This yr’s Venice Classics lineup will debut 19 restorations, together with Cul-de-sac (1966), one in all Roman Polanski’s British movies, restored by Fixafilm. Scroll down for the total listing of titles.
Different movies set for Venice Classics embody a restoration of Tinto Brass’ London-shot 1967 pop thriller Lethal Candy starring Jean-Louis Trintignant and Ewa Aulin, which can function the competition’s pre-opening screening. Elsewhere, John Cassavetes’s Minnie and Moskowitz, which screened on the 1966 Venice Movie Pageant, has been restored by Common and also will display screen this yr as a part of Venice Classics.
Director Daniele Vicari will chair the Jury of Movie College students, which, for the thirteenth yr, will award the Venice Classics prizes for Greatest Restored Movie. The Jury might be composed of 24 college students, every of them really helpful by professors of movie research from varied Italian universities, DAMS, and from Ca’ Foscari College in Venice.
Maggie Gyllenhaal will preside over the official Venice competitors. She might be joined by Tunisian director and screenwriter Kaouther Ben Hania; the English composer and artist Daniel Blumberg; the Italian professor Francesco Casetti; the French director and screenwriter Xavier Giannoli; the Afghan director and screenwriter Shahrbanoo Sadat; and the Hong Kong director and producer Johnnie To.
The 83rd Venice Worldwide Movie Pageant runs from 2 to 12 September 2026.
VENICE CLASSICS
COL CUORE IN GOLA (DEADLY SWEET) – PRE-OPENING FILM
by TINTO BRASS (Italy, 1967, 105’, Color)
restored by: Centro Sperimentale di Cinematografia
ENGLISH, AUGUST
by DEV BENEGAL (India, 1993, 118’, Color)
restored by: Anuradha Parikh
LA ILUSIÓN VIAJA EN TRANVÍA (ILLUSION TRAVELS BY STREETCAR)
by LUIS BUÑUEL (Mexico, 1954, 83’, B/W)
restored by: Museo Nazionale del Cinema di Torino / Fundación Televisa / Cineteca Nacional México
MINNIE AND MOSKOWITZ
by JOHN CASSAVETES (USA, 1971, 116’, Color)
restored by: Common Footage
LO ZIO DI BROOKLYN (THE UNCLE FROM BROOKLYN)
by DANIELE CIPRÌ, FRANCO MARESCO (Italy, 1995, 98’, B/W)
restored by: Fondazione Cineteca di Bologna, in collaboration with Filmauro
THE WILD ANGELS
by ROGER CORMAN (USA, 1966, 86’, Color)
restored by: Amazon MGM Studios
LOS DE LA MESA 10 (THOSE AT TABLE 10)
by SIMÓN FELDMAN (Argentina, 1960, 83’, B/W)
restored by: Asociación Amigos Museo del Cine de Buenos Aires
UDJU AZUL DI YONTA (THE BLUE EYES OF YONTA)
by FLORA GOMES (Guinea-Bissau/Portugal/France/UK, 1992, 98’, Color)
restored by: Cinemateca Portuguesa – Museu do Cinema
WOO YUET DIK GOO SI (THE STORY OF WOO VIET)
by ANN HUI (Hong Kong, 1981, 92’, Color)
restored by: M Plus Museum Restricted
VALERIE A TÝDEN DIVŮ (VALERIE AND HER WEEK OF WONDERS)
by JAROMIL JIREŠ (Czech Republic, 1970, 77’, Color)
restored by: Národní filmový archiv
ABSCHIED VON GESTERN (YESTERDAY GIRL)
by ALEXANDER KLUGE (Germany, 1966, 88’, B/W)
restored by: Kairos-Movie
TO BE OR NOT TO BE
by ERNST LUBITSCH (USA, 1942, 99’, B/W)
restored by: Studiocanal
MINJING GUSHI (ON THE BEAT)
by NING YING (China, 1995, 101’, Color)
restored by: China Movie Archive
CUL-DE-SAC
by ROMAN POLANSKI (UK, 1966, 112’, B/W)
restored by: Fixafilm
VIAGGIO IN ITALIA (JOURNEY TO ITALY)
by ROBERTO ROSSELLINI (Italy/France, 1953, 97’, B/W)
restored by: Cinecittà S.p.A.
BRUTTI, SPORCHI E CATTIVI (UGLY, DIRTY AND BAD)
by ETTORE SCOLA (Italy, 1976, 115’, Color)
restored by: Surf Movie SRL / Centro Sperimentale di Cinematografia / Cineteca di Bologna
GYOEI NO MURE (THE CATCH)
by SHINJI SŌMAI (Japan, 1983, 140’, Color)
restored by: Shochiku MediaWorX Inc.
LA LUNGA NOTTE DEL ’43 (LONG NIGHT IN ’43)
by FLORESTANO VANCINI (Italy, 1960, 105’, B/W)
restored by: Fondazione Cineteca di Bologna, in collaboration with Compass Movie
POPIÓŁ I DIAMENT (ASHES AND DIAMONDS)
by ANDRZEJ WAJDA (Poland, 1958, 104’, B/W)
restored by: Di Manufacturing unit