50 Appropriate Ways to Celebrate Tilda Swinton.

The fabulous Tilda Swinton is now a half century old young timeless -- old, young... these concepts are too limited when it comes to the greats. But fact: On November 5th, 1960 Tilda Swinton first came into the world. So a tribute is most definitely in order.

50 Appropriate Ways 
to Celebrate Swintonian Greatness

• Be a genius.
• Dye your hair white blonde... or bright red.
• Be colorful.
• Imagine you have deep Scottish roots.
• Create an eccentric personal film festival.
• Attend any film festival near you.
• Have tremendous commitment to your art. 
• Exhibit tremendous loyalty to your friends.
• Watch a Derek Jarman film immediately. (This should have been first. Just pretend you did it first.)

• Stand naked in front of the mirror with your goodies tucked. 
• Say "Same person. No different at all. Just a different sex"
• That's right. Watch ORLANDO (1993) again. It's so good.
• Break the fourth wall with Jimmy Sommerville blasting behind you as soundtrack.
• Clone yourself.
• Enjoy your own company.

• Pretend your children (or niece & nephews) are twins. Call them "Xavier" and "Honor" all day. 
• Invite a friend over and do a crazy photoshoot. You photograph so well! 
• Pose for a talented painter.
• Become a muse for multiple creative types: fashion, film, art, music. Anything!
• Experiment with an open relationship.
• Wear attention-grabbing shoes.

• Be enigmatic. 
• Boss someone who looks like George Clooney around. 
• Befriend Justin Bond. 
• Sweat it out in a bathroom stall or nervously rehearse a speech. 
• Cause trouble for someone who looks like Leonardo DiCaprio. 
• Watch I AM LOVE for IT IS CINEMA...
• ...then have sex outdoors with an Italian or a chef (bonus points for both)
• Invite people over to watch you sleep... for a whole week.

• Do the Laurel & Hardy dance from Way Out West.
• Wear your most avante-garde article of clothing.
• Embrace Female Perversions... whatever that may mean to you.
• Listen to Orbital's "The Box"

• Get real drunk and run your mouth constantly ...maybe wear a creepy black mask while doing so?
• Take a swim and pretend you've crossed the English channel.
• Seduce someone who looks like Ewan McGregor.
• Pretend to hate your cat and him/her "Aslan".

• Offer a young bratty boy some Turkish delight.
• Wear a shapeless baggy black dress to an important event.
• Don't wear makeup just because people expect you to.
• Pretend you've just won an Oscar. (You don't have to pretend that you deserved it. You sure did.) 

• Learn another language. 
• Be cultured. 
• Join the 8½ Foundation.
• Complain to everyone who will listen that Tilda should have won a second Oscar for Julia last year. 
• Remember that art is more important than money. (Only sell out temporarily in short doses... even when the offers come flooding in.)
• Be androgynous.
• And/or appreciate the androgynous in others. 

• "Do not fade. Do not grow old."
• Never lack for imagination.
• Be your own person. There is only one you.

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Julia & Clive, Close Again

Here's Julia Roberts & Clive Owen filming Duplicity, which is both Tony Gilroy's follow up to his Oscar nominated directorial debut (Michael Clayton) and a reunion for those hostile marrieds from Closer. The stars are playing corporate spies in this one who used to be lovers. Maybe they will be able to have some heated nasty exchanges to remind us of their first pairing onscreen...


Tony Gilroy wrote the Bourne movies before writing and directing Michael Clayton. Will lightning strike thrice? And do you need Julia in a way that Charlie Wilson's War didn't deliver?

20:08 (Debt)

I was missing my old screenshot series this morning so here's one for nostalgia's sake. (Can you have nostalgia for something that was going on mere months ago?)

Screenshot from the 20th minute and 8th second of a movie

Are you telling me you don't have the $75,000?

Michael Clayton is drowning in debt. And one of my favorite things about this movie which stares at him, unblinking, is the way you feel that same crushing burden on all the main characters in the movie, not just Michael. Everyone is drowning, gasping for oxygen at the convergence of career, money and morality.

Naked Send Off

Hey, it's Nathaniel. I'm not really here. Just packing my luggage. I'm on my way very soon... my guest-blogging house elves have already gotten busy. But I couldn't resist telling you about this unique neighborhood sendoff. Yesterday returning from the gym I cut through my building's parking lot and as I emerge on the sidewalk, there in the middle of the road is a naked man, arms outstretched, spinning in circles.

