Olivia Wilde’s “Don’t Worry, Darling” Gets a 5-Minute Ovation at the Venice Film Festival
When it comes to all the constant noise and rumors from tabloids, the Internet feeds on itself. Joined by stars Harry Styles, Chris Pine, Gemma Chan, and Florence Pugh—who had flown in late from the Budapest set of Dune 2—Wilde saw her film receive a rapturous reception for more than five minutes.
Pugh received a hearty welcome as she stepped onto the red carpet in her sparkling gown.
The Photo Gallery from the “Don’t Worry, Darling” Venice Film Festival features Chris Pine, Gemma Chan, Harry Styles, and Olivia Wilde.
Styles walked over to a chorus of screaming female fans.
In his review, Pat Hammond of Deadline called Wilde’s film a “candy-coated psychological thriller” about the “terror imposed by men controlling women’s bodies.”
It’s been a Harry Styles frenzy at the Lido today, with fans camped out in front of the Sala Grande since the early hours of the morning, braving the punishing sun with a sea of umbrellas.
Complete Deadline Coverage
Earlier in the day, Wilde — who also wrote the film and co-stars — joined Styles, Pine, and Chen to take questions from the media here. But the controversy over Shia LaBeouf’s withdrawal from the project and questions about Florence Pugh’s absence from the press conference were largely avoided.
Pugh addressed Pugh’s absence by saying, “Florence is a force.” We’re so grateful that she can make it tonight [for the premiere] even though she’s in production. denied suggesting that there may be other reasons. The Internet feeds on itself when it comes to all the continuous tabloid rumors and noise. I don’t think I need to contribute. It’s pretty well nurtured. “
Don’t worry, Darling follows Alice (Pugh) and Jack (Stiles), who seem lucky to live in the idyllic community of Victory, an experimental company town dedicated to working for the top-secret Victory Project and their families. It provides housing for men. The 1950s social optimism espoused by their CEO, Frank (Pine) — equal parts corporate visionary and motivational life coach — anchors every aspect of daily life in a stark desert utopia.
Memorable Moments 1945–1984 Gallery
While the husbands spend each day inside the Victory Project headquarters, working on “progressive material development,” their wives—including Frank’s beautiful partner, Shelly (Chan)—spend their time enjoying the beauty, luxury, and beauty of their community. She spends her time enjoying luxury and debauchery. Life is perfect, with the company catering to every resident’s needs. In return, they ask only for discretion and an unquestioning commitment to the cause of conquest.
But when their idyllic life begins to crack, revealing something hidden beneath the attractive facade, Alice finds herself questioning what she’s doing in Conquest. And why?
The film will open domestically on September 23.
Memorable Moments 1945–1984 Gallery
Venice Film Festival, 1945
American actor Gene Tierney sits with French director Jean Renoir as they review the program at the annual Venice Film Festival.
Venice Film Festival, 1947
French actor Jean Marais and French writer and director Jean Cocteau sit at a cafe table during the VIII Venice Film Festival.
Full of intrigue, “Dorling Darling” took Venice by surprise.
Gemma Chan, from left, At the 79th Venice Film Festival, Harry Styles, Sidney Chandler, director Olivia Wilde, Chris Pine, Florence Pugh, and Nick Kroll pose for photographers upon arrival at the 79th Venice Film Festival had the world premiere of the movie “Don’t Worry Darling.” are Fair in Venice, Italy, Monday, September 5, 2022.
Italy’s Venice The international premiere of Olivia Wilde’s “Don’t Worry, Darling” took place at the Venice International Film Festival on Monday night after much anticipation.
Before the film, hundreds of screaming Harry Styles fans lined the red carpet trying to catch a glimpse of him. The enthusiastic reception to it paled in comparison to the Timothée Chalamet frenzy seen on Friday.
Despite Florence Pugh’s fearless turn, “Don’t Worry, Darling” isn’t a major Oscar contender.
There is no questioning Olivia Wilde’s talent as a film director. And with her latest effort behind the camera, “Don’t Worry, Darling,” the actress-turned-filmmaker has created a sexy and suspenseful thriller.
It’s a film that resonates with moviegoers, who can show off an easy-on-the-eyes cast that includes Florence Pugh, Harry Styles, and Chris Pine. At the very least, it’s a film that will continue to generate plenty of buzz (there are already a ton of pre-release headlines, some of them about the film itself).
However, like most popcorn thrillers, the chances of the Academy checking the film under their belt are as remote as the film’s attempt to make Harry Styles look unattractive in a critical scene.
The final product is a smorgasbord of suspenseful thrillers, much like “Gone Girl” (2014), which brought in the same amount of money for its star, Rosamund Pike. Pugh, previously nominated for “Little Women,” is the hottest character as a suburban wife who begins to doubt her reality and is there to champion him, but the script’s flaws hold her back. I will keep looking outside.
Any Oscar love is likely to come thanks to Arianne Phillips’ glamorous costumes and cinematographer Matthew Labatek’s sensational framing.
