At last, there is once again a worthy winner of the Golden Lion. Over the past two years, the awards have felt more like honours for a lifetime’s work. Last year, it went to Jim Jarmusch for his short film trilogy *Father Mother Sister Brother*, and two years ago to Pedro Almodóvar for *The Room Next Door*. This time, the deserving winner is “Kvinde Ukendt” (Woman Unknown) by the Danish director May el-Toukhy.
This harrowing chamber drama depicts a woman who had an affair with a German soldier during the occupation in the Second World War and is desperate to prevent her past from becoming public knowledge. A film that challenges the heroic myths people in Denmark like to recount on Liberation Day. Whilst most collaborators – who, of course, did exist – got off relatively scot-free, women were humiliated and branded ‘Nazi whores’. ‘Women’s bodies were perceived as part of the national territory that had been desecrated by the Germans,’ as the director said at the press conference. The Coppa Volpi for Best Actress was deservedly awarded to Mathilde Arcel, who subtly brings the character’s fears and inner turmoil to life whilst always maintaining an air of mystery. “This is my first leading role and my first festival; I feel very honoured,” said the award-winner, visibly moved on stage. “If this is a dream, I don’t want to wake up from it.”
The critics’ clear favourite, “Possible Love” by Lee Chang-dong from South Korea, received the Grand Jury Prize. The Best Actor award went to John Malkovich for his role as a cynical CIA agent in “Wild Horse Nine”, Martin McDonagh’s macabre political comedy, which delighted everyone.
The Israeli documentary “Naza” by Yuval Abraham and Rachel Szor received a Special Jury Prize. As was to be expected, the Israeli Defence Forces (IDF) immediately ‘categorically’ rejected everything raised in the film. The soldiers interviewed used ‘incorrect legal terminology’, they claimed. There could be no question of ‘genocide’ in relation to the IDF’s attacks (Ha’aretz, 13 September 2026).
Il’ja Chržanovskij, who had been criticised in the run-up to the event for his allegedly pro-Russian stance, received the Best Director award for his monumental work ‘DAU’ and dedicated it to the city of Kharkiv, where the film was shot, as well as to the Ukrainian people in their struggle for peace and freedom.
Two awards went to France. Malou Khebizi was awarded the Marcello Mastroianni Prize for Best Young Actress for her role as the wild 16-year-old Lucia in Cédric Kahn’s “15/18”. Stéphane Brizé, Coralie Amédéo and Olivier Gorce received the award for Best Screenplay for “Un bon petit soldat”.
With this film, which also won the INTERFILM Award, Stéphane Brizé continues his exploration of the modern world of work. Vincent Lindon is one of the protagonists in almost all his films; he was named Best Actor at Cannes for his role in “La loi du marché” (The Value of a Man, 2015). Whilst there he plays an unemployed man fighting to retain his dignity, in “Un bon petit soldat” he plays Arnaud, the CEO of a large insurance company. Alba Rohrwacher plays Carla, the new head of the personnel department, often abbreviated to HR (Human Resources).
When she discovers how a female employee is being treated appallingly by her team leader, she takes the matter up with her superior. But those higher up do not want to pursue the matter any further: they want to avoid any bad publicity for the company, which prides itself on treating its staff with particular respect. Carla soon learns that the reality is quite different. It is made unmistakably clear to her that showing too much empathy for others jeopardises her own job. She is also struggling with her 10-year-old son, who spends most of his time with his father. Cornered, Carla ultimately just wants to save her own skin and resigns herself to the role of a ‘bon petit soldat’.
In its 83rd year, Venice has produced a particularly strong line-up; the festival on the Lido impressed with a wealth of excellent films. Maggie Gyllenhaal, as jury president, had lamented the lack of female directors in the competition; in the end, the Golden Lion was awarded to the Danish director May el-Toukhy to make up for this. In any case, the jury made the most astute award decisions they have in years. The political focus that was evident this year was by no means at the expense of cinematic quality. A film like *Naza* would have caused a scandal in Berlin; in Venice, however, it is taken for granted that films focusing on the Palestinian issue are screened, such as *The Voice of Hind Rajab* last year.
In the end, there was no longer any cause for complaint about the lack of stars that had been bemoaned in the run-up to the festival. Alberto Barbera and his team have managed to put together a good mix of familiar names and new faces. Fortunately, Barbera will continue as festival director for another two years, so we can look forward to a thought-provoking programme in Venice for the time being.