Danny Boyle's Rupert Murdoch Drama 'Ink' Opens Venice Film Festiv
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Murdoch’s Shadow: The Venice Film Festival’s Big Opening Act
The upcoming Venice Film Festival will open with a dramatic retelling of Rupert Murdoch’s rise to media power, courtesy of director Danny Boyle and playwright James Graham. Their biographical drama, Ink, explores the world of 1960s British tabloids, where Murdoch’s The Sun first burst onto the scene.
Boyle’s decision to open the festival with Ink raises questions about the timing of this particular story. The global media landscape has undergone significant changes since the late 1960s – including the advent of social media and the proliferation of “clickbait” journalism. However, it is precisely this context that makes Ink a compelling choice for opening night.
By setting his film in 1969, Boyle captures the spirit of a bygone era, one where Fox News and Facebook were still on the horizon. As Boyle notes, “Long before Fox News, click bait, and Truth Social; decades before Twitter, Facebook, Google & Only Fans,” Murdoch’s The Sun was pushing the boundaries of what was considered acceptable in journalism.
Boyle’s vision for Ink emphasizes the radicalism of The Sun at its inception. With Guy Pearce taking on the role of Murdoch, the film humanizes a figure who has often been seen as more myth than man. It also raises important questions about the impact of his legacy – and that of his contemporaries like Larry Lamb, played by Jack O’Connell.
Lamb’s character is intriguing, given his reputation for transforming The Sun into a tabloid powerhouse. Ink complicates this narrative, offering a nuanced portrayal of a man who was instrumental in shaping the modern media landscape.
The Venice Film Festival’s decision to feature Ink as its opening film draws attention to the festival’s artistic director, Alberto Barbera. His praise for Boyle, Graham, and the cast is hardly surprising, but it serves as a reminder of the importance of collaboration in bringing complex stories to life.
Ink will engage with broader themes of media manipulation and the erosion of trust that have come to define our contemporary era. Will the film offer a scathing critique of Murdoch’s legacy, or will it opt for a more sympathetic portrayal? Given Boyle’s track record as a director who tackles tough subjects head-on – witness his work on Slumdog Millionaire and Trainspotting – one hopes that Ink will prove itself to be a worthy exploration of this pivotal moment in media history.
Ultimately, the success of Ink depends on its ability to balance historical accuracy with dramatic flair. As Boyle notes, “This is my baptism at the film festival,” and it’s a baptism by fire, given the high expectations surrounding this year’s Venice Film Festival lineup. If Ink can rise to the challenge, it may just prove itself to be one of the most compelling stories of the year – and a timely reminder of the enduring power of journalism in shaping our world.
The implications of Ink will likely be felt far beyond the confines of the festival itself. Will we see a renewed interest in exploring the darker corners of media history? Or will the film’s focus on the early days of The Sun serve as a cautionary tale about the dangers of nostalgia and revisionism?
As the 2026 Venice Film Festival gets underway, one thing is certain: Danny Boyle’s Ink has already made its mark.
Reader Views
- RJReporter J. Avery · staff reporter
Danny Boyle's decision to open the Venice Film Festival with Ink is a bold choice, but one that raises questions about the timing of this particular story. While it's easy to see why Boyle would want to focus on Murdoch's rise to power in the 1960s, one can't help but wonder if he's glossing over more recent controversies - namely News Corp's role in the phone hacking scandal and its ongoing impact on British journalism. A more nuanced approach might have explored these complexities alongside the film's portrayal of a bygone era.
- CMColumnist M. Reid · opinion columnist
While Danny Boyle's Ink sheds light on Rupert Murdoch's tabloid empire in the 1960s, it's worth noting that the film's historical context might be both a blessing and a curse. By focusing on this bygone era, Boyle conveniently sidesteps the far more disturbing aspects of Murdoch's legacy – like his role in phone-hacking scandals and the News International bribery case. This selective narrative could lead some viewers to romanticize the rise of tabloid journalism, rather than acknowledging its ongoing corrosive influence on modern media.
- CSCorrespondent S. Tan · field correspondent
The Venice Film Festival's decision to kick off with Danny Boyle's Ink is a deliberate choice that highlights the significance of Murdoch's legacy in shaping modern media. However, what's striking is how Boyle and co-writer James Graham avoid simplistic demonization of their subject. Instead, they humanize Murdoch and his contemporaries, forcing viewers to confront the gray areas between innovation and exploitation. This nuance raises important questions about our current media landscape and its own accountability. What's missing from the conversation so far is an exploration of how Ink will challenge or reinforce existing narratives around the power dynamics at play in the media industry.