Oscar‑winning director Danny Boyle opened the 83rd Venice Film Festival on Sept. 2, 2026 with the world premiere of “Ink,” a dramatized account of Rupert Murdoch’s ascent on Fleet Fleet Street and the birth of the British tabloid "The Sun." The film, adapted by playwright James Graham from his 2017 stage work, stars Guy Pearce as Murdoch, Jack O’Connell as editor Larry Lamb, and Claire Foy in a supporting role.
Production and Cast
“Ink” marks Boyle’s return to biographical drama after a decade of genre work that includes the science‑fiction epic “The Current War” and the war thriller “1917” (co‑directed with Sam Mendes). Graham’s original play examined how a struggling newspaper transformed into a sensationalist powerhouse, a narrative Boyle said he found "just so bloody British." The screenplay retains the play’s focus on the newsroom’s internal politics while expanding the scope to include Murdoch’s wider media empire, which later encompassed the New York Post and The Wall Street Journal.
Critical Reception
Early reviews described the film as a “propulsive, can’t‑look‑away account” (Variety) and a “breathlessly paced, morally opaque drama” (The Hollywood Reporter). Critics noted Boyle’s kinetic direction, with rapid cuts and a thumping score that echo the frenzy of tabloid production. IndieWire called the film “a journalism thriller tabloid‑ready for our political apocalypse,” while Deadline highlighted its “sensational look at the origins of The Sun” and warned that it serves as “a cautionary tale for today’s click‑bait driven media.”
"People need stories," says Larry Lamb, the beleaguered editor of The Sun, in a pivotal scene that underscores the film’s central paradox – the demand for sensationalism versus the erosion of journalistic integrity.
Murdoch’s Reaction
According to Variety and The Hollywood Reporter, Rupert Murdoch’s daughter Elisabeth told Pearce that her father was “very happy” with the casting. The mogul himself had not yet viewed the film at the time of the festival, but his approval was confirmed by multiple outlets, including Entertainment Weekly, which quoted Pearce as saying Murdoch “was very happy” with his portrayal.
Cultural Context
“Ink” arrives at a moment when the influence of tabloid media is under renewed scrutiny, especially as algorithms and AI amplify sensational content. Deadline quoted Boyle as expressing “fears for journalism and speaking truth to power in the age of AI,” a sentiment echoed by IndieWire’s observation that the film functions as “a warning for now.” By dramatizing the 1960s‑70s battle for readership, the film invites comparisons to contemporary battles over misinformation, media consolidation, and the commercial pressures that shape newsrooms.
Festival programmers placed “Ink” at the center of the opening night line‑up, underscoring its relevance to both cinema and current affairs. While awards prospects remain speculative, early buzz suggests the film could be a contender in the Venice competition and a strong candidate for the upcoming awards season, given its high‑profile cast and director.
“Ink” will roll out to international markets later this year, with distribution deals already secured for the United Kingdom, United States, and Australia. Its Venice debut signals a renewed appetite for cinema that interrogates the power structures behind the headlines, a theme that resonates across the globe as societies grapple with the evolving role of the press.
