Day Four at the Venice Film Festival technically began at midnight for me, as I exited the after-party for “Babygirl” still buzzing with excitement. I tried, albeit unsuccessfully, to sneak onto the water taxi heading to star Harris Dickinson’s exclusive after-after party, all while evading the watchful eyes of A24 employees. The earlier event was one of the few that invited some press to mingle with lead actress Nicole Kidman, director Halina Reijn, and their team. Also in attendance were Christos Nikou, director of “Fingernails,” and Taylor Russell from “Bones and All,” both serving on different juries at La Biennale this year.

Though the night began with a burst of excitement, the day’s events took a more subdued turn. The morning and afternoon screenings featured films like “Battleground” and “And Their Children After Them,” both competition entries that generated only moderate buzz. Even the premiere of Amos Gitai’s controversial film “Why War” did not stir much conversation among festival-goers on the Lido. The film’s inclusion was protested by 300 artists who claimed it was produced by Israeli companies complicit in apartheid and occupation. Gitai clarified at the press conference that his film had not received any state funding from Israel.

The highlight of the day was undoubtedly Justin Kurzel’s latest film, “The Order.” This Australian director’s work drew the largest crowd. “The Order” is an Amazon film internationally but will be released by Vertical Entertainment in the United States. The film stars Jude Law, Nicholas Hoult, Tye Sheridan, Jurnee Smollett, and Marc Maron, who plays real-life radio personality Alan Berg. The storyline involves police chasing a group of bank robbers in the Pacific Northwest who become early proponents of the modern white supremacist domestic terror movement.

Jude Law commented during the Venice press conference that “The Order” felt like a necessary project to make now. He noted how intriguing it is to find past events that resonate with contemporary issues. However, rumors suggest that the film’s release was contentious for major companies due to its alignment with supporters of a certain former Republican president currently running for office.

Critics generally praised “The Order,” describing it as an action thriller likely to perform well on streaming platforms once available for rent. A fellow festival attendee recommended I check out “Homegrown,” a documentary in the Critics’ Week section by director Michael Premo. This film explores the lives of three Proud Boys members, a white nationalist group involved in the January 6 insurrection.

One popular misconception needs to be addressed: reports of prolonged applause are often exaggerated. For instance, “The Order” did not receive a 10-minute standing ovation. Audience members clapped throughout the credits for the cast and crew, but the meaningful applause—after credits rolled and the cast could leave—lasted around three minutes, still respectable for a competition title.

Within fifteen minutes, the atmosphere shifted as elegantly dressed attendees exited, making way for Venice’s younger crowd eager to see Harmony Korine’s latest film, “Baby Invasion.” Earlier in the day, Korine, known for “Spring Breakers,” criticized Hollywood for not embracing new forms of entertainment like gaming and livestreaming that captivate youth. He remarked that Hollywood is losing its creative minds to these emerging platforms.

Korine’s comments about livestreaming giants like IShowSpeed and Kai Cenat went over the heads of many press conference attendees, but resonated deeply with younger viewers. The midnight premiere of “Baby Invasion” ended with enthusiastic applause from those who stayed to see this abstract first-person shooter-inspired project. Since this technically kicked off Day 5, more details will be covered in the next diary entry, including insights on “The Brutalist,” a three-hour epic from Brady Corbet, which has been gaining attention after a couple of preview screenings.