‘Rust', Western With A Tragic Past, Honors Work Of Slain Cinematographer, Proceeds Will Go To Her Family
, the indie western with a tragic backstory, is now out at at some 115 theaters through Falling Forward Films, as well as on PVOD. The release comes well over three years since the film's cinematographer Halyna Hutchins was killed by a bullet from Alec Baldwin's gun on the New Mexico film set.
An on-again-off-again involuntary manslaughter criminal case against the producer and star was put to rest last December. Multiple civil suits related to the shooting remain in the courts in California and New Mexico. A jury found Hannah Gutierrez-Reed, the armorer for the production, guilty of involuntary manslaughter for the October, 2021 incident and she was sentenced to 16 months in prison.
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Amid all that, the movie itself has taken a back seat, until now. Deadline's review calls the release 'bittersweet' but notes 'the exceptional cinematography of Hutchins, as well as Bianca Cline, who came in to film the remaining scenes.'
Honoring Hutchins work is a key reason the film is being released, says Falling Forward Films CEO and founder Scott Kennedy. 'I just loved it,' he said. 'We were able to get some theaters to go along with us because so much of the money is being given to Halyna's family, and her work is so amazing.' The family supported the release. Funds will go mainly to Hutchins' young son.
Kennedy said there have been some early screenings, including one for cast and crew last night at the Laemmle Town Center in Encino.
A director's statement added at the end of Rust offers a message about the film, and about Hutchins' work.
Nicolas Cage-starrring thriller by Lorcan Finnegan opens on 879 screens. Premiered out of competition at Cannes (Deadline review here) to a big ovation and played SXSW. Distributor Roadside Attractions held a Q&A with the actor at the AMC Grove in LA on Wednesday that was beamed live to participating theaters after an advance screening. Roadside is said to be looking at an $1-$2 million opening weekend in a crowded market.
Cage, as per the synopsis, plays a man who returns to the idyllic beach of his childhood to surf with his son. But his desire to hit the waves is thwarted by a group of locals whose mantra is 'don't live here, don't surf here.' Humiliated and angry, is drawn into a conflict that keeps rising in concert with the punishing heat of the summer and pushes him to his breaking point.
from Greenwich Entertainment, written and directed by Durga Chew-Bose, opens on 200+ screens. This new adaptation of Françoise Sagan's coming-of-age novella by the same title stars Chloe Sevigny, Claes Bang, Lily McInerny, Nailia Harzoune, Aliocha Schneider. Premiered at TIFF, see Deadline review.
At the height of summer, 18-year-old Cécile (McInerny) is languishing by the French seaside with her handsome father, Raymond (Bang), and his girlfriend, Elsa (Harzoune), when the arrival of her late mother's friend, Anne (Sevigny), changes everything. Amid the sun-drenched splendor of their surroundings, Cécile's world is threatened and, desperate to regain control, she sets in motion a plan to drive Anne away with tragic consequences. Weekend Q&As with the director and Lily McInerny at IFC Center.
from Oscilloscope Labs by director Joel Potrykus (Ape, Buzzard, Relaxer) opens at the IFC Center with director Q&As. Adds Laemmle Noho in LA next weekend.
Two friends trudge through a Michigan forest with the intention of following through on a disturbing pact. Once their plan goes shockingly awry, the surreal and haunting consequences of their failure can't stay hidden for long.
Premiered at Tribeca Festival last year with a Special Jury Mention for Performance in a U.S. Feature for Joshua Burge. Also stars, Joel Potrykus. Bill Vincent, Solo Potrykus, Melissa Blanchard. This is the fourth collaboration by the indie director with Oscilloscope, whose website features The Potrykus Collection –posters, t-shirts, a DVD pack and limited edition VHS.
(Los domingos mueren más personas) from Big World Pictures, written, directed by and starring Iair Said, opens at the Quad Cinema in NYC, adding Laemmle LA next weekend and expanding thereafter.
World premiered at the Cannes Film Festival parallel ACID section.
The queer Argentine dark comedy loosely based on Said's real-life experiences follows David, a young middle class Jewish man –corpulent, homosexual and afraid of flying – as he returns to Buenos Aires from Europe. He learns that his mother has decided to disconnect his father's respirator, the only thing that has kept him alive for years. David will oscillate between living in close quarters with his mother, alienated by the pain of the imminent loss of her husband, and a voracity to fill his existential anguish, occupying his hours learning to drive, seeking low-cost medical treatments, and trying to have sex with any man who shows him a little attention.
Said is joined by Latin American stage and screen actor Rita Cortese (Wild Tales, Herencia), Argentine singer Juliana Gattas and Pablo Larrain favorite Antonia Zegers (The Club, The Punishment).
