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Venice and Telluride: Fall Film Festivals Reveal Winners, Losers, and Divisive Picks

By Rhys Dunbar, Film EditorSeptember 11, 20261 note

As Venice and Telluride wrap up, the festival circuit's buzz highlights a mix of awards contenders, surprises, and polarizing films that could shape Oscar season.

Venice and Telluride have wrapped their respective runs, leaving audiences and critics alike debating which films are poised for awards glory and which fell flat. With Venice’s focus on artistic daring and Telluride’s more populist appeal, the festivals offer a snapshot of where autumn’s cinematic landscape is heading. Notably, Venice’s lineup featured fewer outright awards contenders but delivered a handful of provocative titles, including Lee Chang-dong’s relationship drama "Possible Love" and the Gaza documentary "NAZA." The latter, helmed by Oscar winners Yuval Abraham and Rachel Szor, is expected to make waves at the upcoming awards, especially as the only documentary in Venice’s competition. Meanwhile, Venice’s jury, led by Maggie Gyllenhaal, appears keen on recognizing bold storytelling, even if some films challenge traditional notions of awards friendliness.

In Colorado, Telluride’s early reactions were a rollercoaster. Films like Jordan Firstman’s "Club Kid" and the Spanish project "La Bola Negra"—from Los Javis—generated buzz as potential Oscar nominees for 2027, thanks to their fresh voices and strong premieres. Yet, the festival also showcased titles that divided critics, including Cristian Mungiu’s "Fjord," which, after Cannes, drew mixed reviews at Telluride. The film’s exploration of societal obsession with evil and authoritarianism struck a nerve, but not everyone was convinced it would resonate broadly. Meanwhile, Elizabeth Chai Vasarhelyi and Jimmy Chin’s climbing documentary "Everest: The Other Side" sparked debate over its moral implications, raising questions about the portrayal of obsessive climbers risking everything.

Both festivals also highlighted genre and documentary titles that could shake up awards season. Nathan Fielder’s much-talked-about Elizabeth Holmes documentary generated significant buzz for its unique approach, blending mockumentary elements with investigative storytelling. Similarly, Robert Pattinson’s controversial new project "Primetime" polarized critics and audiences, with some praising its daring narrative and others dismissing it as divisive. These films exemplify the festival circuit’s current trend: pushing boundaries and challenging expectations, even if that means risking divisiveness. As the season moves toward Toronto and New York, industry insiders are watching closely which titles can sustain their festival momentum. More context: Film.

The overall takeaway from Venice and Telluride is clear: the fall festival circuit remains a fertile ground for both critical favorites and unpredictable hits. While some films are already being pegged as front-runners, others serve as reminder that early reactions can be misleading. The awards race is still wide open, with titles like "NAZA" and "Possible Love" positioned as serious contenders, and divisive projects like "Primetime" hinting at a season that’s unlikely to be predictable. As always, the festival season’s true winners and losers will be revealed only in the coming months, but this year’s early buzz suggests a particularly vibrant and unpredictable race.

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