There were 23 films competing for the top prize, the Golden Lion, at the 80th edition of the Venice Film Festival, to be announced on Saturday.

Here is a run-down of how they fared:

POOR THINGS by Yorgos Lanthimos

Considered by many to be the film to beat, and even an "instant classic", this feminist reworking of Frankenstein sees Emma Stone as a reanimated corpse who discovers the joys of sex and the silliness of men, and had Venice crowds in stitches. 

PRISCILLA by Sofia Coppola

Critics were largely full of praise for this unvarnished look at the love affair of Elvis Presley and his young bride Priscilla ("Euphoria" heartthrob Jacob Elordi and Cailee Spaeny), whom he met when she was 14 and he 24.

FERRARI by Michael Mann 

Mann's long-gestating biopic of the racing car supremo (Adam Driver) combined family drama with thrilling road action, including one of the most shocking crashes ever seen on screen. Some felt the Italian accents were a bit dodgy but there was praise for Penelope Cruz as Ferrari's hard-bitten wife and business partner.

MAESTRO by Bradley Cooper

An old-school prestige drama in which Cooper is uncannily transformed into legendary conductor-composer Leonard Bernstein. It focuses less on his music than his complex private life -- torn between love for his wife (Carey Mulligan) and his bisexuality. 

THE KILLER by David Fincher 

The writer and director of "Seven" reunite for this slick thriller about an assassin (Michael Fassbender) trying to remain in control while things fall apart. Some loved it, some found it hollow. 

MEMORY by Michel Franco 

An unlikely but extraordinarily powerful relationship emerges between a recovering alcoholic (Jessica Chastain) and a man trying to live normally despite his dementia (Peter Sarsgaard). The latest from festival favourite Franco raises a wealth of thorny moral issues and boasts exceptional performances.

EL CONDE by Pablo Larrain  

Chilean dictator Augusto Pinochet (Jaime Vadell) is reimagined as a bloodthirsty vampire whizzing up hearts in a food blender. The caustic satire got mixed reviews. 

DOGMAN by Luc Besson 

Abused as a boy, a young man (Caleb Landry Jones) finds refuge with a pack of dogs and a drag show. Some critics were charmed by the latest from "The Fifth Element" director, but most found the story ludicrous, with The Telegraph calling it "the year's dumbest film". 

THE PROMISED LAND by Nikolaj Arcel

Good reviews for this sumptuous historical tale of a low-born soldier battling to cultivate a patch of barren land with a typically charismatic turn from Mads Mikkelsen, normally the villain in Hollywood, but often the hero in Denmark. 

THE BEAST by Bertrand Bonello

Rejected by Cannes, this strange era-jumping love story starring Lea Seydoux and British newcomer George MacKay found many admirers in Venice, touching on AI, incels and much more, with touches of David Lynch.

IO CAPITANO by Matteo Garrone 

The blistering account of two young Senegalese boys crossing Africa in search of a better life in Europe by the director of "Gomorrah". Epic in its cinematic scope and counting a crowd-wowing performance from newcomer Seydou Sarr.

EVIL DOES NOT EXIST by Ryusuke Hamaguchi 

The director's follow-up to Oscar-winner "Drive My Car" was a quiet but unsettling story about a pristine rural village upset over the arrival of a tourism project. 

GREEN BORDER by Agnieszka Holland with Jalal Altawil, Maja Ostaszewska 

Harrowing account of refugees trapped between Belarus and Poland during a real-life crisis on the EU border in 2021. The deeply humanist film angered the Poland's right-wing government, whose justice minister compared it to Nazi propaganda. 

ORIGIN by Ava DuVernay 

Many were impressed by this heartfelt fictionalisation of a journalist's exploration of the roots of racism and caste by the "Selma" director, though some felt it would have worked better as a documentary. 

FINALLY DAWN by Saverio Costanzo with Lily James, Rebecca Antonaci 

Lily James stole the show as a diva befriending a young girl in 1950s Rome at the height of the country's cinematic strength. 

OUT OF SEASON by Stephane Brize 

The French director follows a string of hard-hitting films about workplace politics with a softer mood piece about two former lovers (Guillaume Canet and Alba Rohrwacher) reconnecting on missed chances. "Delicate and beautifully performed," said Variety.

ENEA by Pietro Castellitto with Pietro Castellitto, Giorgio Quarzo Guarascio (Italy)

An excoriating look at Rome's high society, full of exclusive clubs, drugs and disaffection. "Overstuffed but never dull," said Deadline.

COMANDANTE by Edoardo De Angelis 

Critics were lukewarm on this WW2 movie starring Pierfrancesco Favino, about an Italian navy captain who decides to save the Belgian crew of a ship he just sank.

LUBO by Giorgio Diritti 

The story of Swiss nomads separated from their children is told through a street artist press-ganged into the army, later searching for his children. Praise for Franz Rogowski in the lead, but some found it a slog.

THE THEORY OF EVERYTHING by Timm Kroger 

An ambitious, Hitchcock-influenced metaverse mystery from a first-time director that failed to convince critics. 

ADAGIO by Stefano Sollima 

With two of Italy's top stars, Pierfrancesco Favino and Toni Servillo, this was a well-crafted and testosterone-fuelled cops-and-gangsters thriller from the director of "Sicario 2".

WOMAN OF... by Malgorzata Szumowska 

A Polish film charting the life of a small-town man who always felt like a woman. Critics found it nuanced and sensitive.

HOLLY by Fien Troch 

A young girl has a strange premonition about a disaster at her school, and then finds she has a strange power to restore people's faith. Critics found it eerie and compelling.