Latest news with #BarryJenkins
Yahoo
7 days ago
- Entertainment
- Yahoo
Zendaya and Law Roach Join Forces on New On Sneaker: Shop Their Co-Designed Release Online
If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. Zendaya's collaboration with Swiss sportswear brand On just took a step past brand ambassadorship –and directly into product design. More from Variety Barry Jenkins to Direct Zendaya in Ronnie Spector Biopic 'Be My Baby' for A24 Robert Pattinson Went 'Crazy for Three Days' Over a Scene With Zendaya. Then She Told Him 'There's No Hidden Meaning' to the Lines and Just Say Them Zendaya Joins 'Shrek 5' Voice Cast as Shrek's Daughter As part of the new 'Be Every You' campaign, unveiled Thursday, the Emmy-winning actor has co-designed her first sneaker: a fashion-forward iteration of On's Cloudtilt silhouette dubbed the Cloudtilt Moon. The shoe is part of a capsule developed alongside her longtime stylist and creative director Law Roach, marking the duo's most tangible fashion output since Roach's semi-retirement announcement last year. SHOP THE ZENDAYA EDIT 'Movement has always been a part of how I connect with myself, and movement looks different for everyone,' Zendaya said in a statement. 'This story felt personal – a reminder that we are all multifaceted beings, with so many brilliant pieces that ultimately make up who we are, make us whole. To me it's about embracing every little bit of ourselves, and being present in every version of yourself.' The campaign, shot by Bardia Zeinali and narrated by Zendaya herself, features surrealist visuals meant to reflect the many selves one person can inhabit. The idea, On says, is about 'motion and multiplicity,' though the message lands closer to the kind of curated ambiguity that's become a staple of Zendaya's high-concept branding. The apparel drop includes fitted bombers, monochromatic track suits and bodysuits. The real substance, though, is in the sneaker. While celebrity collaborations often amount to little more than a colorway and a campaign check, Zendaya's hand in this release appears to be more involved. The Cloudtilt Moon introduces design changes tailored for lifestyle wear: a sculpted heel, updated padding, and a breathable mesh upper for versatile wear. The co-sign from Roach, whose styling has long blurred the line between ready-to-wear and red carpet, is likely no accident. Zendaya's partnership with On began in 2023, shortly after she wore the brand during the 'Challengers' press cycle, and has since evolved into a multi-year contract. Shop the full Zendaya edit here, and a few of the best On pieces below: NEW RELEASE Cloudtilt Moon Sneaker Buy Now $200 $200 NEW RELEASE Track Jacket Buy Now $180 $180 NEW RELEASE Studio Jacket NEW RELEASE Studio Bodysuit Buy Now $150 $150 Best of Variety New Movies Out Now in Theaters: What to See This Week What's Coming to Disney+ in August 2025 What's Coming to Netflix in August 2025
Globe and Mail
22-07-2025
- Entertainment
- Globe and Mail
TIFF's Platform program to debut new Cillian Murphy drama as ‘artistically ambitious' slate celebrates 10 years
When the Toronto International Film Festival launched its Platform program 10 years ago, the unmentioned but clearly understood goal was to play in the sandboxes of competing film organizations. Like Cannes's vaunted 'In Competition' slate, Platform would be a juried program designed to trumpet 'artistically ambitious' international cinema, although in this case at a festival that had never handed out awards based on the whims of a private panel. And like the official markets in Berlin, Cannes and even the American Film Market, Platform was designed to showcase films that had no distribution attached – to 'put the media and buyers in the room with the public,' as Cameron Bailey, then TIFF's artistic director and now its chief executive, said at the time. The aims and whims of Platform have changed over the ensuing decade – what was once a program restricted to world premieres is now also open to international premieres (a.k.a. films that are screening outside their country of origin for the first time), while plenty of movies have been invited with distributors attached, even as TIFF aims to launch its own official