The world of cinema converged on Venice once again as the 82nd Venice International Film Festival rolled out its storied red carpet on August 31, 2025, welcoming one of the most anticipated films of the year: Jim Jarmusch’s Father Mother Sister Brother. The film’s world premiere was not just a celebration of storytelling, but also of style, substance, and, as it turned out, a fair bit of controversy. With a star-studded cast, emotional themes, and a lively festival atmosphere, the premiere became one of the festival’s most talked-about events.
Jarmusch, known for his offbeat cinematic sensibilities, arrived at the Lido in Venice dressed in a classic black-on-black suit. He was joined by a dazzling lineup of actors, including Cate Blanchett, Indya Moore, Mayim Bialik, Vicky Krieps, Charlotte Rampling, and Luka Sabbat. The group exuded the kind of camaraderie that made them seem like a real family, echoing the film’s central themes of kinship and emotional distance.
Blanchett, always a fashion trailblazer, stole the show in a dramatic feathered gown from Maison Margiela’s Fall 2025 Couture collection, designed by Glenn Martens. The avant-garde piece, featuring a recycled polyester bodice and an arresting floor-length feather skirt, was a highlight not just of the evening, but of the entire festival. According to Vogue, the gown’s “collage of nature morte paintings” made it seem almost alive as Blanchett swept down the red carpet. It was a bold choice, and one that sparked conversation about both fashion and sustainability—especially as Blanchett is known for re-wearing outfits on major red carpets, a move that’s prompted dialogue about the politics of outfit repeating.
But Blanchett wasn’t the only one drawing attention. Charlotte Rampling, the legendary actress and model, appeared hand-in-hand with Blanchett. At 79, Rampling wore a simple black oversized suit with a white satin shirt, her short gray hair framing her face with timeless elegance. Fans and critics alike were quick to praise her appearance and the grace with which she’s embraced aging. As one fan commented online, “This is respect. From one generation to another. Beautiful! Female solidarity, female acknowledgement.” Others echoed the sentiment, lauding Rampling as a “class act” and a role model for women aging in the spotlight.
The film itself, Father Mother Sister Brother, is a comedy-drama packed with familiar faces—Adam Driver, Tom Waits, and Luka Sabbat among them. The story weaves together three separate narratives, each exploring the complex relationships between adult children and their semi-distant parents, all set in different countries. As reported by Variety, the film delves into familial challenges, following estranged siblings as they reunite and navigate the emotional terrain that comes with it. The ensemble cast’s chemistry was palpable both on and off the screen, and the audience responded in kind: the film received a five-minute standing ovation from festivalgoers, a testament to its emotional resonance and the performances within.
During the festival’s press conference, Jarmusch didn’t shy away from addressing controversy. He expressed his disappointment and concern regarding the film’s distributor, Mubi, and its financial backing of several Israeli defence-tech start-ups. “I have to say I’m an independent filmmaker, and I have taken money from various sources to be able to realize my films and I consider pretty much all corporate money is dirty money,” Jarmusch said, according to Deadline. His candor added a layer of complexity to the evening, sparking debate among attendees and industry observers about the ethics of film financing in a globalized world.
The Venice Film Festival itself, which began on August 28, 2025, is renowned for its celebration of international cinema and its tradition of debuting major new works. The 82nd edition has already seen its share of memorable moments, from standing ovations to eye-catching couture. But Father Mother Sister Brother stood out not just for its cast and its fashion statements, but for the way it brought together generations of talent—both in front of and behind the camera.
Rampling, whose career has spanned decades and continents, is perhaps best known for her controversial role in Liliana Cavani’s The Night Porter (1974), in which she played a Holocaust survivor caught in a twisted relationship with her former tormentor. Since then, she’s appeared in everything from French and Italian arthouse films to major blockbusters like Dune and acclaimed TV series such as Dexter. Rampling has long been vocal about aging naturally in the public eye. In a 2012 interview with The Daily Mail, she declared, “This is how I am. I’m still a very attractive woman despite my age — so get used to it.” Her presence at Venice, alongside younger stars like Blanchett and Moore, underscored the festival’s celebration of both legacy and innovation.
Other notable appearances included Willem Dafoe, who walked the red carpet with writer-director Gastón Solnicki for their film debuting in the Orizzonti section. Their presence further highlighted the festival’s commitment to showcasing a diverse array of voices and cinematic styles.
Fashion, as always, played a starring role at the festival. Blanchett’s Maison Margiela gown was just one of her standout looks; earlier in the week, she attended the premiere of Paolo Sorrentino’s Grazia in a bejeweled Armani Privé gown, which she had previously worn to the SAG Awards in 2022. Her willingness to recycle high-fashion looks hasn’t gone unnoticed, with many hailing her as a champion of sustainable style in an industry often criticized for its excess.
As the festival continues, Father Mother Sister Brother remains one of its brightest highlights, both for its artistic achievements and the conversations it has sparked—about family, about aging, about ethics, and about the ever-evolving world of cinema. The film is set for a wider release on December 24, 2025, via Mubi, and if the Venice reception is anything to go by, audiences around the world are in for a treat.
In a year when the boundaries of cinema, fashion, and public discourse seem more fluid than ever, the premiere of Father Mother Sister Brother at Venice proved that great storytelling—and great storytellers—still have the power to unite, provoke, and inspire.
