Latest news with #GretaGerwig
Geek Feed
3 days ago
- Entertainment
- Geek Feed
Dunesday: The Internet's Next Barbenheimer (At Least They're Trying)
The state of movie theaters was at a low ever since the pandemic, but a lot consider the crossover success of 2023's Barbenheimer ( Barbie and Oppenheimer ) to mark a win for the theatrical movie experience, and several films have been trying to recapture that magic with events like Saw Patrol ( Saw X and Paw Patrol: The Mighty Movie ) and Glicked ( Gladiator II and Wicked ).Now with Avengers: Doomsday delayed to later in 2026, fans have pointed out that it now has the same release date as Denis Villneuve's Dune: Messiah , and now they're naming December 18, 2026… DUNESDAY. Goodbye Barbenheimer Hello DUNESDAY — Apocalyptic Horseman (@ApocHorseman) May 22, 2025 Admittedly, a lot of people think that it's not going to capture the same magic as Barbenheimer —simply because they're both big-budget sci-fi films that are technically in the same vein of spectacle. The huge appeal of Barbenheimer was the stark contrast between the two products and the auteur status of both directors Greta Gerwig and Christopher Nolan. Sure, Glicked may have almost ticked the same boxes with the genre differences, but the yin-and-yang element of Barbenheimer was a kind of chemistry that was lightning in a bottle. Plus, a lot of people ended up participating 'for the meme.' No joke, I truly believe that we could get another Barbenheimer movement with Avengers: DunesDay — Ayman ☭ (@GuyWhoConquers) May 22, 2025 Who knows, once all those trailers drop and the hype starts to build, maybe Dunesday could be the next big cinematic event. We don't know what the movie landscape is going to look like in the next year though, but my fingers are crossed it's going to be a fun day at the cinema for movie lovers. Dunesday takes place on Dec. 18, 2026.
Broadcast Pro
6 days ago
- Entertainment
- Broadcast Pro
Netflix MENA streams fantasy comedy film ‘Barbie'
The film made Greta Gerwig the first solo director to surpass the $1bn mark. Netflix MENA has released Barbie, a fantasy comedy film directed by actress and filmmaker Greta Gerwig from a screenplay she wrote with Noah Baumbach. Based on the Barbie fashion dolls by Mattel, the film is the first live-action Barbie film after many computer-animated direct-to-video and streaming television films. The film stars Margot Robbie and Ryan Gosling as Barbie and Ken, respectively, alongside an ensemble supporting cast that includes America Ferrera, Kate McKinnon, Issa Rae, Rhea Perlman, and Will Ferrell. The film was announced in September 2009 by Universal Pictures with Laurence Mark producing, but development began in April 2014, when Sony Pictures acquired its film rights. The movie follows Barbie and Ken who are having the time of their lives in the seemingly perfect (and very pink) world of Barbie Land. Temptation arrives when they are offered the chance to see the real world, where they soon discover the perils of living among humans. Drawing inspiration from Mattel's iconic Barbie fashion dolls, this film stands as the inaugural live-action adaptation in the Barbie franchise, diverging from the series of computer-animated, direct-to-video, and streaming television releases. The film grossed $1.446 billion and achieved several milestones, including the highest-grossing film of 2023 and the 14th highest-grossing film of all time at the time of its release.
The Independent
21-05-2025
- Entertainment
- The Independent
Star-studded cast rumoured for Greta Gerwig's Narnia films
Carey Mulligan is in talks to join Greta Gerwig 's two-part adaptation of C.S. Lewis's The Chronicles of Narnia, according to The Hollywood Reporter. The first film, based on The Magician's Nephew, will premiere in IMAX theaters in November 2026 before streaming on Netflix on Christmas Day. Mulligan is reportedly slated to play the mother of Digory, one of the child protagonists. Rumours have suggested a star-studded cast, including Meryl Streep as the voice of Aslan and Daniel Craig as the children's uncle. This is Gerwig's first directorial project since the record-breaking Barbie.