[photo taken from my apartment. excuse img quality]

True story. Buck naked. Starkers! I started laughing but quickly noticed that all around me my neighbors had their cel phones out looking very serious and disapproving, probably on the phone to the police. Strewn hilariously across the street (out of frame here to your right) like Gretel's breadcrumbs were various articles of clothing he had apparently ditched on his way to his nude epiphany on the streets of Harlem.

My very own neighborhood Tom Wilkinson in Michael Clayton proxy! There was no sign of a huge bag of baguettes, unless he had already eaten them all --the belly was quite large. Unfortunately Tilda Swinton and/or George Clooney did not arrive in their overpriced suits to clean up his mess. They sent the NYPD instead. I counted at least 8 police cars which is more than enough to handle one spinning naked man without weapons or even baked goods.

This will not happen in Utah. I already miss New York.
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Links, Caution

If you've ever wondered how I choose my links...
It's mostly general surfing + what people send me using the e-mail link to the "tips, suggestion" in the upper right hand corner + regular favorites from my rss feeds. I will be revamping my link lists / subscriptions soon... eager to find new stuff. So if you'd like me to notice your blog or any blog you think does great work, send it to the e-mail with "FYC" in the title field.

Miscellania
Trading Faces funny popculture genealogy for 'Project Runway Too Gay'
Slant Magazine goes to NY Fashion Week. Asides to Project Runway, America's Next Top Model, and Sex & The City: The Movie for you tv maniacs
Seriously? OMG! WTF? Natalie loves Scarlett's twins
Culture Snub investigates credible motives and character flaws in There Will Be Blood and Michael Clayton. I beg to differ on a couple points about the latter, but a good read
Jezebel Sex & The City trailer. Lots of plot reveals.

Pfun with Pfeiffer
flickr Attack of mega giantess Michelle
Personal Effects LaPfeiffer's new movie has a trailer. This is the one with Ashton Kutchner-Moore
Coraline teaser. OK, strictly speaking this has nothing to do with Michelle Pfeiffer. But she was originally supposed to play "Mother/Other Mother" when this was going to be a live action film. And now it's animated and it's... um... Teri Hatcher.

DVD Land

Bluegum on The Darjeeling Limited & Nu Orientalism. Interesting piece
also relatively new on DVD: Lust, Caution (winner of 1 gold, 3 silver medals and a bronze in the 8th annual film bitch awards), American Gangster (meh), Michael Clayton (hell, yeah), Margot at the Wedding (Kidman was Oscar nom' worthy), Beowulf (my review), In the Shadow of the Moon, Death at a Funeral (my review), Slipstream and 30 Days of Night (don't do it. worst of the year)

still hung up on Oscar?
...and you've (almost) had enough articles on the Oscars but I just want to share three quotes that I really enjoyed from Rob Scheer, Nick Davis and Jeffrey Wells

"I've got to say, it still makes no sense to me that this movie is an Oscar winner for Best Picture. It's too challenging, too cerebral, too symbolic, too meditative, too cynical, too phenomenal. It doesn't make sense. This is the award that's supposed to go to movies that say racism is bad or wittily hypothesize the backstory of writing of "Romeo and Juliet" or commemorate the Holocaust. It's not supposed to go to morally murky, violent Coen Brothers movies with abrupt, thought-provoking endings that basically impart the message that society is quickly going to shit. What the fuck has happened to the Oscars? I have no idea, but whatever it is, it's something worth celebrating."
-Rob Scheer on No Country For Old Men's win

"Swinton didn't win for a single reason other than her performance, with the slight exception of Michael Clayton's shutout in other categories. Even there, plenty of well-liked nominees go home empty-handed every year ... Otherwise, though, the critics didn't help her, beyond the rave reviews from several months ago: somehow, when prize season arrived, they only had eyes for Amy Ryan. She didn't have a Globe or a SAG. She isn't, remotely, a Hollywood elbow-rubber. She isn't "owed" in any way the Academy recognizes (and certainly not the way Ruby Dee is). She isn't the young thing of the moment. She didn't play a likeable character. She didn't play the character in a simply digestible way. Her part wasn't showy, though it was generously featured. The general public has a dim sense of her as the White Witch of Narnia, but little else. Why did she win? It's the performance, stupid... Good enough to persuade voters on its own terms once they got around to seeing it, and good enough to qualify as the best winner in this category since the proximate wins of Peggy Ashcroft and Dianne Wiest in 1984 and 1986—if not the best since Vanessa Redgrave won in 1977, and in virtually the same dress, plus a left sleeve. For all the well-earned reputation of insiderism and errant, delayed sentiment that the Academy has accrued over time, they don't always vote that way, and when they don't, it's glorious."
-Nick Davis on Tilda's win

