Glitz, glamor and scarlet red ensembles: what has the most recent Venice Film Festival taught us about the film industry? 

My extraordinary passion for both fashion and film makes the Venice Film Festival the most anticipated event of the year for me. This festival is the oldest and one of the most prestigious film festivals in the world, dating back to 1932 when it was first organized only for the President of the Biennale, Count Giuseppe Volpi di Misurata, the sculptor Antonio Maraini and Luciano De Feo. Starting in 1935, the festival became an annual event and has since maintained its prestige and class. 

The purpose of the event is to present a collection of world-class films, welcoming the most successful directors and actors of our time to the red carpet at Lido di Venezia. The glamorous charm of the Venetian setting paired with the incomparable esteem of the attendees creates a magical experience, both for the audience and for the featured creators. 

This year, however, the headlines following the festival were less than charming. 

Cast drama from the Olivia Wilde — directed thriller, “Don’t Worry Darling,” has distracted from the event’s intention of honoring cinema as an art form. Not even Timothée Chalamet’s showstopping Haider Ackerman halter neck pantsuit and kitten-heeled boots distracted us from the drama. 

For context, actress Florence Pugh was casted for the role of Alice Chambers; this film was supposed to give Pugh the space to showcase her talent and be launched into a new stratosphere of her career. Alice Chambers’ husband in the film is character Jack Chambers, who Olivia Wilde initially wanted to be played by Shia LaBeouf (an undeniably controversial man). Following this casting decision, Pugh expressed deep concerns about sharing intimate scenes with LaBeouf, and he was ultimately fired from the role before filming. 

This is where the drama comes in. It seems that Wilde wasn’t keen on firing LaBeouf, and tried her best to push Pugh to accept him as her co-star. 

Video footage leaked of Wilde saying to LaBeouf, “You know, I think this might be a bit of a wake-up call for Miss Flo, and I want to know if you’re open to giving this a shot with me, with us. If she really commits, if she really puts her mind and heart into it at this point and if you guys can make peace — and I respect your point of view, I respect hers — but if you guys can do it, what do you think? Is there hope? Will you let me know?” 

This condescending tone and blatant disregard for Pugh’s concerns is alarming, especially coming from a female director in a male-dominated industry where many actresses already feel uncomfortable walking onto set. With this project, Wilde was supposed to legitimize female presence in the film industry and create a safe space for actors and actresses. 

Unfortunately, the story doesn’t end there. In 2020, Wilde and pop sensation Harry Styles started dating. Styles, whose strength clearly lies in singing, quickly became LaBeouf’s replacement for the Jack Chambers role. 

Not only is this problematic because of the relationship between Styles and Wilde, but Styles’ fan base was quick to make the entire film about him; what was once a project meant to highlight Florence Pugh and the work of a female director was suddenly drowned out by Styles’ fame. Despite the dramatic conception that this film had, I am sure it’ll impress audiences in theaters on Sept. 23. 

To end on a positive note, the fashion this year at the festival was unmatched. Florence Pugh stunned in a dazzling sheer Valentino dress, and Harry Styles rocked a blue two-tone Gucci suit. 

Sadie Sink made headlines with her ruffled Alexander McQueen gown, as did Gemma Chan in her silver mirrored Louis Vuitton number. The festival’s winners were also impressive. 

The Golden Lion, the highest award that can be given at the Venice Film Festival, was granted to the documentary, “All the Beauty and the Bloodshed” directed by Laura Poitras, becoming only the second documentary to take home the festival’s top prize in its 90 years of existence. Luca Guadagnino — director of the film “Bones and All,” launching on November 23, starring Timothée Chalamet and Taylor Russell — won Best Director

Though it was riddled with fan-fueled drama, this year’s Venice Film Festival managed to exude class, elegance, and creativity in its same iconic star-studded fashion.