The Telluride Film Festival is known for its ability to introduce some of the year's most anticipated films, but 2024's lineup seems to have stirred up more controversy than celebration. This year, several high-profile premieres, including Malcolm Washington's “The Piano Lesson,” Joshua Oppenheimer's “The End,” and Michael Gracey's Robbie Williams biopic “Better Man,” have all received mixed responses, leaving audiences and critics divided.
Malcolm Washington's ‘The Piano Lesson'
Adapted from August Wilson's Pulitzer Prize-winning play, “The Piano Lesson” had the potential to be a powerful exploration of legacy and memory. With a cast featuring Danielle Deadwyler and Samuel L. Jackson, expectations were high. Deadwyler, in particular, has been singled out for her stellar performance, yet the film itself has been criticized for feeling too “stagey” and confined. Samuel L. Jackson, a powerhouse actor, is surprisingly relegated to the background for much of the film. With Netflix apparently focusing more on “Emilia Perez” for awards season, it seems “The Piano Lesson” may struggle to find its footing.
Joshua Oppenheimer's ‘The End'
Joshua Oppenheimer, best known for his acclaimed documentaries like “The Act of Killing,” made a bold leap into narrative filmmaking with “The End.” However, the transition appears to be a rocky one. Rejected by both Cannes and Venice, the film's world premiere at Telluride has been met with a tepid response. While some critics, like David Ehrlich from IndieWire, praised the film, the majority of reviews, including those from Slant, The Hollywood Reporter, and Variety, are less enthusiastic. Oppenheimer's move from documentary to narrative filmmaking seems to have been met with mixed success, leaving many to wonder if this was the right project for such a transition.
Michael Gracey's ‘Better Man'
Finally, Michael Gracey's “Better Man,” a musical biopic of pop star Robbie Williams, has failed to generate the buzz many expected. Despite its flashy premise and the intrigue of Williams portraying a CGI-monkey for much of the film, the reception has been lackluster. With only one major review—a 5/10 rating—and poor user ratings on Letterboxd, it's clear that the film has not struck the right chord with audiences. Whether it's the film's unconventional approach or simply a lack of substance, “Better Man” might struggle to find its audience.
As the dust settles on Telluride 2024, it's clear that not every film can be a festival darling. While these films have their moments, their mixed receptions suggest that sometimes, even the most promising projects can miss the mark. Whether they find new life beyond the festival circuit remains to be seen.