"These are some of the best movies that the filmmaking culture is turning out now. Every year there are at least 20 or 25 films that are somewhere between excellent, very good or good enough to watch and think about later. If regular people in Boston and Saskatchewan are living such insulated and cut-off lives that they can't be bothered to go to some of these films unless it has an advertised 'happy pill' vibe then the hell with them. They're children. I have no time for childishness, and neither does anyone else of any worth. Life is short."
-Jeffrey Wells on the same dumb knee jerk 'why haven't I heard of these films?' inexplicable whining that I was bitching about yesterday. [Go get 'em Jeffrey!]

I Know Who Linked / Featured Me

Thompson on Hollywood reports from the Oscar Nominee Luncheon
Awards Daily The "Poscars" return. Love you Susan!
<-- StinkyLulu investigates Razzie nominee Julia Ormond's "performance" in I Know Who Killed Me
I Watch Stuff on the Jim Henson bio
Buzz Sugar starring in an artist biopic Big Eyes. See! biopics are a deadly epidemic. They continue to multiply... which is so weird since they're rarely truly successful. What motivates Hollywood to make them? Is it only the Oscar appeal?
Jew Eat Yet? remembers character actress extraordinaire, Thelma Ritter
Little Gold Men could Michael Clayton win the screenplay Oscar?
Low Resolution is also digging into Tony Gilroy's story
MTV Movies Blog Taraji P Henson is Brad Pitts mama!
Topless Robot Ten Star Wars toys that look like celebrities. Really fun (thx, Defamer)

and...
A couple of recent freelance gigs that I wrote are up at Television Without Pity -it's for their Oscar Special. The first is a piece on "Egregious Oversights" --hardly definitive, just a dozen things that I happen to deeply dig that Oscar kicked to the curb. Do you love them too? I really wanted to include Christian Bale in American Psycho and Johnny Depp in Edward Scissorhands but I ran out of space (and jokes).

The second is a surreal peak into the Oscar party planner's imagination, offering you three "theme party templates" for your big night. I hope you'll click on over and read them. And, god help us all, if you use any of the Oscar Party suggestions. PLEASE take photos and send them in right here. You'll have a wild night.

"Thy Local Cinema"

This post title is an anagram for Michael Clayton, believe it or not. I think of everything. Or too many things. Or not enough things that don't involve Oscar's Best Pictures . Yes definitely that and those ...if you know what I mean.

Other Michael Clayton anagrams to savor: "conceal thy mail", "all icy omen chat" and my favorite "Mythic Ole Canal" --which, if you'll excuse the toiler humor diversion, brings Tom Wilkinson's batshit ---er, 'patina of shit' -- crazy opening answering machine monologue to mind.

No -- reset --this cannot be rebirth. If anything, this must be some giddy illusion of renewal that happen in the final instant before death.

And then in the fraction of a moment it took for that idea to form -- I realized all of that was wrong, because I looked back at the building and had the most stunning moment of clarity...

I realized, Michael, at that moment, that I had emerged --as I have done nearly every day for the past twenty-eight years of my life --not through doors of Kenner, Bach & Ledeen --not through the portals of our huge and powerful law firm, but rather from the asshole of an organism whose sole function is to excrete the poison --the ammo --the defoliant --necessary for even larger and more dangerous organisms to destroy the miracle of humanity... and that I have been coated with this patina of shit for the better part of my life and that the stink and stain might in all likelihood take the rest of my days to undo.

All of this is my way of saying that I've been devouring dozens of baguettes whilst updating the Best Picture Page. You can now vote on your choice for Best Picture as well as debate my theories on how each picture got nominated. More categories to come. I realize it's tardy.
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Oscar Symposium is a Go! There Will Be Chatter

Please welcome Sasha, Nick, Dennis, Kim, Boyd and Tim to the 3rd Annual Oscar Symposium hosted by Nathaniel (c'est moi) right here @ the Film Experience...


