The Venice Film Festival is the oldest of its kind, founded in 1932 and held nearly every year since, with brief interruptions during World War II and Italy’s political turmoil in the 1970s. Its origins are tied to fascist ideology under Mussolini, but today it stands as one of Europe’s three most prestigious film festivals, alongside Cannes and Berlin.
Unlike Cannes, Venice leans into a more informal atmosphere: fewer screenings packed into a tight schedule, less snooty staff, and looser dress codes. The climate brings brutal summer heat, relentless humidity, and swarms of mosquitoes at dusk. Yet for many in the industry, it remains the crown jewel—a balance of artistic ambition and effortless glamour.
Mosquitoes swarm at dusk.
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Working through the Lido and San Marco
The festival’s two main hubs create a divide that shapes the experience. All screenings take place on the Lido, a barrier island with a low‑key beach vibe, and one high‑end exception: the Excelsior Hotel’s cabanas, which can cost hundreds of euros per day. The headquarters sit in a small town center with a handful of restaurants and mostly retirees.
Industry insiders often swear by staying on the Lido—no vaporetto rides needed to reach screenings, just a short walk or bike ride. Those who prefer the heart of Venice head to San Marco island, where iconic sights such as Piazza San Marco, the Bridge of Sighs, and gondolas gliding under the Rialto Bridge await.
A 20‑minute vaporetto ride from San Zaccaria (near Piazza San Marco) to the Lido is the standard route, but timing matters. Miss the boat, and you’ll join a crush of festivalgoers all rushing to the same screening in 45 minutes. Lines get long, yet the boats themselves remain manageable. Extra time on the Lido can be spent at a snack bar or the terrace of the Albergo Quattro Fontane—if you can find shade. The sun is relentless.
Feasting on Venetian Bites and Bistros
Where you stay also dictates what you eat. The Lido offers limited dining options, mostly beach clubs and quick bites. San Marco, by contrast, provides a surprising range: seafood, pasta, pizza, plus Chinese, Indian, and North African spots. One standout is Bistro de Venise, tucked in a narrow alley near the Rialto, where a vegan tasting menu surprised even a critic accustomed to Venice’s culinary reputation.
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For a quick fix, L’ Bacaro de’ Bischeri sells sandwiches, like the Don’t Tell William, a towering focaccia stuffed with stracciatella, mortadella, and pistachios, best eaten on the street or back at your apartment to avoid judgment.
If you’re covering it, time for sit‑down meals is rare. Most days involve cicchetti (Venetian tapas) or a repeat of the same sandwich. When a proper meal happens, Al Covo, a Michelin‑recommended seafood spot near San Zaccaria, serves as a festivalgoer staple. For something fancier, the Four Seasons Hotel Danieli reopened its fifth‑floor terrace after a remodel, offering lagoon views, just be careful with the €80 glass of Pinot Grigio. Most attendees, however, forage: grabbing groceries at Supermercato Punto or stopping for a Cynar spritz at its attached cocktail bar before heading back to write.
Red Carpets and Exclusive After-Parties
American studios often host pre‑premiere parties in the Excelsior Hotel’s garden, where red carpets draw crowds, from teens chasing matinee idols to elderly onlookers. This year, the garden welcomed Martin McDonagh, whose new dark comedy Wild Horse Nine premiered at Venice. His partner, Phoebe Waller‑Bridge, and cast members such as Steve Buscemi attended, though Buscemi appeared slightly out of place among the European elite and influencers.
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Evening events showcase Venice’s exclusivity. Italian and French fashion houses throw dinners at palazzos or Grand Canal hotels like the Gritti Palace or St Regis. At the Gritti, two friends smuggled a critic into the tail end of a Cartier dinner, where Orlando Bloom and Kate Mara—who debuted her and Rooney Mara’s Werner Herzog film Bucking Fastard at the festival, mingled in the bar. At the St Regis, Robert Pattinson sat nearby during a party for Primetime, his A24 film where he plays To Catch a Predator host Chris Hansen. The bar was packed, but the view of the canal made the wait worthwhile.
Venice isn’t Cannes, no champagne‑fueled bacchanals here. The city shuts down early, yet late‑night spots exist for those in the know. Ai Do Leoni, a tiny bar near Piazza San Marco, stays open until 1:30 a.m., spilling into the square with critics, potential lovers, and the occasional awkward encounter. The next day, you’ll be hungover on a vaporetto, but at least you’re still in Venice.
For pilgrims, the details matter. The Lido offers convenience; San Marco delivers immersion. Food ranges from quick bites to hidden gems, and parties, when you’re invited, let you see films not just on screen but alongside the people who made them. The city itself, hot, crowded, and magical, remains the real star.
