The Venice Film Festival's artistic director has pushed back against criticism of this year's lineup, arguing that the scarcity of major Hollywood studios and women directors reflects deep-rooted industry challenges rather than curatorial missteps. Alberto Barbera's defense comes after the festival unveiled a program with virtually no U.S. studio-backed films and only one female director among 20 Golden Lion contenders, raising questions about the event's prestige. Main Developments Barbera, writing in the Italian daily La Stampa, said it would be “difficult, if not wrong” to blame Venice for Hollywood's absence. He described the U.S. film industry as being in upheaval, citing rising costs, falling box office revenues, and growing competition from streaming platforms as key factors. “The only major film we could realistically have hoped for was ‘Digger’, which Warner Bros decided to release by relying on the element of surprise, bypassing all the autumn festivals,” Barbera wrote, referring to a movie directed by Alejandro G. Inarritu and starring Tom Cruise. “There simply were no other titles, or they were not ready in time for our dates.” Read also: Indian Rice Exports Hit 10-Month High on Supply Squeeze The 76-year-old Barbera also addressed criticism over the lack of women directors in competition. The only woman to secure a main competition berth is Danish director May el-Toukhy, premiering her drama “Woman Unknown.” Barbera said the industry itself is hindering gender parity, citing barriers for women entering the profession, funding difficulties, and unequal access to production budgets. Background Barbera has led the world's oldest film festival since 2012, with a previous stint from 1998 to 2001. Recent editions of Venice and the Cannes Film Festival have benefited from strong Hollywood presence, with studios and streaming platforms using Europe's leading festivals to launch awards campaigns and generate publicity for prestige releases. This year, however, both events have seen a markedly lighter studio footprint. The 2026 festival runs from September 2-12. Among the most buzzy titles are “Wild Horse Nine” by Martin McDonagh, starring John Malkovich; Danny Boyle's “Ink” about the early days of media magnate Rupert Murdoch; and “Possible Love,” the first film in eight years from Korean auteur Lee Chang-dong. Why It Matters The Hollywood pullback from Venice signals a potential shift in how studios promote films, relying less on festival circuits and more on surprise releases or direct-to-streaming strategies. If this trend continues, it could diminish the festival's role as a bellwether for awards season and reduce the diversity of films showcased on the global stage. Barbera's comments also highlight persistent gender disparities in filmmaking. By placing responsibility on the industry rather than festivals, he underscores systemic barriers that limit women's access to funding and production opportunities, a debate that extends far beyond Venice. What's Next Barbera urged caution about drawing hasty conclusions regarding Hollywood's festival strategy. “Next year we may better understand what new film-promotion strategies there will be, if any,” he wrote. The 2026 festival will run its full course from September 2-12, with audiences and critics watching closely to see whether the leaner lineup translates into weaker buzz or renewed focus on independent and international cinema.