Three to four days of detailed Oscar talk. And we're a go...

DAY ONE
In which our correspondents discuss Daniel Day-Lewis's milkshake, George Clooney's "fixer", nomination morning rituals, The Wizard of Oz, "kabuki" acting, the odd case of sexual draaaaaiiinnnage from 2007 movies and so much more.

Got something to add to the conversation? That's what "post a comment" for. Join in.
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DGA Nominations

and the nominees are...
Paul Thomas Anderson -There Will Be Blood
The Coen Bros -No Country For Old Men
Tony Gilroy -Michael Clayton
Sean Penn -Into the Wild
Julian Schnabel -The Diving Bell and Butterfly

how'd I do on my predictions?
4/5 from the predix I submitted to Tom O'Neill's panel of experts, missing only Julian Schnabel (I still didn't quite believe that Diving Bell had garnered enough steam to compete for Best Picture at the Oscars --I could be wrong) thinking that maybe Reitman would get his first notice for Juno instead --even though I didn't see him making it to Oscar's shortlist.

what it means
The Best Picture race at the Oscars has been combative all season but this is a very good sign for Michael Clayton ... I've been confident about its prospects for months but others haven't so it's nice to see some vindication. Into the Wild and No Country still look like the frontrunners for the win. Schnabel (Diving Bell) and Anderson (Blood) are most definitely in contention for the directors' shortlist --they always were-- even if their films don't come through for Best Picture. Prediction updates will be up tonight in both categories. (my time is finally freeing up this evening)

previous blather
...will be announced very shortly. Refresh your screen to see the results when they come in. The DGA sometimes offers up twists. Complicating the matter is that their list often reads closer to Oscar's eventual Best Picture list than what you'd think of as a directorial list. So you might see names you haven't been hearing under "best director" like, say, Jason Reitman for Juno or Tony Gilroy for Michael Clayton. Or you might just hear the usual suspects: Anderson, Burton, Coen Bros, Penn, Schnabel or Wright. That's 8 names already and we haven't mentioned DGA favorite Ridley Scott. We shall see. News should be up around 1:00 PM EST.
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Naked Gold Man: The Michael Clayton Fix

He's 13 1/2 inches tall. He wears only a sword. He's shiny. Everybody wants him. He's the Naked Gold Man and this is a new weekly Sunday series --my attempt to keep Oscar discussion corraled in the weekends at least until we're truly in the season.

Let's start with Michael Clayton, a very serious fellow. Some people have rushed to take the legal drama off their Oscar lists due to its solid but non explosive opening weekend and the still sturdier if not hosanna-filled reviews. Anne Thompson worried that Warner Bros was releasing too wide for the "delicate" business of kudos seeking fare. David Poland countered the wave of negativity in the box office articles, reminding everyone that this wasn't a terrible take for a serious fall drama... I'd agree with that assessment. What did people expect?

To paraphrase the movie in question: Michael isn't a miracle worker. He's an Oscar contender.
Any Oscar film arriving before December needs sturdier legs far more than it needs a splashy entrance. Flashier competition will undoubtedly surface but there's always a chance for a sober entry to stick. And Michael Clayton may prove a resourceful contender.

The most obvious weapon in its arsenal: the actors.

<--- Tom Wilkinson has made almost two dozen movies since his one and only Oscar nomination for In the Bedroom six years ago. That's a lotta acting. Detractors might say he does a lotta acting as "Arthur Edens" too --'too much' in other words. But I disagree. And even if I didn't: you may have noticed that Oscar voters don't object to a lotta acting. It can't be easy to navigate a mentally ill character with crazy making fecal focused monologues, striptease breakdowns, and inappropriate romantic drives and still keep something valuable in reserve for your character's final act. He does. Wilkinson flips off his crazy switch at exactly the moment the movie most needs him to reign it in and it's a beauty of a scene (shared with George Clooney), forcing the audience to recalibrate their take on his character. If AMPAS voters like the movie at all, he's a safe bet for the short list.

But he isn't elevating the movie alone. Michael Clayton triangulates between three big roles. Wilkinson's role is but the most obvious sharp point from which to hang Oscar Bait. Once hooked, voters will notice that Wilkinson isn't the only one sweating for the film's success. For Your Consideration: Tilda Swinton

Read the rest...