buying-and-selling market next year – but the 'artistically ambitious' element has been kept in place. While Platform's batting average is wobbly when it comes to TIFF's favourite metric of success – launching Oscar contenders – each year has reliably delivered at least one or two contemporary classics: Barry Jenkins's Moonlight, William Oldroyd's Lady Macbeth, Bertrand Bonello's Nocturama – and those were all just in 2016. Barry Hertz: On the beaches of Cannes, TIFF maps outs its ambitious future This year's Platform promises more of that same adventurous spirit, featuring bold voices – both emerging and veteran – from across the globe. Top of the list should be The World of Love from South Korean director Yoon Ga-eun, who has been lauded the world over for her work exploring the lives of children and youth (2016's The World of Us). But other potential conversation-starters include the Iranian trans drama Between Dreams and Hope, directed by Farnoosh Samadi; the Ukrainian political drama To the Victory! from Valentyn Vasyanovych; Skite'kmujue'katik (At the Place of Ghosts) from Canada's Bretten Hannam, which TIFF's director of programming, Robyn Citizen, calls an 'extremely beautiful film with elements of magical realism;' and Gyorgy Palfi's The Hen, an unorthodox live-action drama that follows one chicken as it escapes a grisly fate. For festival-goers looking to balance high art with high-wattage names, Platform has that angle covered, too, with the Polish period drama Winter of the Crow starring Lesley Manville and directed by Kasia Adamik, daughter of Agnieszka Holland (who will also be at TIFF with her new Kafka biopic); Pauline Loquès's French drama Nino, featuring Canada's hottest young actor, Théodore Pellerin; and Tim Mielants's Netflix-distributed drama Steve, starring Oppenheimer's Cillian Murphy as a schoolteacher for troubled boys. Meanwhile, this year's Platform jury continues the program's tradition of mixing international auteurs with familiar faces. Chairing the 2025 jury is Spanish filmmaker Carlos Marques-Marcet, whose 2024 drama They Will Be Dust won last year's Platform Prize. He'll be joined by Canadian director Chloé Robichaud (2023's Days of Happiness) and British actor Marianne Jean-Baptiste, whose latest collaboration with director Mike Leigh, Hard Truths, premiered at TIFF last year. When Platform made its debut in 2015, then-TIFF chief executive Piers Handling noted that the program exemplified 'our ongoing commitment to showcase artistic and inventive directors that fearlessly push boundaries.' As much as things have changed for the world of film and TIFF itself – including the amount of the Platform Prize, which has been lowered from its initial $25,000 purse to $20,000 – some things thankfully remain the same. TIFF's 50th edition runs Sept. 4 through 14.
Time of India
05-07-2025
- Entertainment
- Time of India
Interstellar at 89? Oppenheimer at 65? NYT's 100 best films of 21st century leaves cinephiles divided
Cinephiles are debating over the best films of the 21st century. As we near the end of the first quarter of the 21st century, The New York Times has done what cinephiles love most, compiled a 'best of' list. This time, it isn't for the past year, but for the past 25 years in cinema. While some movie lovers eagerly tallied how many titles they've seen and bookmarked the rest, others were quick to object to the absence of their personal favourites. How did they come up with the list To determine the best films of the past 25 years, The New York Times polled over 500 filmmakers, actors, and other prominent figures from the film industry. Each participant was asked to name their 10 favourite films released since January 1, 2000. The responses were then compiled by the NYT, in collaboration with The Upshot, to create the final list of 100. Notable voters included Oscar-winning directors like Bong Joon Ho, Pedro Almodóvar, Sofia Coppola, Barry Jenkins, and Guillermo del Toro, along with actors such as Chiwetel Ejiofor, Julianne Moore, Michaela Jaé Rodriguez, and John Turturro. Key takeaways from the list Franchise fatigue is real The list barely has reboots, remakes, and franchise-driven films - which have become a staple in Hollywood. