,” Ana Cristina Barragan

“Il Rapimento di Arabella,” Carolina Cavalli

“Estrany Riu” (“Strange River”), Jaume Claret Muxart

“Hara Watan” (“Lost Land”), Akio Fujimoto

“Grand Ciel,” Akihiro Hata

“Rose of Nevada,” Mark Jenkin

“Late Fame,” Kent Jones

“Milk Teeth,” Mihai Mincan

“Pin de Fartie,” Alejo Moguillansky

“Otec” (“Father”), Tereza Nvotova

“En El Camino,” David Pablos

“Songs of Forgotten Trees,” Anuparna Roy

“Un Anno di Scuola,” Laura Samani

“The Souffleur,” Gastón Solnicki

“Barrio Triste,” Stillz

“Human Resource,” Nawapol Thamrongrattanarit

“Funeral Casino Blues,” Roderick Warich

VENICE SPOTLIGHT

“Hijra,” Shahad Ameen

“Un Cabo Suelto,” Daniel Hendler

“Made in EU,” Stephan Komandarev

“Motor City,” Potsy Ponciroli

“La Hija de la Española,” Mariana Rondón and Marité Ugás

“À Bras-Le-Corps,” Marie-Elsa Sgualdo

“Calle Malaga,” Maryam Touzani

“Ammazzare Stanca,” Daniele Vicari



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Week 5 Results + Scorecards | Dana White’s Contender Series Season 9

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Strawweights Carol Foro and Shanelle Dyer kicked things off with a fight that brought Dana White into the Octagon to congratulate both athletes, with Foro coming away with the victory. From there, the finishes just started rolling, as Samuel Sanches stopped Chasen Blair and Freddy Vidal snatched a submission in the final minute of his fight with Felipe Franco before Lerryan Douglas detonated a left hook on the chin of Cam Teague. And then, to close out the night, Steven Asplund needed just 16 seconds to dispatch Anthony Guarascio to close out the evening.

After brief deliberations, White emerged to announce the new additions to the UFC roster, awarding contracts to both Foro and Dyer, Sanches, Douglas, and Asplund while also announcing that Vidal would get another opportunity to compete on the final episode of the season.





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Judge blocks Trump effort to fire Federal Reserve Governor Lisa Cook

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A federal judge late Tuesday blocked President Donald Trump’s unprecedented effort to fire Federal Reserve Governor Lisa Cook.

“President Trump has not identified anything related to Cook’s conduct or job performance as a Board member that would indicate that she is harming the Board or the public interest by executing her duties unfaithfully or ineffectively,” Judge Jia Cobb, an appointee of former President Joe Biden, wrote, as she granted Cook’s request to stop the attempted firing.

The decision comes just weeks month after Trump said he fired Cook — the first Fed governor ever to be fired by the president. The administration is expected to appeal Cobb’s preliminary injunction, which ensures the Federal Reserve must keep Cook on as a governor while the legal challenge plays out.

Cobb said on first look Cook’s claim that she was improperly fired is a valid one and that it violated her rights under the Fifth Amendment. At the same time, the judge, who sits on the federal bench in DC, said she believed the issue brings up new legal questions that need to be addressed over the long term.

“President Trump’s actions and Cook’s resulting legal challenge raise many serious questions of first impression that the Court believes will benefit from further briefing on a non-emergency timeline,” Cobb wrote. “However, at this preliminary stage, the Court finds that Cook has made a strong showing that her purported removal was done in violation of the Federal Reserve Act’s ‘for cause’ provision.”

Trump has attempted to fire Cook for cause, citing allegations of mortgage fraud, which the Justice Department is now investigating. But Cobb said Tuesday that the ability to fire people “for cause” is not absolute and limited to actions taken in office.

“The Court finds that permissible cause for removal of a Federal Reserve Governor extends only to concerns about the Board member’s ability to effectively and faithfully execute their statutory duties, in light of events that have occurred while they are in office,” the judge wrote.

