Telluride Film Festival returns with an eclectic mix of politics, auteur visions and the Boss

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As a devoted cinema enthusiast, I must admit that the past few years in the film festival scene haven’t been as vibrant or exciting as I’d hoped. The crowds seem smaller, streaming services have shaken up our traditional viewing habits, and the combined impact of the pandemic and Hollywood strikes has left quite an impression on the industry. Even the grandest events now find themselves competing for a spot on the cultural calendar, trying to recapture that sparkle and glamour that once defined them.

After more than half a century, Telluride stands as an unconventional film festival tucked away in a Colorado Rockies box canyon at 8,750 feet. Unlike other festivals, it eschews red carpets, awards, and formal attire, focusing solely on movies. Accessible only by winding roads or a nerve-wracking plane drop to one of the country’s highest airports, Telluride offers a limited number of pricey passes, creating an atmosphere that is both intimate and exclusive. Its blend of film industry veterans and dedicated cinephiles has cultivated a unique mystique around its secluded environment, with the allure of early Oscar speculation luring filmmakers, celebrities, and film enthusiasts alike. Since 2009, only five best picture winners have bypassed Telluride on their path to winning the top prize.

In a phone conversation, festival director Julie Huntsinger notes that reaching Telluride isn’t easy, suggesting it’s not by chance. She emphasizes their commitment to presenting either fresh or exceptional offerings that justify your time. Just as cats bring home a mouse or bird, she feels her role is to provide something unique and hopes you’ll appreciate it.

Kicking off over the Labor Day weekend, the 52nd Telluride Film Festival will present an array of new films, with several world premieres among them. Scott Cooper’s “Springsteen: Deliver Me From Nowhere” places Jeremy Allen White in the shoes of The Boss, exploring the genesis of his bleak 1982 album, “Nebraska.” Chloé Zhao’s “Hamnet” brings together Jessie Buckley and Paul Mescal for a poignant depiction of loss. Edward Berger’s “Ballad of a Small Player” follows Colin Farrell as he gambles his way through Macau in search of fortune and redemption. Lastly, Daniel Roher’s “Tuner” features Dustin Hoffman re-emerging on screen in a crime thriller about a piano tuner who discovers that his ear for Steinways also works wonders on safes.

Additionally, there are several films on the horizon from Cannes and Venice, such as “Bugonia” by Yorgos Lanthimos, “Jay Kelly” by Noah Baumbach, “The Mastermind” by Kelly Reichardt, and two offerings from Richard Linklater titled “Blue Moon” and “Nouvelle Vague.” This demonstrates that Telluride continues to be a sanctuary for filmmakers.

Awards

The premieres of Venice, Telluride, and Toronto have the potential to either establish or hamper the chances of these 10 films in winning an Oscar, as our awards expert suggests.

Last year at Telluride, political discussions were prevalent both on-screen and off-screen. Topical subjects such as abortion rights, climate change, and the Israeli-Palestinian conflict permeated the schedule. Notable guests like Hillary Clinton, James Carville, and special prosecutor Jack Smith joined the regular lineup of actors and filmmakers. One of the most talked-about films was “The Apprentice” by Ali Abbasi, a powerful depiction of Donald Trump’s early years.

This year’s lineup encompasses a wider range of topics, with politics playing a significant role. Ivy Meeropol’s “Ask E. Jean” delves into the legal disputes between writer E. Jean Carroll and Trump, while Kleber Mendonça Filho’s “The Secret Agent” employs a thriller set in the 1970s to revisit Brazil’s military dictatorship, featuring Wagner Moura (“Narcos”) as a fugitive professor. As Huntsinger points out, several films this year carry political messages that are worth paying attention to. He hopes viewers will find the courage to confront some of the challenging themes portrayed in these works after witnessing them.

The German-born filmmaker Edward Berger, known for his papal thriller “Conclave” from the previous year, is back with a new film titled “The Ballad of a Small Player,” which offers a striking departure from his earlier work.

According to Huntsinger, it would be challenging for anyone to conclude that these movies were made by the same director. This film is an enchanting, dreamlike exploration of spirituality and self-reflection that doesn’t resemble ‘Conclave,’ which was more structured and organized. Instead, this movie resides on a completely distinct level.

Chloe Zhao, who was awarded the Oscar for Best Director at the 2020 ceremony for “Nomadland,” has transformed Maggie O’Farrell’s renowned novel “Hamnet” into a film adaptation. This moving production is one of the festival’s most emotionally impactful selections as described by Huntsinger.

