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Yahoo
6 days ago
- Entertainment
- Yahoo
Standout Canadian Titles in Annecy's Official 2025 Lineup
Canada arrives at this year's Annecy International Animation Film Festival with a slate that is as diverse in tone and subject matter as it is rich in innovation. From searing political features to whimsical short films, Canadian creators once again prove they are major players in the global animation arena. Here's a closer look at some of the high-profile Canadian titles and co-productions in the official selection at this year's festival. FEATURE FILMS – OFFICIAL COMPETITION More from Variety Preserving the Past and Powering the Future of Canadian Animation: Inside the NFB and Telefilm's Industry-Leading Support Strategies Immersive Domes, Checkered-Eared Rabbits and a New Platform: Hungary to Showcase 111 Years of Animation as Annecy Country of Honor Animation and Heart: The Directors of Gkids Pick-Up 'Little Amélie' Reflect on Collaborative Spirit in Bringing 'The Character of Rain' to Screen 'Allah Is Not Obliged,' Zaven Najjar (Belgium, Canada, France, Luxembourg) Based on Ahmadou Kourouma's celebrated novel, this animated adaptation by Zaven Najjar is a bold and harrowing account of a child soldier's journey through West Africa's brutal civil wars. Blending animation with documentary-style narration, Najjar crafts a visually arresting and emotionally resonant exploration of violence, survival and lost innocence. 'Death Does Not Exist,' Félix Dufour-Laperrière Following his acclaimed 'Archipelago,' Dufour-Laperrière returns with another poetic, philosophically rich feature. 'Death Does Not Exist' is less a narrative film and more an existential meditation, layering hand-drawn textures and voiceovers into a lyrical journey through memory, loss and metaphysical wonder. FEATURE FILMS – CONTRECHAMP COMPETITION 'Endless Cookie,' Seth Scriver, Pete Scriver The Scriver brothers dive into absurdist territory with 'Endless Cookie,' a surreal, offbeat tale that plays like a stoner parable for late-stage capitalism. Their crudely charming animation style belies sharp social commentary, as a group of misfits chase after a never-ending dessert. 'Space Cadet' – Eric San aka Kid Koala Musician and multimedia artist Kid Koala ventures into feature-length animation with 'Space Cadet,' based on his 2011 graphic novel. This dialogue-free sci-fi story is narrated through music and motion, as a young girl astronaut navigates space and solitude. The film is deeply atmospheric, combining handmade aesthetics with an emotive, electronic score to craft a meditative journey about separation and connection. SHORT FILM COMPETITION 'Bread Will Walk,' Alex Boya Alex Boya's signature style, precise draftsmanship blended with chaotic surrealism, is on full display in this nightmarish parable featuring the voice work of Jay Baruchel. 'Bread Will Walk' blurs the line between grotesque comedy and cautionary tale as sentient bread zombies trudge through a broken world. 'Fusion,' Richard Reeves Known for using direct-on-film animation, Richard Reeves returns with 'Fusion,' a kinetic, abstract short scored by a pulsating jazz composition. Every frame is a painted rhythm, forming a hypnotic experience that's more musical than narrative. Reeves continues to push boundaries with meditative control and explosive energy. 'Hairy Legs,' Andrea Dorfman Dorfman, known for her feminist lens and handmade style, delivers an empowering short that's playful yet poignant. 'Hairy Legs' is a colorful ode to body autonomy, presenting one woman's decision to embrace her natural self in a society obsessed with grooming. 'The Girl Who Cried Pearls,' Chris Lavis, Maciek Szczerbowski This hauntingly beautiful fable from the Clyde Henry duo blends stop-motion, puppetry and gothic design into a dark fairytale. Following a girl who cries pearls and the boy who secretly falls in love with her, the story is rich with symbolic depth, tackling themes of exploitation, desire and transformation. Lavis and Szczerbowski have crafted one of the year's most visually arresting animated shorts, and this title should get lots of awards recognition as the year progresses. 'The Gnawer of Rocks,' Louise Flaherty An Inuit tale reimagined through atmospheric animation, 'The Gnawer of Rocks' is both a cultural preservation and a chilling tale. Flaherty's work stands out for its minimalistic style and narrative restraint, letting the stark beauty of Arctic folklore speak for itself. PERSPECTIVES 'Bloody Mess,' Megan Wennberg A raw, satirical take on menstrual stigma, 'Bloody Mess' turns a taboo into animated liberation, balancing personal anecdotes with educational bite. It's advocacy through absurdism: accessible, memorable and necessary. 