Latest news with #Ramsay
Yahoo
3 days ago
- Entertainment
- Yahoo
Ezra Miller Books Next Role After Scandals in Movie from 'We Need to Talk About Kevin' Director
Following multiple controversies and arrests, Ezra Miller has booked another film role The Flash star will star in Lynne Ramsay's upcoming vampire movie, the director said in an interview Miller last worked with Ramsay on 2011's We Need to Talk About KevinEzra Miller has booked another screen role years after making headlines for various scandals. Director Lynne Ramsay said in an interview earlier this month with The Los Angeles Times that The Flash star will play the main character in her next movie. Miller, who identifies as nonbinary and uses they/them pronouns, last worked with Ramsay in the 2011 drama We Need to Talk About Kevin. 'I'm making a vampire movie,' Ramsay, 55, said when asked about making horror films. 'I can't tell you much. It's with Ezra Miller who was in Kevin. He's the main character. That's in development.' Laughing, she added that production on that project is further along than audiences might think: 'You won't wait for 10 years. I don't have 10 years. I've got to do it quicker than that.' Miller, 32, made their Hollywood breakout in 2008's Afterschool and 2012's The Perks of Being a Wallflower before landing the role of Barry Allen in several DC Extended Universe movies, most recently leading 2023's The Flash. That superhero movie's release was overshadowed by controversies surrounding Miller, who in 2022 faced a series of arrests for disorderly conduct and assault charges. In Hawaii, the actor pled no contest to a disorderly conduct charge over incidents at a karaoke bar, and was later arrested and charged with second-degree assault after allegedly throwing a chair. Later in 2022, Miller was accused of grooming two children and of burglarizing a home in Vermont. In August of that year, Miller publicly addressed their troubling behavior in a statement to PEOPLE. "Having recently gone through a time of intense crisis, I now understand that I am suffering complex mental health issues and have begun ongoing treatment," the star said. "I want to apologize to everyone that I have alarmed and upset with my past behavior. I am committed to doing the necessary work to get back to a healthy, safe and productive stage in my life.' Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. On May 17, Ramsay, whose last feature film was 2017's You Were Never Really Here, premiered Die, My Love at the 2025 Cannes Film Festival. An adaptation of Ariana Harwicz's novel of the same name, it stars Jennifer Lawrence, Robert Pattinson and LaKeith Stanfield and counts Martin Scorsese and Lawrence among its producers. Distributor Mubi has not yet announced a release date. Read the original article on People
Scotsman
4 days ago
- Entertainment
- Scotsman
BBC ALBA takes walk with familiar faces in Rathad Ramsay
BBC ALBA invites viewers to slow down and connect with people through place as Rathad Ramsay (Ramsay's Road) returns for a compelling second series. Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The new four-part TV series follows presenter Ramsay MacMahon as he's joined by guests for a relaxing walk in some of Scotland's most breathtaking locations. The walks through nature spark open and candid conversations with personal stories of resilience, loss, healing and hope being shared. From uncovering tragic failings in maternity care and the emotional weight carried following the loss of a child, to the struggles faced by frontline police officers, these reflective walks offer raw and powerful insights into the experiences which have shaped the lives of individuals. Advertisement Hide Ad Advertisement Hide Ad Airing weekly from Tuesday 27 May, each episode is filmed through a handheld camera capturing the quiet moments and thoughtful exchanges that define the series. Ramsay and Maureen MacLeod Ramsay's guests include: BBC journalist and broadcaster, Micheal Buchanan (27 May, 8.30pm) Michael heads home to Barra to walk with Ramsay on one of Scotland's most iconic beaches where aeroplanes land. He discusses the part he played in uncovering devastating maternity ward failures in England, coverage which won him the notable RTS Specialist Journalist of the Year award in 2023. Writer, broadcaster and producer, Maureen MacLeod (3 June, 8.30pm) Advertisement Hide Ad Advertisement Hide Ad Ramsay and Calum Steele Maureen enjoys a walk with Ramsay on the West Highland Way. Originally from Lewis, she talks about her time working in incredibly hostile environments, including Crimea, and how local authors in her home district of Ness inspired her to be a writer. Ex-police officer and former general secretary of the Scottish Police Federation, Calum Steele (10 June, 8.30pm) Calum hikes in the Ochil Hills with Ramsay where he reflects on his time working for Police Officers' rights. He talks of his father's role in the Crofter's Union, which taught him about human rights from an early age and the strength of unions. BBC ALBA news anchor and broadcaster, Màiri Rodgers (17 June, 8.30pm) Advertisement Hide Ad Advertisement Hide Ad Ramsay and Màiri Rodgers Màiri and Ramsay take an emotional walk in Dundreggan, near Inverness, as Màiri talks about her most important role, as a mother. She speaks about her first pregnancy which led to a premature birth and her child spending significant time in hospital before being welcomed home; and her second pregnancy, which resulted in a still birth at five months. She talks of her involvement in charities supporting families grieving the loss of children. Presenter Ramsay MacMahon said: 'There's something powerful about conversations whilst walking outdoors. A slow-paced walk in spectacular rural landscapes creates space for reflection. I've found that often leads to surprisingly honest, and even cathartic, exchanges. 'Speaking with guests about the highs and lows they've experienced, what drives them or what is important to them in life, has given me a deeper understanding of the emotional weight so many people carry. It has taught me a lot about human character. We have so much to learn from one another and the landscape around us can support, ground and even heal us. The pace of these walks allows stories to surface naturally, allowing pause for thought, and that's what makes this series so human.'