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like One plan. Total peace of mind. ICICI Pru Life Insurance Plan Get Quote Undo Traditional star vehicles, too, were limited. OTT films are nearly absent While streaming platforms have significantly reshaped how we consume movies, their presence on the list is minimal. Only one film produced by a streaming service, Netflix, made the cut: Alfonso Cuarón's Roma at No. 46. Only 11 films directed by women Only 11 of the films were directed by women, including Lost in Translation (2003) by Sofia Coppola, Lady Bird (2017) by Greta Gerwig, Past Lives (2023) by Celine Song, and none were in the Top 20. World cinema is thriving Cinephiles are no longer confined to English-language films - world cinema has become a compelling destination. The list reflects this shift, with titles like Parasite (Korean), Roma (Spanish), Anatomy of a Fall (French), The Zone of Interest (German), Portrait of a Lady on Fire (French), and The Worst Person in the World (Norwegian) earning spots. Even Everything Everywhere All At Once blends Mandarin, Cantonese, and English, while much of Céline Song's 2023 drama Past Lives unfolds in Korean. Diverse voices are there, but not many Only four Black directors have movies on the list, Barry Jenkins (Moonlight), Jordan Peele (Get Out), Steve McQueen (12 Years a Slave), Ryan Coogler (Black Panther). The auteurs dominate Christopher Nolan (Inception, Memento) leads the pack with five films - a clear nod to his unmatched grip on both critics and audiences. Not far behind is Paul Thomas Anderson (Phantom Thread, Punch-Drunk Love), followed by Alfonso Cuarón and David Fincher with three entries each. With 5 Films, Christopher Nolan leads the list Cinephiles debate films on the list As with any 'best of' list, consensus is elusive. Cinephiles have taken to social media to debate the rankings. Some were shocked by certain placements, 'Interstellar at 89???' wrote one Instagram user, while others questioned the inclusion of titles in the Top 10, 'The Social Network and Get Out… really?' Cinephiles are divided over ranking of their favourites and some surprising omissions from NYT's 100 Best Films of 21st century list. While some viewers were thrilled to see their tastes reflected by renowned filmmakers, others were quick to share what they felt was missing. Among the frequently mentioned omissions are Blade Runner 2049, Joker, Anora, Pride and Prejudice. A new list based on readers' view After the original list, NYT did a readers' poll, in which over 200,000 people participated. In the readers' list there are several films that didn't make it to the original 100 – Sinners, Barbie, Mean Girls, not one but two Dune movies, Django Unchained, Little Women, Hereditary, Blade Runner 2049, Avengers: Endgame — and international films like Drive My Car and The Handmaiden. Christopher Nolan crushed it again, landing two titles in the top 10 — Interstellar and The Dark Knight — and an impressive seven films in the Top 100. Films like Parasite, Mulholland Drive, The Social Network stood firm in their rankings. Here are the top 10 from the new list: 1. Parasite 2. Mulholland Drive 3. No Country for Old Men 4. There Will Be Blood 5. Interstellar 6. The Dark Knight 7. Mad Max: Fury Road 8. Spirited Away 9. Eternal Sunshine of the Spotless Mind 10. The Social Network The 100 best movies of the 21st century as per the New York Times 01. Parasite (Bong Joon Ho) 02. Mulholland Drive (David Lynch) 03. There Will Be Blood (Paul Thomas Anderson) 04. In the Mood For Love (Wong Kar Wai) 05. Moonlight (Barry Jenkins) 06. No Country For Old Men (Joel & Ethan Coen) 07. Eternal Sunshine of the Spotless Mind (Michel Gondry) 08. Get Out (Jordan Peele) 09. Spirited Away (Hayao Miyazaki) 10. The Social Network (David Fincher) 11. Mad Max: Fury Road (George Miller) 12. The Zone of Interest (Jonathan Glazer) 13. Children of Men (Alfonso Cuaron) 14. Inglourious Basterds (Quentin Tarantino) 15. City of God (Fernando Meirelles) 16. Crouching Tiger, Hidden Dragon (Ang Lee) 17. Brokeback Mountain (Ang Lee) 18. Y Tu Mama Tambien (Alfonso Cuaron) 19. Zodiac (David Fincher) 20. The Wolf of Wall Street (Martin Scorsese) 21. The Royal Tenenbaums (Wes Anderson) 