'Ibuka, Justice,' Justice Rutikara This powerful documentary revisits the Rwandan genocide through the lens of Canadian survivors and justice seekers. Rutikara uses spare visuals and voice-driven storytelling to navigate trauma, remembrance and the pursuit of reconciliation. YOUNG AUDIENCES 'The Great Annual Party of the Creatures of the Moon,' Francis Desharnais A joyful, whimsical entry for younger viewers, Desharnais's film celebrates difference and community through a lunar festival attended by eccentric monsters. With charming visuals and a celebratory tone, the film offers a gentle allegory on inclusion and self-acceptance. GRADUATION FILMS 'Passageways,' Geneviève Tremblay, Milla Cummings From emerging talents Tremblay and Cummings comes a dreamlike, nonlinear short exploring themes of identity and change. Fluid transitions and morphing landscapes evoke an emotional liminality, capturing the essence of growing up and moving on. A strong debut with visual and emotional sophistication. COMMISSIONED FILMS CNESST 'Hanging by a Thread,' Dale Hayward, Pierre Dalpé A compelling safety PSA, 'Hanging by a Thread' uses stop-motion to dramatize the fragility of workplace well-being. Hayward and Dalpé bring their tactile expertise to an urgent public issue, wrapping advocacy in captivating visuals that demand attention. 'South of Midnight,' Chris Lavis, Maciek Szczerbowski This atmospheric teaser for the upcoming video game 'South of Midnight' brings Lavis and Szczerbowski's moody craftsmanship into the gaming world. Blending Southern Gothic imagery with meticulous stop-motion, the spot sets a tone of eerie beauty and narrative intrigue. Trailer: 22nd Sommets du cinéma d'animation de Montréal, Daniel Gies A vibrant, energetic showcase, Gies' trailer captures the spirit of Montreal's leading animation festival with flair, combining dynamic movement with a celebration of artistic diversity. Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?'
Yahoo
6 days ago
- Entertainment
- Yahoo
Echoes of Childhood Lost: ‘Allah Is Not Obliged' Brings Potent Animated Recollection of Liberian Wars
Between 1989 and 2003, more than 50,000 children were enlisted in the Liberian and Sierra Leonean civil wars. Lives were torn apart, a tragedy Ivorian author Ahmadou Kourouma used as material for his award-winning novel 'Allah Is Not Obliged,' short for the novel's leitmotif: 'Allah is not obliged to be just in all of his doings down here.' Zaven Najjar, visual artist, animator and artistic director on Sepideh Farsi's 'The Siren,' was struck by the powerful text, as was Special Touch Studios producer Sébastien Onomo. Together, they embarked on the difficult journey of translating this tale into animation, and now, their feature adaptation is screening at Annecy. More from Variety 'Not Just Participating, Designing the Future': Manga Productions's CEO Essam Bukhary on the Saudi Studio's MIFA Debut Steph Curry, Gabrielle Union, Caleb McLaughlin Lead A-List Voice Cast for Sony's Animated Feature 'GOAT' Marvel Animation Premieres First Episode of 'Eyes of Wakanda' at France's Annecy Animation Festival In the film, Birahima, a 10-year-old orphan from Guinea, ironically describes how he is thrown into tribal warfare while trying to reach his aunt in Liberia. Yacouba, a shady man, convinces him to become a child soldier, while he becomes a 'grigriman' and witch doctor among the fighters. Shunted between enemy factions, Birahima grows up quickly and learns to distrust the stories he's told. A project many years in the making, 'Allah Is Not Obliged' returns to Annecy after a captivating work-in-progress session last year. The Belgium-Canada-France-Luxembourg co-production is part of the fest's main competition and is sure to resonate with the festival audience. Variety spoke with Najjar during the final mixing sessions of the film, reflecting on the human and artistic journey behind the project. What compelled you to tell this story? Being from a family of Armenians from Syria and Lebanon, this story deeply resonated with ones I heard as a teenager, stories of the Lebanese war that were sometimes trivial things tinted with humor and irony, but also deeply tragic recollections intertwined with political and historical dimensions. That tone is present in Kourouma's novel, and Sébastien Onomo also felt a strong connection. I already knew him as a