For thoughts on Tilda, Clooney, and the production's other Oscar possibilities. Or, you know, go and see the movie. It's quite good.

Saturday

Ali reporting from the Toronto International Film Festival

Caffeinated products consumed today: 1

Solid food products consumed today: 3

It's only the first Saturday of the festival, and I already feel like I'm falling behind with my reviews and posts... How do these professional critics and journalists manage to update so frequently? I'm sitting at an internet cafe right now, trying to get as much work done as possible. I suppose I could lug around my laptop with me in the future, but I don't want the added responsibility (and weight) as I run across the city. I only did three films today, but it feels like more with the lack of sleep and commuting drama (thank goodness I was able to make my first screening this morning - I could have missed a key connecting bus and been royally screwed.) Bus/train schedules on weekends = nightmare.

I am pleased to announce that Michael Clayton is my favourite film featured at the festival thus far. Writer-director Tony Gilroy made an appearance to introduce the film (very nervous, very gracious), but did not stay for a Q&A afterwards. No luck getting a Tilda three-peat, who was nowhere to be seen. It seems silly to make Oscar predictions at this point in time (especially since I'm... not that good at making them), but I think he has a great shot at a screenplay nod. Coupled with the success of The Bourne Ultimatum last month, it could be his "year". The film refreshingly opens sans credits, cutting straight to a title card and moving straight into the action. There is little fat or fluff in this picture. A dour George Clooney plays the title character, a lawyer working for a coporate New York firm who serves as the "janitor" - essentially, he makes problems for high paying clients go away. One such client is multinational U-North, facing a costly class action suit. Just as Tilda Swinton personified the soulless movie industry in Adaptation, here she serves as the face of this corporate monster. Michael's brilliant colleague Arthur (Tom Wilkinson, not this magnetic since In the Bedroom) is responsible for representing U-North on this important trial... but he suddenly suffers a nervous breakdown midway through, shaking the once-firm confidence of the defense, especially the firm's head honcho (Sydney Pollack). Now, with billions of dollars at stake (which could utterly dismantle U-North as well as the law firm), all hell breaks loose while Michael tries to protect several interests in the face of moral murkiness and corporate evil(s).

The Interpreter or Syriana this is not - the film is complex without being convoluted, difficult without being impenetrable, twisty without needing to blind its audience. Opening with what will ultimately form the film's biggest "bang" (literally), the narrative is told through one giant flashback before coming full circle. Gilroy touches upon many familiar hot topics, such as the notion of corporate environmental responsibility ("We feel the planet", reassuringly chimes one U-North promotional video) and the notion of bringing one's own ethics to the table in a business that has no place for them. "This case reeked from day one," rants Pollack's Marty in response to Michael's findings; it's just that he turned a blind eye to the disturbing facts. The cast is electrifying: Clooney's "serious" turn may seem familiar in the wake of Solaris and Syriana, but he has some great moments opposite Wilkinson. Tilda Swinton is marvelously good at playing a bad actor; she reads the prescribed lines for U-North with ease, but when the unexpected arises, she is all stutters and gasps. This one actually lives up to the hype. B/B+

I plan to write a greater article on the Four Aids on India short film collection with directors Mira Nair, Vishal Bhardwaj and Santosh Sivan. Watch this space...

The Juno screening was a total madhouse! I have certainly experienecd my share of chaotic movie experiences at TIFF, but this is what is must have been like when Borat premiered at the Ryerson last year. When I arrived half an hour before the scheduled starting time (6pm), I took a look at the lineup and groaned audibly. It was not until quarter after that we got started, with the audience bringing the house down for Thank You for Smoking director Jason Reitman, who offered a few introductory thoughts. The entire cast was present as well for the Q&A afterward, with everyone from Michael Cera to Jennifer Garner in tow.

