Longest Venice Film Festival standing ovations ever — and what it means for the Oscars

Has all the applause gotten out of hand?

At this year’s Venice Film Festival, which ends Saturday, three movies so far have received standing ovations reported to last 15 minutes or more.

Mamma mia!

Donald Pearsall / NY Post Design

The wildest responses have gone to “The Smashing Machine,” starring Dwayne “The Rock” Johnson as MMA fighter Mark Kerr; “The Testament of Ann Lee,” a historical musical with Amanda Seyfried; and Guillermo del Toro’s “Frankenstein,” with rising star Jacob Elordi. 

The feeling is that over on the Lido, they’ve gotten a Lido too clap-happy.

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Since 2014, Venice has had the best record of the major film festivals of eventual Best Picture Oscar winners, with four. 

But, notably, none of those — “Birdman,” “Spotlight,” “The Shape of Water” and “Nomadland” — are among the record-breakers for ceaseless cheering. 

Unlike at Cannes, Hollywood trades measuring the length of standing O’s in Italy is a relatively new thing.

Perhaps in reaction, they’ve become longer and longer. And often movies that tank at the Academy Awards the following year get euphoric reactions that last double-digit minutes along the Adriatic.     

Here are how some of the most effusively praised ultimately fared at the Dolby Theater in LA.

Tilda Swinton was acclaimed for her performance in “The Room Next Door.” FilmMagic

‘The Room Next Door’ (2024) — 18 minutes

Spanish director Pedro Almodóvar’s first feature in English had tuxedo-clad Europeans pounding their paws together for a whopping 18 minutes.

And the film starring Tilda Swinton and Julianne Moore went on to win the Golden Lion, the fest’s top prize.

But when Oscar nominations were announced the following January, the door slammed shut on “Room.” It got zilch.

The subject matter, euthanasia, might’ve been too much for some. And critics didn’t think it was Almodóvar’s best either. Next!

Ana de Armas was the sole Oscar nomination for “Blonde.” 2022 © Netflix

‘Blonde’ (2022) — 14 minutes

The BS biopic of Marilyn Monroe, starring Ana de Armas, began with a blaze of glory in Venice before being pelted by rotten tomatoes once actual people watched it on Netflix.

Most liked it not. Its current RT scores are dismal — 43% critics, 36% audience.

Nevertheless, its world-premiere crowd roared and roared.

“Blonde” went on to receive one Oscar nod — Best Actress for de Armas, who makes an ideal Marilyn even when saddled with wretched material. She lost to Michelle Yeoh (“Everything Everywhere All At Once”).

“The Banshees of Inisherin” scored nine Oscar nominations but no wins. AP

‘The Banshees of Inisherin’ (2022) — 13 to 15 minutes

Martin McDonagh’s brilliant pitch-black comedy is the first flick on this list for whom the noise actually mattered.

There are differing accounts as to the timespan of the adulation for the film about two Irishmen (Colin Farrell and Brendan Gleeson) who suddenly stop being friends, but the consensus is… A LOT.

At the Golden Globes, “Banshees” took home Best Motion Picture – Musical or Comedy and Farrell snatched Best Actor.

Then at the Oscars, the film got nine nods — Picture, Actor, Director and Supporting Actor, among others. It took home zero.

Adrien Brody took home the Best Actor Oscar for “The Brutalist.” Courtesy Everett Collection

‘The Brutalist’ (2024) – 13 minutes 

Finally, some wins! Last year’s sweeping period drama about a complex Jewish architect who emmigrates from Europe to the US got a great response on the Lido and actually won three Oscars — Score, Cinematography and Actor (Adrien Brody).

Brody’s insufferable speech was nearly as long as his movie’s world premiere standing ovation.

The “Joker” sequel starring Lady Gaga was a joke, indeed. Warner Bros.

‘Joker: Folie à Deux’ (2024) – 11 to 12 minutes

I’m laughing harder than Arthur Fleck about this one.

The “Joker” sequel is widely agreed upon to be an epic disaster.

Director Todd Phillips’ dark first chapter grossed $1 billion worldwide, was the rare comic-book Best Picture nominee and notched Joaquin Phoenix an Academy Award.

The second one was, gulp, a musical! Lady Gaga joined the fray as Harley Quinn. And, despite all the celebs and fan anticipation, it was a mega flopzilla, earning just $207 million globally.

As for the Oscars, to call “Folie à Deux” an afterthought would be kind. At least they’ll always have their perfunctory Venetian shout-a-thon.

Despite being lauded, Daniel Craig didn’t make it to the Oscars for “Queer.” Getty Images

‘Queer’ (2024) – 11 minutes  

Pitty 007. Daniel Craig gave a very good performance as a boozehound gay expat in Mexico in this lush adaptation of William S. Burroughs’ novella.

But after its artsy festival run — 11 minutes of “bravisimos!” — the film fizzled.

On Oscar nominations day, its tequila bottle runneth dry.   

“Poor Things” won four Oscars, living up to its 10 minutes of applause in Venice. Searchlight Pictures/Courtesy Everett Collection

‘Poor Things’ (2023) – 10 minutes 

Emma Stone’s no-holds-barred turn as Bella in Yorgos Lanthimos’ weird and hypersexual movie got plenty of “Ciao bella!”s at the end of its debut.

And they kept going all the way to the following March when she won the Oscar for Best Actress.

The film scored three other Academy Awards for tech, and was a Best Picture nominee. But to be up for that prize in the year of “Oppenheimer” was a poor thing, indeed.

“Origin,” starring Aunjanue Ellis-Taylor, fizzled after a strong Venice bow. Getty Images for SCAD

‘Origin’ (2024) — Nine minutes

There was a big push to try to make Ava DuVernay’s movie, starring Aunjanue Ellis-Taylor, about the roots of bigotry explode.

The film was rapturously received in Venice. And after that, the Toronto International Film Festival jammed it in as a very late addition to its lineup.

However, clearly fests get it wrong sometimes. “Origin” had a muted theatrical release and went un-nominated by the Oscars.

Penélope Cruz made it into the Best Actress category for “Parallel Mothers.” Arthur Mola/Invision/AP

‘Parallel Mothers’ (2021) – Nine minutes  

Encore, Almodóvar.

This one was in Spanish — making it eligible for the Best International Film Oscar, unlike “The Room Next Door.”

Yet Spain opted not to submit the movie, starring Penélope Cruz, in that category.

Cruz still squeezed into Best Actress and the film got a nomination for its score. Parallel losses.

“Maria” was supposed to be Angelina Jolie’s big prestige comeback. Pablo Larraín

‘Maria’ (2024) – Eight minutes  

Opera singer Maria Callas was supposed to be Angelina Jolie’s big comeback to prestige pictures.

And its eight-minute Venice love fest strongly suggested her turn as the diva would be.

So did the film’s pedigree. Its director Pablo Larraín’s previous biopics, “Spencer” and “Jackie,” got Oscar nods for Kristen Stewart and Natalie Portman.

But Jolie was snubbed, and the film only managed a nomination for cinematography.

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