Cook says that Trump’s use of “cause” is an attempt to get around a Supreme Court decision from earlier this year that appeared to limit the president’s ability to remove Federal Reserve governors.

Trump, Cook argued in court papers, wants to redefine the meaning of “cause” in a way that would allow him to fire any board member “with whom he disagrees about policy based on chalked up allegations.”

“President Trump does not have the power to unilaterally redefine ‘cause’ – completely unmoored to caselaw, history, and tradition – and conclude, without evidence, that he has found it,” Cook’s attorneys wrote.

In her ruling, the judge at one point said the Trump administration’s argument would lead to an “absurd result.”

“While admitting that the President cannot remove an official for policy disagreements, the Government claims … a removal on the grounds of a policy disagreement would nevertheless be unreviewable,” Cobb wrote.

“This cannot be the case,” she added. “Such a rule would provide no practical insulation for the members of the Board of Governors. It would mean that the President could, in practice, ‘remove a member … merely because he wanted his own appointees on the’ Board of Governors.”

Following the ruling, a lawyer for Cook said she would continue to carry out her duties as a Federal Reserve governor.

“This ruling recognizes and reaffirms the importance of safeguarding the independence of the Federal Reserve from illegal political interference,” attorney Abbe Lowell said in a statement Tuesday night. “Allowing the President to unlawfully remove Governor Cook on unsubstantiated and vague allegations would endanger the stability of our financial system and undermine the rule of law.”

The move to fire Cook was a significant escalation of the president’s battle against the Fed, which has generally been shielded from political influence for decades. Trump has blamed the Fed for taking too long to lower interest rates.

For months, Trump has unleashed an intense pressure campaign against the Federal Reserve to lower interest rates, arguing that his tariff policy will not push up inflation. But central bankers want to see how Trump’s trade war and other sweeping policy changes affect the US economy before resuming interest rate cuts.

During the spring, Trump frequently threatened to fire Fed Chair Jerome Powell. But the president eventually backed off after his advisers privately warned that doing so would likely spark extreme volatility in financial markets.

The Fed is in the throes of a full-scale assault by the Trump administration. In addition to a barrage of attacks, Trump and his allies have blasted the Fed for its management of a $2.5 billion renovation of its headquarters in Washington, DC, which has grown more costly over the years. Some of Trump’s allies saw it as a potential opening to oust Powell.

Now, instead of trying to fire Powell, whose term ends in May 2026, the Trump administration is trying to reshape the Fed by cementing a majority on its Board of Governors. If Cook, a Biden appointee, is successfully removed, it would leave only two Fed governors appointed by a Democratic president on the seven-member board.

“We’ll have a majority very shortly,” Trump said during a recent Cabinet meeting. “So, that’ll be great. Once we have a majority, housing is going to swing, and it’s going to be great.”

Fed policymakers are set to convene for their two-day policy meeting starting on September 16, in which they are widely expected to deliver the first interest rate cut since December, according to Wall Street’s predictions.

This story has been updated with additional details.





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New-look USMNT show comfort and confidence in 2-0 win over Japan | USA

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This United States’ international window once looked like it could be disastrous. Now, it has been upgraded to strangely uneven.

A much-improved US got goals from Alejandro Zendejas and Folarin Balogun to beat a heavily rotated Japan side 2-0 at Lower.com Field in Columbus. The result lends some credence to Mauricio Pochettino’s insistence that the US’s recent subpar results were all part of a plan with a single target: arriving at the World Cup in peak form.

The US head coach had been in a defiant mood almost from the moment the final whistle blew on his side’s 2-0 loss to South Korea on Saturday – a game in which the US started reasonably well, but were continually undone by miscommunication at the back and a lack of clinical finishing up top. Pochettino turned heads when he told reporters afterward that he felt the US had been the better team overall – a view he doubled down on after arriving in Columbus, but with an additional edge.