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Tom's Guide
39 minutes ago
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How to watch 'The Snake' with Jim Jefferies online and from anywhere for FREE
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Love Island UK Season 12: Premiere date, new twists, cast and everything we know so far
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The season will air six nights a week (Sunday through Friday) for approximately eight weeks, delivering daily doses of villa chaos, coupling, and recoupling. New Twists to Expect in Season 12 To mark its milestone 10th anniversary, Love Island UK is pulling out all the stops with new twists that promise to shake up the villa like never before. Creative director Mike Spencer-Hayter has teased a 'really big week one' with 'something incredibly big we've never done before.' While details remain under wraps, he confirmed it's not celebrity-related, hinting at a fresh format twist that will surprise even longtime fans. Expect the usual bombshell arrivals and surprise dumpings, alongside innovative challenges and dramatic recouplings that will test the Islanders' relationships. The show's signature Casa Amor is also set to return, bringing its classic mix of temptation and heartbreak. 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Scientific American
an hour ago
- Scientific American
Superheroes Represent Something Different to Today's Kids
Last month, I decided to see Thunderbolts*, the newest installment in the expansive Marvel Cinematic Universe (MCU). I went to the theater without my 11-year-old, not sure whether or not this movie would be too intense for a tween—I'd read that Marvel decided to eschew the usual good-over-evil narrative that structures the typical superhero film and embrace a bleaker outlook. When it was over, I had more questions than answers about whether it might be appropriate for the preteen set. Thunderbolts* is about a ragtag group of misanthropic antiheroes who end up being the only ones left to save the day. One of the main characters, Yelena Belova, played by Florence Pugh, tells us in a voiceover how she's disaffected, depressed and bored out of her mind, while demonstrating her competence as a mercenary, even as she wants something more out of her life. This dissatisfaction with the status quo sets the tone for the rest of the film. In this world the idea of the classic Avenger-style superhero is dead, at least for now. These new heroes, if we can call them that, are messy and irreverent. They don't follow the rules. They make near-constant mistakes. They have deep traumas that inform their actions. And these are the kinds of traumas—like a family history of abuse or having your powers frequently exploited or being imprisoned in an assassin training school as a child—that sound more like the backstories of villains than heroes. Are these the kinds of heroes I want my child exposed to? Or, perhaps, the deeper question: What does it mean that I think my kid would actually love these characters? This is the same kid who begged me for a Darth Vader T-shirt earlier this month and regularly taunts fellow players online in virtual reality battles. The one who thinks Superman is boring because he's a 'good guy all the time.' On supporting science journalism If you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today. Our kids are changing. Their exposure to media is unprecedented, with seemingly unfettered access to smartphones, video games, film, television, social media, streaming video and virtual reality. As a parent, it can feel impossible to keep up. And how the media depicts our kids and the world they live in, with all its complexities and problems, is changing the stakes for how they see themselves in it. The perfect heroes of previous generations, exemplars of patriotism and rising above tragedy, and their traditional superpowers—strength, flight, speed, their belief in the goodness of people—are rapidly being replaced. This isn't necessarily a bad thing. Who gets to be a hero, an antihero, a superhero is often someone who doesn't think of themselves as heroic, or even a good person. They confront the realities of their situations head-on. They prioritize empathy and cooperation over brute strength and omnipotence. These heroes are not perfect specimens of humanity. And they still save the day. Many of us are concerned about Generations Z and Alpha; we worry about their futures, their nihilism, their slang and whether all the time they spend online is making them less resilient and more anxious. Media portrayals are less coherent, and it may have something to do with how tweens and teens are constantly online and trying to make sense of a rapidly changing world in which adults aren't always there to shield them from its harsher realities. In their report The State of Kids and Families in America 2025, Common Sense Media found that 54 percent of parents and 67 percent of kids and teens surveyed believed the mental health of children in their communities was only fair or poor. A 2024 Pew Research survey found that many parents and their teens believe being a teenager today is harder than it was 20 years ago. And a 2024 report from the Geena Davis Institute on the representation of mental health on children's television recommended having more depictions of characters struggling with mental health in programming, including making 'portrayals explicit, intentional, and clear.' At least in Thunderbolts*, this seems to be happening. In my most recent book, I write about the relationship between gender and power in contemporary film and television franchises and how cultural ideas about what power looks like and who gets to be in power both evolve and stay the same. One takeaway from this research is that as our ideas about power shift, media has the potential to represent these shifts and to change how viewers understand and embrace different forms of power in the real world. For example, Wonder Woman, who's been around now for more than 80 years in comic books, films, television shows, video games and on merchandise, doesn't act in the most recent films as she did in her original 1940s comic book form. Gone is the campy do-gooder; she's been modernized, made savvy to the social and political tenor of the current day. As director Patty Jenkins explained while promoting 2017's Wonder Woman, 'There is no bad guy. We are all to blame. New kinds of heroics need to be celebrated, like love, thoughtfulness, forgiveness, diplomacy, or we're not going to get there. No one is coming to save us.' With the new iterations of Wonder Woman, her base structure is still the same—she loves humanity and wants to protect it, she's a near-invincible Amazon warrior—but the terms of her fight have changed, and the forces of good and evil aren't so clearly determined. When William Moulton Marston created Wonder Woman, he explicitly wanted her to serve as an antidote to Superman's hypermasculinity. While Marston's insistence on Wonder Woman's ' super strength, altruism, and feminine love allure ' may rightly seem outdated today, the more salient point is that creating popular fictional heroes is about more than deciding whether or not they should wear a cape. Instead it's about reading the room. In 1941, with the world in the throes of a war America would enter by the end of the year, Marston feared for the continued damage of privileging violence and intimidation. Comics were a way to reach children, and he felt children needed heroes who were more than just strongmen. The media we consume is part of an entertainment and commerce industry, but it's also part of our society. Media has always reflected the culture in which it's made, as well as helped dictate cultural norms, and we should pay attention to the mirror it's holding up to our children. While parents should always consider their own family's values and their child's tolerance for and sensitivities to more mature themes in media, we shouldn't shy away from darker narratives just because we wish everything could be sunshine and rainbows for our children. If Generations Z and Alpha —who spent formative years weathering a disruptive and even scary pandemic, negotiating the divisiveness of adult politics, and witnessing the global effects of war, climate change and social upheaval—want to root for the antiheroes, let them. We parents should recognize that our children are facing a far different world than we did as kids and talk to them about how struggling isn't a sign of weakness. Teaching our children how to think critically about their changing heroes—and whether it's time for new models of heroism that privilege muddling through with what you have over meeting an impossible standard of all-powerful perfection—may be one of the most important things we can do as parents.