producer, having collaborated with Special Touch Studios on 'The Siren,' and I knew he dreamed of adapting this book, which he discovered during his literature studies. This connection, along with the fact that Sébastien, who is of Cameroonian origin, was already working in Africa, gave me an ecosystem in which I could imagine this project coming to life. How did you translate Kourouma's work into animation? Can you walk us through your adaptation process? For me, the only way I could move forward was by speaking with war veterans from Liberia. Sticking solely to the text felt insufficient. I wanted to conduct field research. I'm used to being very precise and thorough. One thing led to another, and contact after contact, I ended up meeting a former L.U.R.D. general (Liberians United for Reconciliation and Democracy), one of the major armed forces during the wars. I thought I'd get only five minutes with him, but he gave me much more. He introduced me to other veterans and took me to locations mentioned in the novel. From there, I discovered Monrovia and met village chiefs, miners, witch doctors, people who truly helped me translate the narrative into animation. From the sketches I made during these trips, I drafted a storyboard. Some real locations are almost literally depicted in the film. Conversations with veterans also helped bring realism to settings such as camps, prisons, and villages, details that infused credibility into the story. Meeting Sébastien's professor at La Sorbonne, Tumba Shango Lokoho, helped me approach the text and strike the right balance and tone. Finding the actor who would voice Birahima was also key to achieving this balance. How did you meet Ivorian rapper SK07? It was very important to find a young actor to voice Birahima. With so much voice-over, we needed a strong personality and a great voice. SK, without any acting background, proved to be incredible, he literally blew my mind. Recording with him in Abidjan was an unforgettable experience. The entire cast deserves a shout-out. It was a pleasure working with them; they improvised dialogues and even entire scenes, breathing new life into the film and its narrative. You mentioned that 'Allah Is Not Obliged' was made between five animation studios. How did you build this pipeline, and why? For budget reasons, but it ended up being a fascinating experience. We succeeded thanks to wonderful teams and the amazing work of production director Nabine Mombo, who coordinated everything. She did an incredible job keeping our pipeline functional across all co-production partners. I could also count on Belgian animation director Olivier van Hoorebeke, whose expertise helped maintain visual coherence throughout the film. I aimed for a distinctive 'stepped animation' style, focusing on key poses while retaining fluidity. It allowed animators to concentrate on impactful visuals, and I'm very happy with the results. Can you elaborate on the music? It helps turn Birahima's tale into such a universal and powerful story. During production, I edited temp music and the dialogues myself. I had many ideas and wishes for the ideal soundtrack and worked with composer Thibault Kientz-Agyeman to refine the musical environments. We especially focused on the lullaby that opens the film. Thibault later worked heavily on the score, drawing from his own background, while I went to Abidjan to record dialogues. We also recorded songs there that he later incorporated into the film, bringing incredible energy to the project. Due to our limited budget, we had to make tough choices, but I'm glad we opened the film with music by Alpha Blondy and closed it with an original song by SK07, for which I'm eternally grateful. Blending those talents, moods and tones created something beautiful, offering yet another layer to Birahima's voice. Best of Variety All the Godzilla Movies Ranked Final Oscar Predictions: International Feature – United Kingdom to Win Its First Statuette With 'The Zone of Interest' 'Game of Thrones' Filming Locations in Northern Ireland to Open as Tourist Attractions
Yahoo
23-04-2025
- Entertainment
- Yahoo
Annecy 2025 Lineup Unveiled: A Celebration of Innovation, Independence and International Animation
