It's disappointing when a film falls short of its potential, and that’s exactly what happens with Amei Wallach’s latest documentary, which aims to recount the U.S. government’s effort to secure the top prize at the 1964 Venice Biennale, a prestigious international art exhibition. The idea was to promote American artistic achievement as part of a broader campaign designed to sway public opinion during the Cold War. The goal was to champion Robert Rauschenbach (1925-2008), a leading figure in pop art known for his innovative “combines,” and help establish the U.S. as a major force in the global art world, influencing how fine art was displayed and valued. However, the film struggles to stay on track; its narrative feels disjointed and wanders frequently. It actually functions best when it focuses on Rauschenbach himself—a biography of the artist would have been a more compelling subject, considering his life and career are considerably more captivating than this thin account of the Biennale. The movie often seems unfocused, superficial, filled with trivial details, and lacking in real depth. Ultimately, this project needed substantial revisions from the start. While mentioning the Biennale should have been part of any such film, there isn't enough substance to support it as a standalone piece—at least not based on what’s shown here. A biography would have made for a worthwhile viewing experience, because “Taking Venice” too often drifts into side stories about Rauschenbach that are more interesting than the intended focus. Watching this reminded me of something I heard in journalism school: a young reporter assigned to cover a speech came back empty-handed because the speaker had been shot before he could deliver it. That’s the kind of lesson the filmmaker should have clearly understood.

Source on TMDB