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Danish Drama 'Woman Unknown' Wins Golden Lion at 83rd Venice Film Festival

17 sources across 13 countries · 2 of them are linked to a state

Who reported this

  • Der Spiegel Germany · Centre-left · ~50% staff-owned
  • Frankfurter Allgemeine Germany · Centre-right · FAZIT-Stiftung (foundation)
  • Haaretz Israel · Left · Schocken family and M. DuMont Schauberg
  • The Times of Israel Israel · Centre · Seth Klarman (majority backer)
  • Yonhap South Korea · Centre · State-affiliated · Cooperative; statutory national agency with state subsidy
  • The Korea Herald South Korea · Centre-right · Herald Corporation (Yeongpoong Group)
  • The Guardian United Kingdom · Centre-left · Scott Trust Limited
  • Reuters United Kingdom · Centre · Thomson Reuters Corporation
  • Folha de S.Paulo Brazil · Centre · Grupo Folha (Frias family)
  • Le Monde France · Centre-left · Fonds pour l'independance de la presse
  • South China Morning Post Hong Kong · Centre-right · Alibaba Group
  • The Indian Express India · Centre · Indian Express Group (Goenka family)
  • ANSA Italy · Centre · Publisher cooperative
  • NRC Netherlands · Centre · Mediahuis
  • Philippine Daily Inquirer Philippines · Centre · Prieto family
  • Al Jazeera Qatar · Centre-left · State-affiliated · Qatari government funded
  • Al-Monitor United States · Centre · Jamal Daniel

What the colours mean

  • Left
  • Centre-left
  • Centre
  • Centre-right
  • Right
  • A hatched block means the outlet is affiliated with, or controlled by, a state.

Political lean describes where an outlet sits within the politics of its own country. It is never a position on a single global scale.

Political lean is comparable inside one country and not across them, which is why the bar groups by country first. Publicly funded broadcasters are not marked as state-linked.

The owner of each outlet is listed as a matter of record, not as a judgement about the outlet.

The Danish drama 'Woman Unknown,' directed by May el-Toukhy, won the Golden Lion for best film at the 83rd Venice Film Festival. The film, which follows a housemaid in post World War II Denmark whose relationship with a German soldier threatens her future, was the only feature in the main competition solely directed by a woman. Lead actress Mathilde Arcel also won the Volpi Cup for best actress. Jury president Maggie Gyllenhaal noted that the vote for Arcel was unanimous, which allowed the jury to grant two awards to a single film. John Malkovich won the Volpi Cup for best actor for his role in 'Wild Horse Nine,' accepting the award via video from Montreal.

The documentary 'NAZA,' directed by Israelis Yuval Abraham and Rachel Szor, received the Special Jury Prize. The film features anonymous testimony from 24 Israeli military and intelligence insiders regarding the systemic killing of Palestinian civilians in Gaza. The documentary received a record breaking 25 minute standing ovation at its premiere. During his acceptance speech, Abraham stated that the mass killings in Gaza are systemic and criticized the governments of Italy, Germany, and the United States for their policies regarding the Netanyahu regime.

Other major awards included the Silver Lion Grand Jury Prize for 'Possible Love' by South Korean director Lee Chang-dong and the Silver Lion for best direction for Ilya Khrzhanovsky for his film 'Dau.' Khrzhanovsky, who renounced his Russian citizenship, dedicated his award to Ukrainians. French director Stephane Brizé won the prize for best screenplay for 'A Good Little Soldier.'

Outlets with a center lean framed the awards as a reflection of current global politics and the struggle for female representation in cinema. Center left outlets emphasized the political nature of the winners, specifically highlighting the documentary's focus on the dehumanization of Palestinians. Center right outlets focused more on the individual achievements of the filmmakers and the specific plot details of the winning films.

How each side framed it

Left
Focused almost exclusively on the victory of the documentary exposing Israeli military actions in Gaza.
Centre-left
Highlighted the political weight of the awards and the documentary's exposure of systemic violence in Gaza.
Centre
Framed the event as a intersection of aesthetic achievement and political statement, particularly regarding gender inequality in directing.
Centre-right
Focused on the cinematic merits of the winners and the professional backgrounds of the directors.

Sources

100% of the statements in this article were traced back to the source articles listed above.