Geoffrey Rush Just Turned Taormina Into His Victory Lap—And He's Not Done Yet
Geoffrey Rush just did what most actors can only dream of—returned to the global spotlight not just with another trophy, but with a new film that actually might mess you up. And the industry? It's watching closely.
The 71st Taormina Film Festival isn't short on stardust this year—Scorsese, Deneuve, Wilde, and more—but it's Rush who's stealing the narrative. The Oscar-winner is being handed the festival's Excellence Award, a career-capping accolade that hits different when you're also premiering a psychological thriller that sounds like Black Swan crash-landing into Prisoners.
The Rule of Jenny Pen, Rush's latest project, isn't just an awards-circuit ghost. It's in official competition, which means the man's not showing up for applause—he's playing to win. The film, helmed by Coming Home in the Dark director James Ashcroft and co-starring John Lithgow, already did the rounds last year, but Taormina marks its Italian premiere. A slick move. Cannes is chaos. Venice is velvet. Taormina? That's where art-house cinema goes to breathe.
Why This Changes Everything (Or Nothing)
Here's what's bonkers: Rush has already won the EGOT lottery. Shine? Check. The Life and Death of Peter Sellers? Check. The King's Speech? Triple-check. And now he's diving into something darker, more insidious—this isn't “career revival.” It's “genre expansion pack.”
What makes this moment wild isn't just the award—it's the context. Unlike some Excellence honorees (cough legacy bookings cough), Rush is showing up with work. That matters in an era where “prestige” is often code for “please forget my last Netflix flop.”
And for real—Rush taking on a psychological thriller in 2025? That's like Daniel Day-Lewis showing up in a slasher. Unexpected. Electrifying. Potentially cursed.
The Real Story Lurking Under the Surface
Let's talk pattern recognition. Festivals love redemption arcs. Brendan Fraser in The Whale, Michael Keaton in Birdman, Mickey Rourke in The Wrestler. And Rush? After years spent largely behind the curtain, he's stepping out with a film that feels dangerous. Not “Oscar bait”—but cinematic provocation.
Remember Shine? That raw, unfiltered descent into brilliance and breakdown? That energy's back—only now it's filtered through James Ashcroft's eerie sensibilities. The director's known for suffocating tension and slow-burn chaos. Which means The Rule of Jenny Pen isn't just another prestige title—it's a late-career left hook.
Tiziana Rocca, the festival's Artistic Director, nailed it when she said, “His commitment, sensitivity and mastery have inspired generations.” True. But let's not forget: he also knows how to absolutely own a sinister monologue. Ask the Pirates franchise. Or the entirety of Quills.
An anonymous programmer from a past fest described Jenny Pen as “a film that weaponizes restraint—until it doesn't.” We'll take that as a threat.
So—Is This a Genius Move or Prestige Masquerade?
You decide. Is this Rush's Uncut Gems moment—chaotic, sublime, genre-flipping? Or is it a well-dressed ghost story built for festival cred? Either way, we're watching. Closely.
Would you rather rewatch Shine or dive into Rush's new fever dream? Be honest. (We won't judge. Much.)
