Jaw-dropping Venice awards make a defiant anti-mainstream statement

Upset in Venice as Italian doc ‘Sacro GRA’ takes Golden Lion, Steve Coogan wins screenplay

‘Philomena’ dominates preliminary Venice awards, as ‘Tom at the Farm’ takes critics’ prize

Venice awards preview: What will win, and what should

Review: Dakota Fanning and Jesse Eisenberg make slow, steady ‘Night Moves’

Venice: American tricksters under scrutiny in ‘The Armstrong Lie’ and ‘The Unknown Known’

First glimpse of Scarlett Johansson in the stunning ‘Under the Skin’

Review: Terry Gilliam’s ‘The Zero Theorem’ doesn’t add up to much

The Weinstein Company chases after ‘Tracks’

Review: Tawdry JFK drama ‘Parkland’ an exercise in sorely misjudged nostalgia

Review: Love and aeronautics converge in Miyazaki’s ravishing ‘The Wind Rises’

Review: Judi Dench on touching form in reductive but effective ‘Philomena’

Review: Nicolas Cage finds no Southern comfort in grim, grimy ‘Joe’

Review: Sion Sono’s ‘Why Don’t You Play in Hell?’ offers carnage in the name of cinema

Review: Mia Wasikowska blazes a subdued trail in lovely, earthy ‘Tracks’

Review: Sandra Bullock dances into great silence in Alfonso Cuarón’s astonishing ‘Gravity’

Venice preview, part four: ‘The Zero Theorem,’ ‘Joe,’ ‘Tracks,’ ‘Via Castellana Bandiera,’ ‘Sacro GRA’

Venice preview, part three: ‘Under the Skin,’ ‘Night Moves,’ ‘Tom at the Farm,’ ‘Ana Arabia,’ ‘The Police Officer’s Wife’