Geek Tyrant
20-05-2025
- Entertainment
- Geek Tyrant
Carey Mulligan Joins Greta Gerwig's NARNIA Movie THE MAGICIAN'S NEPHEW — GeekTyrant
Carey Mulligan is headed to Narnia. According to Variety, the Oscar-nominated actress is in negotiations to join Greta Gerwig's upcoming Chronicles of Narnia adaptation at Netflix. If the deal goes through, she'll be joining an already stacked cast that includes Daniel Craig, Meryl Streep, and Emma Mackey. Gerwig is taking on the ambitious task of rebooting The Chronicles of Narnia for a new generation, writing and directing the first film in what could be a larger franchise. The first film in the franchise is said to be The Magician's Nephew , the sixth book published in C.S. Lewis's classic fantasy series, but the first in the story's chronological timeline. It may be a lesser-known title but, I like the decision, it could be the perfect setup to explore the deeper mythology of Narnia before reintroducing the Pevensie kids and that iconic wardrobe. Set long before the events of The Lion, the Witch and the Wardrobe , The Magician's Nephew follows two curious children, Digory and Polly, who stumble into alternate worlds using magic rings crafted by Digory's eccentric uncle (Craig). Their journey takes them to the 'Wood between the Worlds,' where they witness the birth of Narnia, sung into existence by the great lion Aslan (Streep). Mackey is set to play the White Witch, and Mulligan, if confirmed, will take on the role of Digory's ailing mother, an emotional anchor in the story that gives Digory his motivation and moral conflict as he seeks a cure for her illness in the magical world. While casting is still underway, Gerwig's vision is clearly attracting high-caliber talent. Coming off the global phenomenon of Barbie , her pivot to a sprawling, deeply spiritual fantasy saga like Narnia is a interesting choice for her and I'm looking forward to seeing what she does with it. Netflix has yet to announce a release date, but with this cast and creative team, this next trip to Narnia might just be worth the wait.
New York Times
16-05-2025
- Entertainment
- New York Times
At the Cannes Film Festival, the Mood Is Uncertain and Unsettled
For days leading up to the opening of the Cannes Film Festival, it seemed that rain would dampen the 78th edition. The film gods spared the worst. The red carpet remained dry Tuesday and so did the beautiful people parading into the Lumière, the grand auditorium where each year cheek-kissing, glad-handing stars and deal makers get this generally fizzy party going. At the 2024 edition, a barefoot chanteuse had sung Bowie's 'Modern Love' to Greta Gerwig, the president of the jury, delighting her and everyone else in attendance. This year, by contrast, the atmosphere inside the room was moody and felt more uncertain than the weather. There were the usual smiles, couture gowns and starry entrances. Yet overall it was a fairly sober affair, and only partly because the evening featured a poignant tribute to David Lynch, who died in January. When Juliette Binoche, the president of the main competition jury, took the stage, she spoke about the obligation of artists to testify on behalf of others, mentioning the hostages taken by Hamas on Oct. 7 and quoting the Palestinian photojournalist Fatima Hassouna, who in April was killed with 10 family members in an Israeli airstrike. Hassouna is featured in a documentary here, 'Put Your Soul on Your Hand and Walk.' Later during the ceremony, Robert De Niro received an honorary Palme d'Or (handed to him by Leonardo DiCaprio), and spoke of democracy and the arts. 'America's philistine president has had himself appointed the head of one of our premiere cultural institutions,' he said, an apparent reference to President Trump's naming himself chairman of the Kennedy Center in February. De Niro then referenced the topic that started phones pinging throughout the entertainment industry on May 4, and led to stark headlines and head-scratching. To wit, President Trump's May 4 announcement on social media that he was imposing a 100 percent tariff on movies 'produced in foreign lands,' an issue he called a national security threat. The next day, a White House spokesman, Kush Desai, said that no final decisions had been made on such tariffs, but that the administration was 'exploring all options to deliver on President Trump's directive to safeguard our country's national and economic security while Making Hollywood Great Again.' Like other film lovers, I responded to this tariff threat with a mixture of concern and confusion. Among other things, how such tariffs would work is baffling given the movie world's complexity and internationalism, or how it's possible to even define which films are 'produced in foreign lands.' Marvel's 'Thunderbolts*' was partly shot outside the United States; when Florence Pugh steps off a skyscraper in the movie, she topples from a building in