Yahoo
6 days ago
- Entertainment
- Yahoo
Ezra Miller Reunites With Lynne Ramsay for Vampire Movie
Scottish filmmaker Lynne Ramsay has opened up about her next directorial feature, which she described as a vampire movie. She confirmed that the untitled project will be led by The Flash star Ezra Miller, who previously worked with Ramsay in the 2011 psychological drama film We Need to Talk About Kevin. The acclaimed director is best known for her acclaimed work on movies such as 1999's Ratcatcher, 2002's Morvern Callar, and 2017's You Were Never Really Here. This year, Ramsay is finally making her directorial comeback with the buzzy dark comedy-drama Die, My Love, based on the novel by Ariana Harwicz. Led by Jennifer Lawrence and Robert Pattinson, the upcoming movie recently had its world premiere at the 2025 Cannes Film Festival. There, it received a six-minute long standing ovation. During a recent interview, Ramsay confirmed that she's 'making a vampire movie,' with Miller set to portray the main character. When asked how long the project will take before it goes into production, the Scottish filmmaker assured fans that they won't have to wait for a decade for this project. 'You won't wait for 10 years,' Ramsay said. 'I don't have 10 years. I've got to do it quicker than that. That's what Jon [Glazer] said. We need to speed up. He's one of my favorite filmmakers. And PTA as well.' The upcoming vampire movie would be Miller's first major project, following the 2023 DCU movie The Flash. Prior to the superhero movie's theatrical release, Miller was actually involved in legal controversy, after he was accused with multiple offenses ranging from disorderly conduct, harassment to felony. (Source: LA Times) The post Ezra Miller Reunites With Lynne Ramsay for Vampire Movie appeared first on - Movie Trailers, TV & Streaming News, and More.
CairoScene
6 days ago
- Entertainment
- CairoScene
Review: Die My Love, A Fever Dream Called Motherhood
Review: Die My Love, A Fever Dream Called Motherhood Jennifer Lawrence is absolutely electrifying in Lynne Ramsay's 'Die My Love'. This is without doubt her greatest performance yet. She plays a woman driven to the brink of insanity by marriage and motherhood. Her performance is raw, primal, and slightly unhinged. Lawrence doesn't so much portray despair as embody it. Her physicality is animalistic. Here's a character study of a woman at war with herself and the expectations placed upon her. I was floored by the untamed intensity of it all. It certainly helps that you have an auteur like Lynne Ramsay behind the camera. Ramsay is a filmmaker with an unmatched eye for visual poetry. Her work on Ratcatcher remains one of the most visually original debuts I've ever seen. Here, too, she channels that same intuitive brilliance. She crafts images that feel both dreamlike and deeply visceral. This is a fever dream of a film. It sways between moods like hormonal tides raging inside the main character. One moment, she's having wild, urgent sex with her husband (Robert Pattinson). Next she's dancing with reckless abandon, as if trying to shake off the weight of her own mind. These shifts aren't just mood swings. They're seismic emotional explosions. The film immerses us in this internal storm. It's one of the few films I've seen that understands how terrifying and ecstatic it can be to feel too much. The film drifts back and forth in time. We see fragments of before and after birth. Aunts offering unsolicited advice, wives' tales passed down like warnings, strangers talking at her baby with the entitlement of familiarity. The sudden drop in sexual intimacy. The awkward silence that follows. And then, the fierce, almost violent return of it. It's not a story about motherhood as much as it is an experience of it. Not what it is, but what it feels like. And what it feels like, here, is everything at once. 'Die My Love' feels like a spiritual cousin to last year's Nightbitch. Both films articulate the unspeakable toll of motherhood. In both, the domestic household becomes a psychological battleground. The real terror isn't monsters or killers, but the slow erasure of the self. Ramsay's film is more lyrical, more impressionistic, but no less disturbing. I must also give praise to Nick Nolte as her father-in-law. Nolte delivers one of the most quietly powerful performances of his career. I feel Nolte has entered a remarkable phase in his late age. His voice, now weathered by time, crackles with a gravelly grace that says more than words ever could. With 'Die My Love', Ramsay doesn't frame postpartum depression with tidy explanations. Instead, she lets us feel the weight of its disorientation. She finds a way to visually express the numbing dissociation. The flickers of sorrow that creep in unannounced. The film perfectly captures the grief of losing a part of yourself in the process of becoming someone else. It understands that depression after birth isn't just sadness. It's estrangement from your body, your partner, your child, your sense of self. 'Die My Love' honours the truth of that experience. What she and Lawrence achieve here is nothing short of extraordinary.
