Well, darlings, Venice just threw us the most delicious curveball of 2025. Who would’ve thought that Jim Jarmusch — yes, that silver-haired prince of indie cinema — would waltz away with the Golden Lion? His “Father Mother Sister Brother” (could the title be any more Jarmusch?) beat out the usual suspects, proving that sometimes the quietest voices make the loudest splash on the Lido.
The festival’s glittering finale turned into something of an indie love story. Jarmusch’s intimate family portrait — featuring a dream ensemble of Cate Blanchett, Adam Driver, and the eternally magnificent Charlotte Rampling — managed to outshine the more politically charged heavyweights. Shot across New Jersey’s worn diners, Dublin’s rain-soaked streets, and Paris’s café-lined boulevards, the film whispers rather than shouts. And honey, sometimes a whisper is all you need.
“We’re not motivated by competition,” Jarmusch drawled at the podium, trademark sunglasses firmly in place despite the evening hour. Classic Jim — acting like he just happened to stumble into one of cinema’s most prestigious honors. But there’s no denying his mastery in capturing those awkward family dinners and loaded silences that speak volumes about who we are.
The political undercurrent at Venice couldn’t be ignored, though — especially with the ongoing reverberations of the Gaza crisis. Kaouther Ben Hania’s “The Voice of Hind Rajab” claimed the Silver Lion, earning that rare 24-minute standing ovation that had even the most jaded critics reaching for their handkerchiefs. Ben Hania’s acceptance speech? Pure electricity.
Now, here’s the twist nobody saw coming: Dwayne Johnson — yes, our beloved Rock — proved he’s got more than just those famous biceps. His transformation into MMA legend Mark Kerr in “The Smashing Machine” helped secure Benny Safdie the best director trophy. Who’d have thought 2025 would be the year The Rock became a serious contender for awards season?
The acting prizes painted their own fascinating picture. Italy’s Toni Servillo (still serving looks and talent at 65) nabbed best actor for “La Grazia,” while China’s rising star Xin Zhilei claimed best actress for her tour de force in “The Sun Rises On Us All.”
But darlings, let’s talk about the elephants that left the room empty-handed. Netflix’s triple threat — Bigelow’s “A House of Dynamite,” del Toro’s “Frankenstein,” and Baumbach’s “Jay Kelly” — all departed the Lido without so much as a consolation prize. Even Park Chan-wook and Yorgos Lanthimos (despite Emma Stone apparently turning water into wine) couldn’t crack the winners’ circle.
Venice 2025 might’ve kept its glamorous facade — the Champagne flowed, the gowns sparkled, and the paparazzi remained relentless — but this year proved that substance can trump spectacle. With the festival’s recent track record of launching Oscar campaigns (90+ nominations in four years isn’t too shabby), all eyes are on whether Jarmusch’s quiet family drama can transform that Lion’s roar into Academy gold.
But then again, in this industry, darlings, anything’s possible. Even The Rock making us cry.
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