The Cannes @Quinzaine just announced the France screenings of La Muerte No Tiene Dueño by Jorge Thielen Armand starring Asia Argento 🇻🇪🇫🇷

“La muerte no tiene dueño” y la tierra recuerda cada injusticia.

Film venezolano PASTA NEGRA de Jorge Thielen Armand se alza con el premio al mejor corto de ficción en el Festival de Cine Latinoamericano de Rosario, Argentina. #CineVenezolano

Dentro del marco de #Cannes2026 Carla entrevistó a Jorge Thielen Armand por su película Death has no master filmfilicos.com/cannes-2026-…

Han destacado las películas de autores consagrados como Lisandro Alonso, Bruno Dumont, James Gray, Radu Jude, Ira Sachs... Pero también logros algo más inesperados como 'Notre salut' (Emmanuel Marre), 'La muerte no tiene dueño' (Jorge Thielen Armand) o 'Nagi Notes' (Koji Fukada).

In his final Cannes dispatch, @ijfeldberg reviews LOW EXPECTATIONS, DEATH HAS NO MASTER, & THE STATION: rogerebert.com/festivals/can…

#26May I La actriz que destapó el #MeToo en Cannes, regresó al festival de cine para presentar la película La muerte no tiene dueño del director caraqueño Jorge Thielen Armand. “Quiero volver a Venezuela, es un país que lo tiene todo”, dice Asia Argento | Por @JaninaPerezA bitlysdowssl-aws.com/2026/05…

The 10 Cannes films I’ve seen in order of how much I liked them (top 5 all bangers): TSAD at Camp Miasma I See Buildings Fall Like Lightning The Dreamed Adventure Death Has No Master Fatherland La Perra I’ll Be Gone in June Forever Your Maternal Animal Flesh and Fuel Ashes

Jorge Thielen Armand’s references 🎥 We asked the director of Death Has No Master about the inspirations behind the film 👀

A day with the team behind DEATH HAS NO MASTER by Jorge Thielen Armand 🇻🇪 Credit : Guillaume Lutz

A film inspired by a nightmare 😱 Jorge Thielen Armand talks to us about his film Death Has No Master. 🎥 Paul Garcia, Thibaud Larrieu Gibier, Romain De Almeida, Loïc Lefrileux, Marnie Gorgas

Qué felicidad ver una película venezolana en una selección de Cannes y que sea tan buena. ALTAMENTE recomendada: La Muerte No Tiene Dueño

Cierro el viaje a Cannes con el muy sombrío y atmosférico thriller ‘a combustión lenta’ de Jorge Thielen Arman, LA MUERTE NO TIENE DUEÑO, que coqueta con el acid western y la alegoría colonial de forma visualmente convincente. El duelo de Asia Argento y Dogreika Tovar es potente.

‘Death Has No Master’ Review: Asia Argento Gets an Anti-Colonialist Comeuppance in a Slow-Burn Siege Flick indiewire.com/criticism/movi…

Venezuelan tribute to giallo boasts scrumptious local flavours, a dazzling Asia Argento and a surprising new actress Death Has No Master wows Cannes: dmovies.org/2026/05/20/death…

I didn’t know what to expect from Death Has No Master, but I was blown away by Jorge Thielen Armand's film. Sure, it's a genre film of sorts, but immaculately shot and scored, with a gorgeous colour scheme. Seen in @Quinzaine. Asia Argento is perfect. #Cannes2026

If your fav film from Cannes this year is DEATH HAS NO MASTER, let’s be mutuals

Dogreika Tovar y Jorge Thielen Hedderich presentan en el Festival de Cannes La muerte no tiene dueño. Los actores de el tercer largometraje de Jorge Thielen Armand hablan con El Nacional sobre el rodaje de la película, el aprendizaje, el sentido de la propiedad, así como las ganas que les queda para hacer otra película bitlysdowssl-aws.com/2026/05…

My first print piece out of Cannes 2026. Spoke to Asia Argento and Jorge Thielen Armand about their haunting surrealist thriller about the history of violence in Venezuela, which they shot while Trump was sending warships to the coast. #cannes theguardian.com/film/2026/ma…

REVIEW FROM CANNES: DEATH HAS NO MASTER by Jorge Thielen Armand Armand's Venezuela set film, starring Asia Argento, is a set piece which reflects our wider geopolitical conflicts. Argento plays the daughter of an Italian colonial settler returning to sell the recently dead father's home, only to find that the colonialist power structure is no longer accepted by the father's Venezuelan house keeper. This leads to an inevitable confrontation much akin the Global South standing up to the Global North, or the West, represented by Argento's claims to property & land. The parallels between fiction and wider reality are very powerful, as well as Armand's haunting directing and cinematography.