Los Angeles Times
24-05-2025
- Entertainment
- Los Angeles Times
The 10 best movies we saw at the 2025 Cannes Film Festival
CANNES, France — Saturday's awards ceremony put a capstone on another edition of the Cannes Film Festival, but the bruises we received from some of our favorite films are ones we'll be rubbing for a while. A more vicious Cannes? Undoubtedly. Directorial debuts were especially bold and if you were an auteur returning to claim the throne, let's hope you brought plenty of firepower. In the case of the 10 titles below, they certainly did. You'll hear us raving about these in the coming months. Proceed with caution. Some of them have a sting. If you've spent years waiting for Lynne Ramsay's films to come around — she's very cautious about committing — then you know how exquisite it is when they finally do arrive and they still knock you back. A dependable upsetter of expectations, Ramsay tries something completely different here, pushing an actor to the very edge of mania and dislocation. It helps that the actor is Jennifer Lawrence, who lately — especially in 'No Holds Barred' and the underseen 'Causeway' — seems to want to fling herself into new territory. 'Die, My Love,' about a new mom saddled with a husband she nearly hates and a rural home that feels like a tomb, turns its star into a casually violent supernova, throwing off sparks and pain and ruination. It's the most punk thing Ramsay has ever done and, for the maker of 'Ratcatcher' and 'We Need to Talk About Kevin,' that's saying something. — Joshua Rothkopf Everybody loves June Squibb, who, at 95, has only now landed her second starring role. (Her first, the crime-fighting comedy 'Thelma,' was just last year.) Squibb is great fun to watch cutting loose. Here, her incorrigible Eleanor barks at a grocery store clerk to fetch the kosher pickles and cackles with glee informing her grandson that his mother's high school nickname was the 'class mattress.' But Eleanor goes too far when, out of loneliness, she falsely claims to be a Holocaust survivor and doubles down on the lie rather than admit the truth. First-time director Scarlett Johansson grounds this small New York story in empathy. You sense that she's made the kind of character-driven charmer she wouldn't mind acting in herself in five decades. An easy, breezy recommendation, 'Eleanor the Great' makes only one stumble, a scene that blurts its themes outright, but I suppose that's in keeping with its leading lady's big mouth. — Amy Nicholson If forgiveness is sometimes the only way forward for those seeking justice, then memory is the enemy of that healing. And there are some things you just can't forget. Like the sound of a false leg, upon which every step becomes a little wheeze. We hear it right away — the guy with this leg has a family, a pregnant wife, a daughter and, on their drive home, some car problems. But the more he walks around (wheeze) and the more people hear it (wheeze), the more it becomes clear this isn't any old customer, but a former torturer who had his way with them in the old days. But can they be sure, even without their blindfolds? Iranian filmmaker Jafar Panahi, jailed and banned frequently, has never allowed his work get mawkish. Yet this film is the closest he's come to expressing the rage of living under someone's thumb. It's his 'Death and the Maiden' and all the more major for it, with a gracefully devastating conclusion that you owe it to yourself to experience. — JR Leave it to Kelly Reichardt, who turned Michelle Williams into a seething sculptor with frenemy issues in 'Showing Up,' to make the gentlest, most self-deprecating heist movie imaginable. As such, she's invented a whole new genre. The year is 1970 but don't expect anything Scorsesian to go down here. Rather, this one's about a half-smart art thief (Josh O'Connor, leaning into loser vibes) who, after snatching canvases of a lesser-known modernist from an understaffed Massachusetts museum, suffers grievously as his plan unravels. Reichardt, herself the daughter of law enforcement, is more interested in the aftermath: hypnotically awkward kitchen conversations with disappointed family members who won't lend him any more money and would rather he just clear out. (The exquisite period-perfect cast includes Alana Haim, Bill Camp, Hope Davis and John Magaro.) Danny Ocean types need not apply, but if you hear skittering jazz music as the soundtrack of desperation, your new favorite comedy is here. — JR Director Harry Lighton's boundary-testing romance opens with a shy British lad named Colin (Harry Melling) in the back of his parents' car, gawking out the window at a leather-clad biker (Alexander Skarsgård). The soundtrack swoons with the '60s pop ballad 'I Will Follow Him.' Colin sure does — first to the local pub, then to a dark alley, then to the sexy stranger's house where the brute orders Colin to cook dinner, sleep on the floor and service him on command. Demeaning? Absolutely, but Colin is eager to please and genuinely loves to grovel. 