22. The Grand Budapest Hotel (Wes Anderson) 23. Boyhood (Richard Linklater) 24. Her (Spike Jonze) 25. Phantom Thread (Paul Thomas Anderson) 26. Anatomy of a Fall (Justine Triet) 27. Adaptation (Spike Jonze) 28. The Dark Knight (Christopher Nolan) 29. Arrival (Denis Villeneuve) 30. Lost in Translation (Sofia Coppola) 31. The Departed (Martin Scorsese) 32. Bridesmaids (Paul Feig) 33. A Separation (Asghar Farhadi) 34. WALL-E Andrew Stanton) 35. A Prophet (Jacques Audiard) 36. A Serious Man (Joel & Ethan Coen) 37. Call Me By Your Name (Luca Guadagnino) 38. Portrait of A Lady on Fire (Celine Sciamma) 39. Lady Bird (Greta Gerwig) 40. Yi Yi (Edward Yang) 41. Amelie (Jean-Pierre Jeunet) 42. The Master (Paul Thomas Anderson) 43. Oldboy (Park Chan-wook) 44. Once Upon A Time in Hollywood (Quentin Tarantino) 45. Moneyball (Bennett Miller) 46. ROMA (Alfonso Cuaron) 47. Almost Famous (Cameron Crowe) 48. The Lives of Others (Florian Henckel Von Donnersmarck) 49. Before Sunset (Richard Linklater) 50. Up! (Pete Docter) 51. 12 Years A Slave (Steve McQueen) 52. The Favourite (Yorgos Lanthimos) 53. Borat (Larry Charles) 54. Pan's Labyrinth (Guillermo Del Toro) 55. Inception (Christopher Nolan) 56. Punch-Drunk Love (Paul Thomas Anderson) 57. Best in Show (Christopher Guest) 58. Uncut Gems (Josh and Benny Safdie) 59. Toni Erdmann (Maren Ade) 60. Whiplash (Damien Chazelle) 61. Kill Bill Vol. 1 (Quentin Tarantino) 62. Memento (Christopher Nolan) 63. Little Miss Sunshine (Dayton & Faris) 64. Gone Girl (David Fincher) 65. Oppenheimer (Christopher Nolan) 66. Spotlight (Tom McCarthy) 67. TAR (Todd Field) 68. The Hurt Locker (Kathryn Bigelow) 69. Under The Skin (Jonathan Glazer) 70. Let The Right One In (Tomas Alfredson) 71. Ocean's Eleven (Steven Soderbergh) 72. Carol (Todd Haynes) 73. Ratatouille (Brad Bird) 74. The Florida Project (Sean Baker) 75. Amour (Michael Haneke) 76. O Brother, Where Art Thou (Joel & Ethan Coen) 77. Everything Everywhere All At Once (The Daniels) 78. Aftersun (Charlotte Wells) 79. Tree of Life (Terrence Malick) 80. Volver (Pedro Almodovar) 81. Black Swan (Darren Aronofsky) 82. The Act of Killing (Joshua Oppenheimer) 83. Inside Llewyn Davis (Joel & Ethan Coen) 84. Melancholia (Lars Von Trier) 85. Anchorman (Adam McKay) 86. Past Lives (Celine Song) 87. The Fellowship of the Ring (Peter Jackson) 88. The Gleaners and I (Agnes Varda) 89. Interstellar (Christopher Nolan) 90. Frances Ha (Noah Baumbach) 91. Fish Tank (Andrea Arnold) 92. Gladiator (Ridley Scott) 93. Michael Clayton (Tony Gilroy) 94. Minority Report (Steven Spielberg) 95. The Worst Person in the World (Joachim Trier) 96. Black Panther (Ryan Coogler) 97. Gravity (Alfonso Cuaron) 98. Grizzly Man (Werner Herzog) 99. Memories of A Murder (Bong Joon-ho) 100. Superbad (Greg Motolla)
CBC
03-07-2025
- Entertainment
- CBC
A 'real honest messy attempt at healing': Eva Victor is telling a different story about sexual assault
WARNING: This story contains extensive discussions of sexual violence, and may affect those who have experienced it or know someone affected by it. Eva Victor has no interest in dramatizing the violence of trauma for shock value. Instead, their debut film Sorry, Baby highlights what it takes to move on from an incident of sexual assault — years of hidden, gradual healing. Produced by Moonlight director Barry Jenkins and distributed by A24, Victor's darkly funny movie follows a young college professor named Agnes on her gruelling yet poignant journey towards recovery from sexual assault. It's an unexpected departure from Victor's previous work; she is mainly known for their viral short comedy videos. "It's about someone's real honest messy attempt at healing," Victor says, in an interview with Q guest host Talia Schlanger. "And it is important to me that the film de-centres violence, and centres the trying to heal. Because those are the years that I think we don't chronicle as much…. I think I wanted to honour those years that feel a bit lost in time, or they move differently to someone who's recovering than to the rest of the world." WATCH | Official trailer for Sorry, Baby: Eva Victor directs Sorry, Baby with abundant compassion. When the incident that Agnes refers to as "the bad thing" takes place, none