Kuala Lumpur, Malaysia. The specter of retaliatory tariffs from other countries is another concern, given how reliant American companies are on the global market. In 2024, 'Inside Out 2' was the top-grossing movie both domestically and overseas, with 61.6 percent of its overall box office coming from abroad. There's much potentially at stake both in the United States and abroad. In an interview with Variety, Gaëtan Bruel, the president of France's National Film Board, noted that 'European cinema accounts for only 1 percent of theatrical admissions in the United States and American cinema accounts for 60 percent of admissions in Europe.' Bruel also noted that European Union members can force streamers to invest in their film and TV production, which some in the American industry have criticized. Last year, Netflix filed an appeal in Belgium protesting the E.U. law; Disney joined it in November. The tariff threat seems especially alarming for the American entertainment industry, which, despite recent successes like 'Sinners,' is still struggling to recover from the pandemic, the Hollywood strikes of 2023 and innumerable self-inflicted wounds. Given that the remaining large studios seem intent on destroying theatrical exhibition and scarcely interested in making movies at all, it is going to take much more than tariffs to make Hollywood great again. The situation is wildly frustrating. Yet the first thing that popped into my head when I heard about the possible tariff was Bong Joon Ho's 'Parasite' and the already-fragile foreign-language film market in the United States. 'Parasite' had its world premiere here in Cannes in 2019 in the main competition and quickly became a critical favorite before going on to win the Palme d'Or; it was the fourth Bong production that I had first seen here. In 2018, the American company Neon made a deal to finance and release 'Parasite' in the United States. Neon didn't just distribute the movie, it also nurtured 'Parasite' into a must-see sensation and offered further proof that subtitles in movies are no longer the barrier for Americans that they had been. By the time 'Parasite' finally closed, it had won four Oscars, including best picture and director. It's impossible to quantify how much a role Cannes played in the movie's fortunes. What is certain is that because this is the most prestigious film festival in the world and one of the most globally publicized, it elevated Bong's reputation enormously and exponentially broadened his audience. Cannes also legitimizes filmmakers for other festivals, which program them and attract yet more audiences. The film festival circuit is effectively an alternative distribution network that reaches around the world. The big American studios dominate the global market, but the festivals help give movie lovers real choices, different stories, art. These days, 'Oppenheimer' notwithstanding, the movies that often generate real excitement in the United States, the ones that end up on Top 10 lists and sometimes even win Academy Awards, aren't released by what we still nostalgically call Hollywood. They're movies like 'Parasite' and Sean Baker's 'Anora,' which Neon also released. 'Anora' too won the Palme d'Or and went on to win best picture. It was among a clutch of movies that were at Cannes in 2024 and went on to make the Oscars more interesting, including the Latvian animated feature 'Flow'; the Spanish-language French musical 'Emilia Pérez'; and the French horror movie 'The Substance,' with Demi Moore. It's too early to know what selections in this year's festival will hit with American audiences. It's easy to admire the critical favorite 'Sound of Falling,' from the German director Mascha Schilinski, which is set in the same northern German farm in four time periods over a century. From the early 20th century to the present, it jumps around chronologically to follow four girls of varying ages whose lives are at once different and mystically connected. Death haunts all the sections, and ghosts (perhaps those of earlier girls) seem to as well, as the hovering, at times floating camera work suggests. Technically virtuosic, the movie gestures at certain ideas, patriarchy very much included, without persuasively cohering. I've seen some strong movies, notably 'Two Prosecutors,' a drama from the Ukrainian director Sergei Loznitsa. Set in the Stalinist purges in the Soviet Union in the 1937, though clearly as much about Putin's Russia as Stalin's, it centers on a dangerously idealistic young lawyer who learns that the secret police are exterminating party members. It's obvious from the moment he appears that his idealism will doom him. But Loznitsa holds you rapt with brutal faces, restless camera work, meticulous filmmaking, shivers of bitter wit, and scenes of characters just talking that set your heart to racing. This is the kind of international title that enriches American moviegoing life.