The Annecy International Animation Film Festival, the world's most important week in global animatioon, returns to the French Alps this June 9-15, hosting visionary directors, groundbreaking films and a burgeoning number of established and emerging studios and voices from around the world. This year's edition is one of the most ambitious yet, marked by a rich blend of themes, powerful political storytelling and a notable emphasis on independent animation. As fest art director Marcel Jean notes, 'The quality of independent animation has increased in a most spectacular way,' which is evident across this year's programming, particularly in the Official Competition and Contrechamp Feature categories. More from Variety 'Four Souls of Coyote' Review: From Hungary Comes a Soulful Rendering of Native American Origin Stories 'The Imaginary' Review: What's a Pretend Friend to Do When His Human Creator Outgrows Him? 'Ghost Cat Anzu' Review: Made With Rotoscope Techniques, Unusual Anime Plays Like a Sardonic Relative to 'Spirited Away' Below, the 10 features selected in both the Official and Contrechamp sections and a quote from Jean explaining why they were picked, followed by several highlights from today's announcements. The festival's popular Work in Progress lineup was unveiled earlier this month. Official Competition: 'Allah Is Not Obliged,' Zaven Najjar (France, Belgium, Luxembourg, Canada) 'For his first feature film, Zaven Najjar rose to the challenge of adapting Ahmadou Kourouma's novel 'Allah is Not Obliged.' It's a tall order given the book's raw, unusual language, which the director manages to preserve in this first-person narrative of a child soldier.' 'A Magnificent Life,' Sylvain Chomet (France, Luxembourg, Belgium) 'Sylvain Chomet makes his comeback with this feature film dedicated to Marcel Pagnol. It is such a delight to see the filmmaker's sophisticated graphics again, and for the first time he uses dialogue to capture the musical Marseille accent.' 'Arco,' Ugo Bienvenu (France) 'True to his graphic style, Ugo Bienvenu offers us an astonishing first science-fiction feature film for all the family, in which a 10-year-old girl takes in a boy of the same age from the future.' 'ChaO,' Yasuhiro Aoki (Japan) 'This whimsical tale comes to us from Japan, with its assertive graphic style and bold colours, somewhat reminiscent of Masaaki Yuasa and Taiyō Matsumoto.' 'Dandelion's Odyssey,' Momoko Seto (France, Belgium) 'It is an understatement to say that Momoko Seto's debut feature was eagerly awaited! We are delighted to discover that, from the very first seconds of the film, we were fascinated by this original imagery, a skilful blend of scientific shooting techniques and digital animation. Like dandelion seeds, we are hurtling along a strange and perilous journey….' 'Death Does Not Exist,' Felix Dufour-Laperrière (Canada, France) 'Félix Dufour-Laperrière, who won an award in the Contrechamp selection in 2021 with 'Archipel,' returns to Annecy with his third feature. Visually stunning, the film plunges us into the torments of a young woman haunted by guilt following an attack that went wrong.' 'Into the Mortal World,' Zhong Ding (China) 'This is yet another demonstration of the exceptional expertise of Chinese studios. 'Into the Mortal World' is intended for all audiences, a spectacular, funny film, full of action and emotion.' 'Little Amélie or the Character of Rain,' Maïlys Vallade & Liane-Cho Han (France) 'For their first feature film, Maïlys Vallade and Liane-Cho Han adapted Amélie Nothomb's novel with finesse and sensitivity. A dazzling offering, brought to life by both the magical script and Mari Fukuhara's music, the film will appeal to audiences of all ages.' 'Olivia and the Invisible Earthquake,' Irene Iborra (Spain, France, Belgium, Chile) 'One of the great surprises of the selection! This is the only stop-motion feature film in the official competition. 'Olivia and the Invisible Earthquake' intelligently and skilfully addresses children tackling an essential social reality without pettiness or sentimentality.' 'The Last Blossom,' Baku Kinoshita (Japan) ''The Last Blossom' is set in the yakuza underworld and evokes the atmosphere of some of Takeshi Kitano's films ('Hana-bi,' 'Sonatine'). An opportunity to discover a truly unique director, Baku Kinoshita.' 2025 Contrechamp Feature Competition: 'Balentes,' Giovanni Columbu (Italy) 'A delightful discovery, this unique film follows two children in the 1940s Sardinian countryside. A moving and gripping experience due to its interesting subject matter and experimental form.' 'Endless Cookie,' Seth and Peter Scriver (Canada) 'Seth Scriver brought us 'Asphalt Watches' in competition in 2014, now he's back this year with 'Endless Cookie,' co-directed with his half-brother Pete Scriver. In a bursting, humorous style, it parallels the differences between the experiences of the two brothers, one white and the other Native.' 