Oscar Isaac once again stood bathed in the golden glow of applause, earning his second standing ovation at the Venice Film Festival in just five days. The premiere of Julian Schnabel’s sweeping literary epic, “In the Hand of Dante,” on Wednesday night was met with a thunderous eight-minute reception. This came on the heels of his previous triumph, where he led Guillermo del Toro’s “Frankenstein” to a breathtaking 13-minute ovation just days earlier.
As the final credits rolled on “In the Hand of Dante,” the theater pulsed with emotion. In the film, Isaac masterfully embodies two souls — the 14th-century poet Dante Alighieri and the tormented modern-day writer Nick Tosches. Overcome by the moment, Isaac embraced his director, eyes glistening, before turning to the crowd, his smile radiant as he waved to a sea of adoring fans.
Earlier that evening, Isaac had strolled the red carpet with co-star Jason Momoa, whose bold fashion choice — a baby pink suit paired with matching Birkenstocks — turned heads. Momoa entered Venice’s historic Sala Grande flanked by Schnabel and the cast, including Louis Cancelmi, Franco Nero, and Benjamin Clementine. Yet, before the film began, he quietly slipped away, missing the triumphant ovation. Among the film’s other luminous names — Gal Gadot, Gerard Butler, Martin Scorsese, and Al Pacino — none were present, their absence felt in the velvet darkness of the theater.
Based on the novel by Nick Tosches, “In the Hand of Dante” is a haunting tale that follows a disillusioned New York City author in the early 2000s, drawn from self-imposed exile by a powerful mafia figure. Tasked with verifying the origins of a manuscript rumored to be Dante Alighieri’s original handwritten copy of “The Divine Comedy,” he is thrust into a labyrinth of obsession, violence, and revelation.
The film’s synopsis poignantly captures the journey: “In the wake of his daughter’s sudden death, Nick Tosches is summoned by a mafia don for his deep knowledge of the famed Italian poet. Alongside Louie — an unpredictable, volatile assassin — the two descend into a world of darkness and blood, seeking to steal and authenticate a work of immeasurable value. As the film shifts between the 21st and 14th centuries, the lives of Nick and Dante intertwine, revealing parallel quests for love, beauty, and the divine.”
In a night rich with honor and emotion, Schnabel was also presented with the prestigious Cartier Glory to the Filmmaker Award, a tribute to a career steeped in artistic daring. The American director, painter, and visionary has long been cherished by the Venice Film Festival — having won the Grand Jury Prize in 2000 for “Before Night Falls,” and premiering “Miral” (2010) and “At Eternity’s Gate” (2018), the latter earning Willem Dafoe the Best Actor award for his soul-stirring portrayal of Vincent Van Gogh.
As he accepted the honor, Schnabel’s voice trembled with heartfelt gratitude. “This film would not exist without the love and brilliance of my cast and crew,” he said, eyes brimming with emotion. “I could never have done this alone. To my producers who believed in me, and most especially to my collaborator and my love, Louise. And to my sons, Olmo and Vito — thank you. There’s so much more I want to say, but time will not allow it.”