“We need to understand that we need to have quite a roster and players that we need to know and give the possibility to play,” he said. “At the World Cup, it’s not a moment to make tests or to give the possibility to get experience. That is why you cannot be surprised.”

Pochettino promised rotation and new ideas for evaluation, and that’s what he delivered: A 3-4-2-1 formation was deployed against Japan, with Chris Richards, Tim Ream and Tristan Blackmon making up the back three, 21-year-old Orlando starlet Alex Freeman at right wingback and the Columbus Crew’s Max Arfsten on the left. Cristian Roldan, who came as a late addition to the squad, started in central midfield alongside Tyler Adams, while Zendejas started alongside Christian Pulisic as dual No 10s behind Balogun at striker.

In each line, a new arrangement gave opportunities for players who are unlikely to be starters in next summer’s World Cup, but who most certainly could play a significant role. In defense, Blackmon made up for a rough international debut on Saturday with a solid display, showing that he could at least be an option for a thin US center-back group. Out wide, Arfsten took advantage of being put in his best position by attacking at will with fewer defensive responsibilities, firing in the cross that led to the United States’ opener. Roldan was his steady, professional self next to Adams. And in attack, Zendejas showed off the work rate and quality of technique that make him relatively rare among the US options at winger.

Of course, things were far from perfect. As he had against South Korea, Balogun failed to score early on, despite a series of point-blank chances within the first 20 minutes, with Japan goalkeeper Keisuke Osako doing well to make a couple saves amid that flurry. The US remained too passive on both sides of the ball, though not anywhere near as much as they were against the Koreans. And goalkeeper Matt Freese, while he kept a shutout and made some very nice saves, did not always look sure-handed or confident when dealing with crosses and set pieces. The starting goalkeeper for this team remains an open question.

It must also be noted that Japan were without most of their usual starters, having used their first team in Saturday’s scoreless draw against Mexico. Still, the players on the field displayed all the hallmarks of head coach Hajime Moriyasu’s approach, attempting to use pace and skill to unbalance the US. The quality on the ball to make those moves count may have been lacking at times, but the rethought US backline played its role as well.

The breakthrough came after half an hour, with Arfsten putting moves on Japan’s Henry Mochizuki, taking him down the left-wing before lofting in a well-paced ball that fell at just the right height for Zendejas. The Club América winger accepted the invitation with gusto, taking the ball right out of the air with a defender on his back and guiding it into the bottom corner of the far post.

Zendejas celebrated by running to Arfsten, pointing at the Columbus Crew player to highlight to the home fans that their player had created what may prove an important breakthrough as the World Cup approaches.

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It was after around this point, 30 minutes in, against South Korea that a decent US performance unraveled. On Tuesday, though, the US did much better to keep up the pressure. The Americans sustained possession, refused to allow Japan out of their own half, and threatened to score even if the final product was not always there, or attempts were blocked by desperate defending. The Japanese helped the US as well – at one point, Pulisic was able to easily intercept a pass out of the back, but he was quickly swarmed and his effort was blocked out of bounds.

That action seemed to wake up Pulisic from what had been another quiet performance in a US shirt. In the 48th minute, the Milan star did well to combine with Arfsten and Zendejas to fire on goal again, but the shot was blocked at the near post. Six minutes later, he went direct, cutting through the Japanese backline to latch on to a ball held up by Balogun, with Osako saving once again in what was an excellent performance for the keeper.

In the end, Pochettino’s thesis may have best been proven by Jack McGlynn and Damion Downs, both of whom came on as substitutes and nearly added three outstanding goals: McGlynn from two trademark curling shots from outside the box (one saved, one off the bar), and Downs from a nice interchange through the middle that was saved by Osako. They were the type of chances that come from a team that, at long last, seemed comfortable with the task at hand, and capable of fulfilling it.

Whether that feeling will extend to the first team on the biggest stage of all next summer remains to be seen.



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