The ensemble is full of talented actors and A-list stars. As a mystery guru-like figure, Pine delivers the greatest work of the supporting group, while Styles demonstrates his acting chops. However, if Styles finds a path to awards recognition, his small turn in “My Policeman” from Amazon Studios is more likely, given its category placement.
She serves as a reminder to audiences that, in the appropriate role, she can be a fantastic actress. As a cocktail-swilling neighbour with his sinister secrets, Wilde has several memorable sequences. Even if she won’t be nominated, it’s fantastic to see her back in shape following her underappreciated performance in “Meadowland.”
In conclusion, “Don’t Worry, Darling” can be crossed off of your Oscar wish lists.
Don’t worry, Darling, it isn’t a disaster—or an unqualified success.
Let’s, if we may, put aside all the little controversies that were going to lead up to the Venice premiere of Don’t Worry, Darling. After the movie has been released, maybe we can just concentrate on the movie itself, which is neither a success nor a failure. Director Olivia Wilde has created a clear and intermittently entertaining sci-fi thriller that borrows heavily from much better stuff but uses those stolen parts quite effectively. For a while, anyway.
The film looks like 1960s Palm Springs, a midcentury development threatened by desert mountains. It is a planned community built by a shadowy corporation, with a vaguely messianic mission to advance humanity… Somehow, the handsome men go to work every morning while the women, all beautiful, look after the children or indulge in afternoon cocktails with the neighboring wives. (Or they do both.) It’s an arch blend of Mad Men chic (with a bright polish) and Manhattan Project secrecy. There is, of course, a disquieting symmetry within all this inflamed good life, a sense that nothing this perfectly safe and equally acceptable can be real.
We probably realize this because we’re familiar with The Stepford Wives, The Truman Show, and other movies and television show that ostensibly present an archaic if archaic, design for living that is terrifying and unseen. waves of energy. Wilde’s film wears these influences without restyling them.
Still, the film looks good and is full of sizzling performances. In the lead is Florence Pugh, the 20-something phenom who burst onto the scene in Lady Macbeth a few years ago and has been delivering one stellar performance after another ever since. If her cold swagger and gentleness as the housewife Alice seem a little out of place in this breezy world, that’s probably because it’s just that. She is meant to understand, as we are, that she does not belong in this ordered space. Pug quickly registers Alice’s growing alarm, and she claps along nicely with the other wives, played by, among others, comedian Kate Berlant and Wilde himself.
And then there’s the matter of Alice’s husband, Jack, played by little-known indie musician Harry Styles. I kid, of course. Styles is one of the biggest musical acts on the planet right now, and this, his second film role, was once the craziest thing about the movie. Seeing Stiles on screen feels like an event, a sense of occasion that he rises to meet.
Yes, there’s some flatness when Styles gets emotional, but he’s confidently present in the picture. I don’t think he’s Brando for the digital age or anything, but I’d be curious to see him in something else next. (Such as My Policeman, which premieres at the Toronto International Film Festival next weekend.)
Don’t Worry Darling goes on, it’s a jumble of recycled elements pretty much in sync until it comes to what’s going on with Alice. That’s when the screenplay by Katie Silberman, Cary Van Dyke, and Shane Van Dyke begins to falter, as does Wilde’s direction. They show us the same scene over and over again: Alice thinks she sees something, only to be anxious to tell in gaslight-y terms that she’s imagining things. She faces the hysteria of women, all the men in white shirts and crisp suits who insist on her. Wilde is unable to extract the story from this eddy. She stalls and repeats until it’s time to go ahead and reveal what’s going on because the movie has to end at some point.
When this is revealed, the film dives. The aim here is to tell a proper story about the subjugation of modern forces of feminism against women, which have transformed online into a real-world aggressive sociopolitical ideology fueled by pseudo-intellectual public figures. is given, red-pilled demagogues who have snuck their way into mainstream discourse — or, created their mainstream. It’s certainly an important subject for a film, but in the process of Don’t Worry Darling, Wilde offers no new insights. There are even some conflicting elements at the core of the film’s grand mystery, a complex conflict of misplaced empowerment and the humiliation of The Handmaid’s Tale.
Not that we have much time to think about these matters. Once the film starts showing its cards, it builds to its climax and conclusion, complete with an incredible car chase and murder. What energy the film had has been drained away. It stumbles across the finish line because it asks us to consider something deeper, a powerful re-awakening that will lead to a powerful reckoning for the film’s bad guys. We don’t get to see that bit, though, because Don’t Worry Darling has used up all his tricks.
What remains consistent and fearless throughout is Pig, a commanding and centered actor who makes the most of the hash he’s offered. There’s a vivid scene in which Alice confronts the community’s shifty, sauntering overseer, played by Chris Pine with the menacing appeal of a cult leader. The two play off each other well, and in their moments together the film feels briefly sharp and inventive. If only their chemistry had been the foundation on which Don’t Worry Darling was built, instead of a pile of faded copies of his stuff done elsewhere, years ago.
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