of it is depicted on screen. Victor said that the idea of watching Agnes go inside with her assaulter, and making the viewer sit outside and wait for her to come back, had "always been in [their] head" since they started writing the script. "I really wanted watching the film to be nonviolent and safe," they explain. "So there's like an element of protection… and also [holding] dramatic tension without having to see that [sexual violence]. Like, proving that that's possible. "Also I really wanted to protect Agnes…. We're not with her physically, but in a way I feel like, because we stay outside and sort of freeze with her, in the sort of trauma response way, we get to feel close to her. And we kind of experience how she experiences that time passing." It's a difficult story to write, let alone direct and star in. There were times that Eva Victor wondered if they were taking on too much by doing all three — especially since they had never been to film school, and this is their first full-length feature film. Fortunately, Oscar-winning director Barry Jenkins had full trust in Victor's potential. Victor says Jenkins's team gave her confidence in her vision, and provided her with guidance on how to study feature film production. Ultimately, Victor pushed beyond their comfort zone as a comedic writer to explore new psychological and professional frontiers. "I think it's intimidating and exciting," Victor says. "First, [there was] a conversation with his whole team, and just talking about filmmaking and how the videos I was making were a version of filmmaking, just smaller and different. But that was, I think, a really inspiring conversation.… I just felt like [they were] people who saw me before I saw myself completely."
Associated Press
26-06-2025
- Entertainment
- Associated Press
How ‘Sorry, Baby' writer-producer-star Eva Victor made the year's most exciting debut
The Oscar-winning producer of 'Moonlight' really wanted to get in touch with Eva Victor. Adele Romanski and her producing partner Mark Ceryak were 'kind of obsessed' with the short, comedic videos Victor was putting out on various social media platforms. Titles of some that still exist online include 'when I definitely did not murder my husband' and a series called 'Eva vs. Anxiety.' Romanski and Ceryak started bugging their Pastel productions partner Barry Jenkins, certainly the most well-known name of the bunch, to make the first move and send Victor a direct message. But they had to ask themselves a big question first: Would that be weird? 'We had to negotiate whether or not that was appropriate for Barry, a married man, to send Eva a DM,' Romanski said. 'We were like 'yessss, do it!'' What started as a curiosity about a distinct voice, someone whose observations about the world and society were hilarious, sharp and undeniable, just a few years later would become one of the most exciting debuts in recent memory. 'Sorry, Baby,' which Victor wrote, directed and stars in, is a gentle film about trauma. It's also funny and strange and fresh, a wholly original statement from an artist with a vision. And there's a cat too. The film opens Friday in New York and Los Angeles and expands nationwide in the coming weeks. A boost from Barry Jenkins It's a wild turn of events for Victor, who goes by they/she pronouns and who never dared to dream that they could possibly direct. Victor grew up in San Francisco in a family that cherished and pursued artistic endeavors, even if it wasn't their primary careers. At Northwestern University, Victor focused on playwriting — it was something they could have control over while also pursuing acting. After college it was improv, writing for the satirical website Reductress ('Woman Seduced by Bangs Despite Knowing They're Bad for Her,' 'How to Cut Out All the People who are Not Obsessed with Your Dog'), some acting gigs, like a recurring role on the Showtime series 'Billions,' and social media, where their tweets and videos often went viral. But there was an itch to work on something longer form, something beyond that immediate gratification of virality. Jenkins' message came at the right time. Then at Victor's first meeting at Pastel productions, he planted a seed of an idea: Maybe Victor was already a director. 