'Jinsei,' Ryuya Suzuki (Japan) 'Ryuya Suzuki's first feature film reminds us of the minimalist visual aesthetics of 'On-Gaku: Our Sound' by Kenji Iwaisawa. Jinsei is an uncompromising social satire that examines identity and the meaning of life. Through a videotape, the viewer becomes witness to a man's life who has nohistory and is in search of an identity.' 'Lesbian Space Princess,' Emma Hough Hobbs and Leela Varghese (Australia) 'This wacky comedy comes to us from Australia, where the title already says it all. Directed by Emma Hough Hobbs and Leela Varghese, 'Lesbian Space Princess' is both delightful and surprising.' 'Memory Hotel,' Heinrich Sabl (Germany) 'In his highly stylized debut feature, German director Heinrich Sabl transports us to 1945, to a strange hotel where little Sophie encounters horrors, loses her memory and finds it again, while history's tragedy is played out all around her.' 'Nimuendaj,' Tania Cristina Anaya (Brazil, Peru) 'Out of Brazil comes this astonishing Curt Unckel biopic, the famous German ethnologist and writer christened Nimuendajú by the Guarani people in 1906. Director Tanya Anaya succeeds in capturing this man's deep commitment as he witnessed first-hand the persecution suffered by the indigenous people.' 'Olivia & The Clouds,' Tomás Pichardo Espaillat (Dominican Republic) 'Tomás Pichardo Espaillat's fourth selection for Annecy is the first animated feature to come out of the Dominican Republic, an amazing journey between four characters and even more animation techniques.' 'Space Cadet,' Kid Koala (U.S.) 'For his first feature film, musician Eric San (Kid Koala) adapts his own graphic novel, published in 2011. It features Celeste, the orphaned daughter of a famous astronaut, raised by a robot guardian and herself destined for space exploration. A film for all the family that tackles the subject of memory. 'Tales from the Magic Garden,' David Sukup, Patrik Pašš, Leon Vidmar, Jean-Claude Rozec (Czech Republic, France, Slovakia, Slovenia) 'Four directors from four countries join forces to create a bundle of tales spotlighting the imagination. We're almost surprised to find so much cohesion in this children's film, whose very genesis proves that across different origins and cultures, collaboration and understanding are possible.' 'The Great History of Western Philosophy,' Aria Covamonas (Mexico) 'Aria Covamonas, an unclassifiable filmmaker, openly uses several great historical figures to deliver a delirious satire using collage with surrealist overtones.' 'The Square,' Bo-Sol Kim (South Korea) 'This is perhaps the most unexpected film of the selection. The forbidden love story between a Swedish diplomat and a young North Korean woman, under the watchful eye of his interpreter and, no doubt, the secret services.' Three Honorary Cristals will be awarded in 2025 to legendary artists who have redefined the landscape of animation through their work: Michel Gondry, renowned for his surreal music videos and inventive filmmaking, will also debut his new film 'Maya, Give Me Another Title.' Joanna Quinn, an iconic British animator and advocate for women in the industry, will be honored as part of the 10th anniversary of Annecy's Women in Animation initiative. Matt Groening, creator of 'The Simpsons,' will attend a special screening and discuss the series' legacy as it enters its 36th season. Annecy will also feature screenings and presentations from major players like Pixar, Sony, Disney, Netflix and Warner Bros. 2025 marks the 40th anniversary of the International Animation Film Market (MIFA), a cornerstone of the festival and a key player in building Europe's animation ecosystem. Now boasting over 200 events and participants from nearly 100 countries, MIFA is a launchpad for emerging voices and a place where new projects, like those from Bangladesh, Vietnam and Costa Rica, can find global partners. Mickaël Marin, Annecy's managing director, reflected on the significance of the milestone and how the platform has evolved over the past four decades: '40 years ago, MIFA was born out of the need to create a television animation industry in Europe. Today, we're joined by game developers, publishers and new countries every year.' Annecy's 2025 country of honor is Hungary, whose animation industry has experienced a dynamic revival. As Jean explained, 'There is something great in Hungary… a very strong heritage in animation.' Four Hungarian feature films, including 'Bubble Bath' and 'Heroic Times,' will be showcased alongside student films from the esteemed MOME University. A Hungary