According to Huntsinger, Chloé possesses a profound understanding of people, which shines through in her work. He describes this piece as a poignant and moving exploration of loss that may stir deep emotions, possibly even tears. It’s important to note that there’s no insincerity in it.

In simpler terms, the director Yorgos Lanthimos visits Telluride for the third time with “Bugonia,” a film that combines dark comedy and science fiction to create a satire. This project once again teams him up with Emma Stone, who he previously worked with in “The Favourite” and “Poor Things.” “Bugonia” is a modern adaptation of the 2003 Korean cult movie “Save the Green Planet!”. The story revolves around a paranoid beekeeper played by Jesse Plemons, who captures a powerful pharmaceutical executive (Emma Stone) he suspects is an alien planning to destroy Earth.

According to Huntsinger, brace yourself as Emma’s performance is exceptional, and we must never underestimate her talent. However, Jesse Plemons manages to outshine everyone else in this production, taking his acting skills to a whole new level.

Noah Baumbach makes his comeback to Telluride with the dramedy “Jay Kelly,” starring George Clooney as an actor and Adam Sandler as his longtime manager. As they travel through Europe, reflecting on the decisions and relationships that have molded their lives, the film is described by Huntsinger as a cinematic negroni – robust yet enjoyable, carrying a hint of summeriness. It explores one’s journey after reaching a certain life stage, doing so subtly without overt dramaticness.

As a devoted cinephile, I’m thrilled to share that this year, I’ll be among the fortunate ones honored with a Silver Medallion. I find myself in esteemed company, sharing the award with the renowned Iranian director Jafar Panahi, whose “It Was Just an Accident” took home the prestigious Palme d’Or at Cannes, and the multi-talented Ethan Hawke, who’s graced our screens alongside my projects such as “Blue Moon” and his own Merle Haggard documentary, “Highway 99: A Double Album.” What a year for cinema!

Among the upcoming movies, Cooper’s Springsteen biopic is undeniably one of the most anticipated ones, as Jeremy White, who starred in “The Bear” and won an Emmy, takes on the role of The Boss during the creation of one of his most unyielding albums. As Huntsinger puts it, “Jeremy brings it just like Timothée Chalamet did in ‘A Complete Unknown’ where you think, Wow, what can’t this guy do? Scott is a talented director, and the film doesn’t disappoint.

The music storyline progresses with Morgan Neville’s documentary “Man on the Run,” which utilizes previously unseen home videos taken by Paul McCartney during the early 1970s, shortly after the Beatles disbanded. These videos depict McCartney and his family spending time in Scotland, giving viewers a fresh, insightful perspective of an under-mythologized period. As Huntsinger explains, it sheds light on the fact that there wasn’t a villain in the Beatles’ breakup. He further states that this additional viewpoint is incredibly valuable and necessary for our understanding of history.

As a cinephile, I’m excited to share that in this year’s documentary lineup, I come across “Cover-Up,” a captivating film co-directed by Mark Obenhaus and the esteemed Laura Poitras, an Oscar-winning director known for her thought-provoking films. This time around, we delve into the career of investigative journalist Seymour Hersh, much like her politically charged masterpieces “Citizenfour” and “All the Beauty and the Bloodshed.” So, get ready to uncover some compelling narratives!

Despite its laid-back image of flannel shirts and jeans, Telluride isn’t exempt from the economic changes of 2025. The costs for accommodations and travel have significantly increased, raising worries that the event has transformed into a festival predominantly for the affluent. Huntsinger acknowledges the financial strain but stresses that ticket prices have remained unchanged over the past 15 years as she strives to maintain affordability for all.

She mentioned that she had been worried about our audience getting older, but efforts have been made to ensure affordability for younger individuals and those on fixed incomes. The results are noticeable – it’s not just the wealthy attending. She vows to continue advocating for this change and hopes lodging providers will adjust their prices accordingly.

Despite the tumultuous times and dire predictions that have shaken up Hollywood recently, Telluride has remained steadfast in maintaining its distinctive character.

As a movie enthusiast, I can’t help but feel optimistic when I see the dedication people show towards weekend events like these. It’s clear that they’re not just coming here for any ordinary outing; they’re film fanatics at heart. When I hear them expressing, ‘I wouldn’t miss this for anything,’ it fills me with a sense of pride and optimism. After the challenging times we’ve all faced, moments like these remind me that there’s still a purpose to keep organizing this charming little film festival.

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2025-08-28 18:31