'He said something that very profoundly impacted me: That the comedy videos I was doing were me directing without me realizing it,' Victor said. 'It was just a different scale. That kind of stuck with me.' 'Sorry, Baby' was born out of a personal story that Victor had wanted to write about for a while. After the general meeting, they had a renewed sense of purpose and went away one snowy winter to a cabin in Maine to write, with their cat, movies and books as companions. The screenplay, in which a New England graduate student named Agnes is assaulted by her thesis adviser, poured out of them. 'I wanted to make a film that was about feeling stuck when everyone around you keeps moving that didn't center any violence. The goal was to have the film and its structure support the time afterwards, not the actual experience,' Victor said. 'I really think the thing it's about is trying to heal and the slow pace at which healing comes and how it's really not linear and how there are joys to be found in the everyday and especially in very affirming friendships and sometimes, like, a sandwich depending on the day.' Somewhere along the way Victor started to also believe that they were the best person for the job. They were the only person standing in their way. 'The less focus there was on me as the creator of it, and the more focus there was on how to tell the story as effectively as possible, the more comfortable I became,' Victor said. 'I understood exactly what I wanted it to look and feel like.' Learning to direct But there was a lot to learn. Before the shoot, Victor also asked Jane Schoenbrun, who they'd met once for pie, if they could come to the 'I Saw the TV Glow' set to just watch. Schoenbrun said yes. 'It was a completely wonderful, transforming experience of friendship and learning,' Victor said. 'Jane is so confident about what they want in their films and it was a real honor to watch them so many decisions and stay so calm.' Empowered by what they'd seen, Victor assembled a 'dream team' of experts, like cinematographer Mia Cioffi Henry who also teaches at NYU and an editor, Alex O'Flinn, who teaches at UCLA. Victor rounded out the cast with Lucas Hedges, as a kind neighbor, 'Billions' alum Louis Cancelmi, as the thesis adviser, and Naomi Ackie as her best friend Lydie – the first person she talks to after the incident, the one who accompanies her to the hospital, and the one whose life doesn't stop. 'We built the schedule in a way that allowed us to have all our friendship fun scenes at first,' Victor said. 'We kind of got to go through the experience of building a friendship in real time.' Ackie immediately connected to the script and thought whoever wrote it, 'must be the coolest.' The reality of Victor, she said, did not disappoint. 'They don't realize how magnetic their openness is,' Ackie said. 'There's something extremely honest about them and curious and playful.' A Sundance sensation Romanski and everyone at Pastel productions knew they had something special, a gem even. 'They're chasing something tonally that I've never seen anybody go after before,' Romanski said. 'It's the blend of both a very, very specific, personal comedic tone and also a true sense of artistry.' But nothing's ever guaranteed until you put it in front of a public audience, which they did earlier this year at the Sundance Film Festival where it quickly became a breakout sensation, with standing ovations and the screenwriting award, whose past winners include Lisa Cholodenko, Kenneth Lonergan, Christopher Nolan and Debra Granik. 'You just don't know. Then on the other side, you know,' Romanski said. 'We felt it with 'Aftersun.' We felt it with 'Moonlight.' And we definitely felt it with 'Sorry, Baby.'' And like 'Aftersun' and 'Moonlight' before it, 'Sorry, Baby' also found a home with A24, which promised a theatrical release. Among the giants of the summer movie calendar, in which everything is big, bigger, biggest, 'Sorry, Baby' is the delicate discovery. 'I wanted it to exist in this space between reality and escape. I wanted it to be this immersive thing,' Victor said. 'It's a sensitive film. I hope it finds people when they need it. That's my biggest wish.'