'He says I have an aptitude for devotion,' the smitten boy beams, with his master's padlock chained around his neck. Lighton is curious to explore how submission gives Colin the confidence to go after what he wants. No one in the theater is in for a traditional love story, yet we, too, happily accept the terms of the deal. — AN The title of Kleber Mendonça Filho's Brazilian crime movie does it a disservice — put out of mind anything as creaky as Le Carré. Yes, bad things are happening in 1977 in the city of Recife: political disappearances, murder in the streets, a thorough sense of 'mischief,' as one early title card calls it. But the movie really rests on the soulful eyes of a superb Wagner Moura as a widower and scientist targeted by shadowy forces, someone who only wants to reconnect with his young 'Jaws'-obsessed son, who's beginning to forget his mother. Because this is Mendonça, the inspired maker of 'Bacurau' and 'Pictures of Ghosts' (a lovely ode to shuttered movie palaces), the new film is filled with vivid bits of cultural debris: tabloid stories about a disembodied leg that goes on a kicking spree of its own; or the sound of a theater audience screaming at 'The Omen.' This was the fullest meal I had at Cannes. — JR Somewhere on the road to nowhere, a group of semi-tough strangers roll into the desert in speeding trucks. Look for meaning if you must: There's some chat about 'the end of the world' and also a missing daughter somewhere. Neither matters all that much, nor is any kind of rationale necessary to fall sway to director Oliver Laxe's deliriously cool survival story, gassed by a pedal-to-the-metal need for speed and pounding EDM music which, if played at the proper volume, should rattle your rib cage. 'Sirât' seems poised at the finale of civilization, but everything about it (including one shocking moment of destruction) is offered in the pursuit of pure exhilaration. Unconcerned with smallness, the movie comes within scraping distance of Michelangelo Antonioni's cryptic 1970 'Zabriskie Point' and maybe 'Quest for Fire' too, except this is a quest for beats, even as bodies break down. I'm totally fine with this being the end of the world. — JR Michael Angelo Covino's sprightly comedy about self-destructing relationships opens with a bang: Carey and Ashley (Kyle Marvin and Adria Arjona) dodge a fatal highway crash, inspiring the latter to announce she's been cheating. Carey runs out of the car, into the wood and into bed with Julie (Dakota Johnson), his best friend's wife. Both couples claim they're hip enough to make non-monogamy work. Yeah, right. Everyone talks a big game to salvage their marriage and their pride and winds up looking ridiculous. (And while the hypocrisy is centered on the bedroom, it's applicable elsewhere, too). I'm unconvinced the naturalistic cinematography was the right call — it makes the script's fizzy hijinks come off a tad too mumblecore — but there's a fantastic sequence of Carey getting buddy-buddy with Ashley's lovers and a brawl that goes much further than you expect. People don't just lose their dignity: They lose their eyebrows. — AN The 28-year-old actor Harris Dickinson first came to Cannes in 2022 as the himbo lead of Ruben Östlund's 'Triangle of Sadness.' Now he's back with his own film about a streetwise addict and it turns out he's a heck of a director, too. Dickinson plays a supporting part in 'Urchin' as a feral bum who steals wallets and harangues shopkeepers, but what you really notice is his generous spirit. He's given the film's starring role to Frank Dillane, who delivers a career-launching, protean performance as the lively, moody, violent Mike. A true actor's director, Dickinson invests so much life into his bit characters that even players with only a line or two feel like they could spin off into their own movies. 'Urchin' is rich in confidence without a penny of do-gooder pity. And it has a sense of humor, opening with a sidewalk preacher who flogs her Bible app. — AN You can't take your eyes off Tel Aviv hipsters Yasmin and Y (Efrat Dor and Ariel Bronz). She's a wild sexpot, he's a hyperactive musician and together this hot-to-trot couple is the life of a party that's gotten a bit grotesque. They make a living kissing up to the rich and powerful — in the first 10 minutes, a wealthy woman literally commands them both to suckle her ears. But in the wake of the Oct. 7 tragedy and everything that's come since, their hangovers feel like death. Israeli director Nadav Lapid's audacious and dazzling 'Yes' thumps with dance music and the sound of people bouncing off the walls to distract themselves from pain. It's the first great film to grapple with the brainsick mental strain of enjoying a lovely day — the sun is out, the booze is flowing — while your phone dings with headlines of horrors happening elsewhere. Maybe you can relate. — AN