Reitman's latest effort lacks the bite of Smoking, although the audience laughed hysterically at every other line reading. No, every line reading. Even ones like "fertile Myrtle" and "in my guesstimation" (ugh!) Overly sentimental and mining already-familiar territory, it tells the story of a teenager named Juno (Page) who finds herself pregnant following a night of sexual exploration with socially awkward chum Paulie Bleeker (Cera). She decides to give the child up for adoption after getting cold feet at her appointment at the abortion clinic, and settles on a yuppie couple (played by Garner and Jason Bateman) to raise the child. The film moves through the seasons of one year, exploring her relationships with Bleeker, her father (J.K. Simmons), her dog-obsessed stepmom (Allison Janney), her best friend Leah (Olivia Thirlby) and the troubled adoptive parents. A few cast members are good at elevating the material (Cera, Garner and Bateman in particular), but it did nothing for me when all was said and done. Now watch it win over the crowds in December (my audience gave it a standing ovation. Oy.) C

Celebrity sightings of the day: MIRA NAIR (!!!), Tony Gilroy, Vishal Bhardwaj, Santosh Sivan, Sameera Reddy, Mira Nair, Michael Cera, Ellen Page, Jennifer Garner, Jason Bateman, Allison Janney, J.K. Simmons, Jason Reitman, Ben Affleck, and Mira Nair. Also Mira Nair.

Notes fom Venice - Day 4

Boyd from European Films here, reporting on the ongoing Venice Film Festival

Mood: optimistic
Weather: sunny & hot
Films seen: Michael Clayton, In the Valley of Elah, It's a Free World..., Searchers 2.0, Cassandra's Dream
Gripe of the day: sunglasses on the table in my room
People currently on the same square mile of earth as I am: Ewan McGregor, Diane Kruger, Michele Placido, Andy Gillet (pictured above by Fabrizio Maltese), Spike Lee, Charlize Theron, Ken Loach, Ridley Scott, Valeria Golino

There is nothing like a good portion of beauty to help you through the day, especially if this beauty looks like French actor Andy Gillet (above). He stars in Eric Rohmer's latest film, the bucolic medieval tale Les amours d'Astrée et de Céladon (The Romance of Astrea and Celadon), in which he plays Céladon. The film is part of the Competition here in Venice, but I haven't actually the film, though I had been noticing a particularly good-looking guy walking up and down the Lido for the last couple of days, which turned out to be him. No wonder I didn't recognize him, because he has had a drastic haircut recently (what a difference a hair cut makes!). Could he be the next Gaspard Ulliel? Let's hope he makes his international film debut with a film a bit better than Ulliel's. General consensus on the Rohmer picture was mixed at best.

Let's talk about the Competition titles I did catch. First up is Michael Clayton, the directorial debut of Tony Gilroy, screenwriter of the three Bourne films. The film stars George Clooney, Tom Wilkinson, Tilda Swinton and Sydney Pollack. The Brits steal the show, though Clooney is also convincing as the titular "fixer" working for a New York-based law firm that was co-founded by Pollack's character. Because there are not enough thrills for the film to be considered a real thriller, it will have to be classified under the legal drama banner, which means it's serious business and has no major show-stopping car chases or other incredible stunts (Bourne this is not).

As noted in my review of Michael Clayton, the film is "one of the few cases where the title character could have written the film he headlines," which means that it uses a lot of smoke and mirrors to hide the simple truth. Also interesting is the question of whether Clooney's corporate cleaner is a good guy or a bad guy. The Italian press is in love with the idea Clooney's lawyer is a baddie, but I don't think he would be considered that way back home; the man is just doing his (admittedly dirty) job. We'll see what the US reviews say when the film comes out.

Paul Haggis's In the Valley of Elah (who decided that was a good title?) is also in Competition and is the Oscar winner's second film as a director after the much-discussed Crash. For me, as part of the camp who did not care for Crash, Elah suffers from many of the same problems of that film, so perhaps if you liked Crash you should check this out. It stars Tommy Lee Jones as a father of a young soldier who has gone missing after he has returned home from Iraq. Together with a tough-cookie police officer (Charlize Theron, looking glamorous as always, though with dark hair) he tries to unravel what the military and police can't -- or don't want to -- find out. The film is one of a whole glut of Iraqi-war themed films coming your way, so be prepared to be depressed.

Read my review of In the Valley of Elah for more on that film, which is almost saved by a great performance from the ever-reliable Tommy Lee. The film's roster of supporting players is also impressive and includes Susan Sarandon, James Franco, Josh Brolin and Jason Patric, though too many of them have too few things to do.

A film I haven't seen, Brain De Palma's Iraqi war drama (here is another one!) Redacted currently leads the score board of the Italian critics, while the audience still thinks Sleuth is the best Competition film so far. More on films from Venice, including the latest from Woody Allen and Claube Chabrol, coming soon!