On September 6, 2025, the 82nd Venice Film Festival drew to a close with a string of surprises and a celebration of cinematic diversity, as reported by Adnkronos and other Italian news outlets. The festival’s highest honor, the Golden Lion, was awarded to Jim Jarmusch’s 'Mother Father Sister Brother', a film that quietly but powerfully explores the complexities of family silence and the struggle to communicate. This unexpected triumph capped off a festival that ranged from legendary auteurs to rising stars, leaving critics and audiences buzzing.
Presided over by director Alexander Payne, the jury defied the predictions that had swirled around the Lido all week. Many had placed their bets on 'The Voice of Hind Rajab', Kaouther ben Hania’s searing drama that had already made waves at the festival. Instead, ben Hania’s film received the Silver Lion – Grand Jury Prize, a recognition reserved for works that leave a lasting impact. According to Adnkronos, the jury’s decision to honor Jarmusch’s meditation on familial silence “spiazza i pronostici”—it upended expectations and sparked lively debate among festival-goers.
The Silver Lion for Best Direction went to Benny Safdie for 'The Smashing Machine', a film starring Dwayne Johnson and Emily Blunt. This marked Safdie’s first major directorial outing without his brother Josh at his side, and the result was a work that the jury found compelling enough to merit the festival’s top directing prize. Safdie’s ability to bring out nuanced performances from Johnson and Blunt was widely praised, cementing his reputation as a formidable solo filmmaker.
Italian cinema made a strong showing this year, with two major prizes heading home. Gianfranco Rosi’s documentary 'Sotto le nuvole' ('Under the Clouds') earned the Special Jury Prize. Set against the dramatic backdrop of Naples, between the Gulf of Naples and Mount Vesuvius, the film delves into the persistent tremors caused by the fumaroles of the Campi Flegrei volcanic area. As reported by Il Messaggero, Rosi’s lens captures the uncertainty of life in a region where the ruins of Pompeii, Herculaneum, and the Phlegraean Fields stand as silent witnesses to both past grandeur and present anxiety.
'Sotto le nuvole' weaves together the stories of locals, devotees, tourists, and archaeologists. Among its most memorable scenes are those featuring a street teacher running after-school programs for children and adolescents, firefighters conquering the daily fears of residents, and law enforcement officers pursuing tombaroli—illegal excavators who threaten the region’s archaeological treasures. The documentary also follows a team of Japanese archaeologists who have spent the past twenty years excavating Villa Augustea, collecting seeds, bones, and stories embedded in the sediment. Through these vignettes, Rosi crafts a portrait of a community living in the shadow of history and natural uncertainty.
Italy’s Paolo Sorrentino also returned to the spotlight, with 'La Grazia' earning the Volpi Cup for Best Actor. Toni Servillo’s portrayal of the President of the Republic was described by the jury as deeply convincing, adding another accolade to the actor’s already impressive career. Meanwhile, the Volpi Cup for Best Actress went to Xin Zhilei for her performance in 'The Sun Rises On Us All', directed by Cai Shangjun. Both awards underscored the festival’s commitment to recognizing outstanding individual achievements in acting, regardless of nationality.
France also enjoyed a moment of glory, with Valérie Donzelli’s 'À pied d’œuvre (At Work)' taking home the Best Screenplay prize. The script’s inventive narrative and sharp dialogue stood out among a crowded field, earning Donzelli praise from the international press. The Marcello Mastroianni Award for a young emerging actor was presented to Luna Wedler, the Swiss actress who starred in Ildikò Enyedi’s 'Silent Friend'. At just 26 years old, Wedler’s performance marked her as a talent to watch in the coming years.
The festival’s 'Orizzonti' (Horizons) section, which highlights innovative and boundary-pushing cinema, also saw a diverse slate of winners. The Best Film award went to 'En El Camino (On The Road)' by Mexican director David Pablos, while Anuparna Roy of India received the Best Direction prize for 'Songs of Forgotten Trees'. The Special Jury Prize in this section was awarded to 'Harà Watan (Lost Land)' by Akio Fujimoto, a collaboration spanning Japan, France, Malaysia, and Germany. Italian talent shone once again, with Benedetta Porcaroli winning Best Actress for 'Il rapimento di Arabella' by Carolina Cavalli and Giacomo Covi taking Best Actor for 'Un anno di scuola' by Laura Samani. Ana Cristina Barragán of Ecuador earned Best Screenplay for 'Hiedra (The Ivy)', and Lovisa Sirén’s Swedish short film 'Utan Kelly (Without Kelly)' was named Best Short Film.
The Luigi De Laurentiis Award for a debut film—a coveted prize for first-time directors—went to 'Short Summer' by Nastia Korkia, a co-production between Germany, France, and Serbia. In the 'Venezia Spotlight' section, the audience award sponsored by Armani Beauty was claimed by 'Calle Málaga' from Maryam Touzani, representing a collaboration between Morocco, Germany, France, Spain, and Belgium.
Classic cinema also found its place at the festival. The 'Venezia Classici' award for Best Documentary on Cinema was given to 'Mata Hari' by Joe Beshenkovsky and James A. Smith, a U.S. production. Meanwhile, the award for Best Restored Film went to 'Bashu, Gharibeye Koochak (Bashu, The Little Stranger)' by Iranian director Bahram Beyzaie, a restoration that brought renewed attention to a lesser-known gem of world cinema.
In the increasingly important 'Venice Immersive' category, which showcases cutting-edge virtual and augmented reality works, the Grand Prize was awarded to 'The clouds are two thousand meters up' by Singing Chen, a collaboration between Taipei and Germany. The Special Jury Prize went to 'Less than 5gr of Saffran' by France’s Négar Motevalymeidanshah, and the award for realization was shared by Kate Voet and Victor Maes for 'A long goodbye', a joint effort between Belgium, Luxembourg, and the Netherlands.
The 82nd Venice Film Festival, with its mix of surprises, international collaborations, and celebration of both established and emerging talent, reaffirmed its status as one of the world’s premier cinematic events. As the credits rolled on another memorable edition, audiences and filmmakers alike were left pondering the enduring power of film to explore silence, uncertainty, and the ties that bind us all.