pavilion at MIFA will spotlight the country's ecosystem through industry panels, exhibitions and a masterclass by acclaimed director Áron Gauder. Veronique Dumont, from the festival's organizing team, emphasized the significance of Hungary's growing presence: 'They will have a lot of professionals and artists on site. They're really dynamic now, and it was a real pleasure to work with them.' A prevailing theme this year is the dominance of independent cinema in the feature film and Contrechamp selections. Notably absent are the usual major studio entries in competition, making space for personal, stylistically bold and politically engaged works. Jean attributes this to a mix of factors, but primarily due to the abundance of high-quality independent submissions. He also shares some of the credit for this year's multifarious lineup. 'The audience is ready,' he says. 'They're watching animation on platforms and TV where there's greater stylistic diversity.' This year's selection includes an impressive number of 2D films and experimental techniques. As Jean observed, 'We're seeing more drawn-on-paper films, diverse aesthetics and genre storytelling like science fiction used as metaphor; films like 'Arco' or 'Death Does Not Exist' are good examples.' Jean is especially excited about the growing presence of television and streaming series in recent years. 'There's been an incredible increase in quality,' he said. 'Think of 'Bojack Horseman,' 'Arcane' or 'Common Side Effects.' These shows are offering mythical solutions to real societal problems.' The festival will host a full episode screening of Marvel's 'Eyes of Wakanda,' discussions with 'The Simpsons' team and events highlighting studios like Riot Games, Lucasfilm and Netflix. Dumont pointed to the Mifa Campus' increasing appeal to companies like Disney, Netflix and Illumination, as well as video game studios producing narrative content, such as Ubisoft's 'Tom Clancy's Splinter Cell: Deathwatch,' and now merchandise companies with strong IPs like Mattel, which will make its first appearance at MIFA this year. Annecy will celebrate 10 years of its partnership with Women in Animation this year. From its groundbreaking 2015 edition, when all juries were led by women, to the increasing percentage of female directors in graduation films, the festival has played a pivotal role in promoting gender equity. The festival will commemorate this anniversary with events throughout the week, including a special focus on women in feature animation, where progress still lags. As Marin noted, 'This year isn't just about looking back, but about asking what more we can do. We want to celebrate the journey while planning for more inclusive futures.' Dumont also highlighted the increasing participation from African studios. Nigeria, in particular, will host another pitch session this year, and a Nigerian feature is included in the MIFA Pitches selection, an impressive achievement given the volume of submissions received each year. 'Madagascar, Tanzania, Morocco and others are coming back,' Dumont said. 'These countries are putting serious investment into creative industries, and they see Annecy and MIFA as one of the best places to grow.' Several highly anticipated titles will receive non-competition screenings at this year's event: 'Fixed,' Genndy Tartakovsky 'Animal Farm,' Andy Serkis 'Maya, Give Me Another Title,' Michel Gondry 'Falcon Express,' TAT Productions 'The Songbird's Secret,' Antoine Lanciaux Annecy 2025 looks to be a testament to the power of animation to tell the world's most urgent stories, to bridge mediums and markets and to uplift creators from all walks of life. From the legacy of Hungarian cinema to the vitality of experimental and boundary-pushing storytelling, Annecy continues to be the year's most impactful event in global animation. Last year, Annecy launched a new non-competitive section allowing the general public to get an early look at several upcoming films. This year's lineup includes: 'Captain Sabertooth and the Countess of Grel,' Yaprak Morali, Are Austnes, Rasmus A. Sivertsen (Norway) 'Fleak,' Jens Møller, Mikko Pitkänen and Luca Bruno (Finland, France, Malaisia, Poland) 'The Girl Who Stole Time,' Ao Yu and Tienan Zhou (China) 'Chickenhare and the Secret of the Groundhog,' Benjamin Mousquet (Belgium, France) 'I am Frankelda,' Rodolfo Ambriz and Arturo Ambriz (Mexico) 'Mary Anning,' Marcel Barelli (Belgium, Switzerland) 'My Grandfather is a Nihonjin,' Célia Catunda (Brazil) 'Little Caribou,' Barry O'Donoghue (Ireland) 'Csongor és Tünde,' Máli Csaba, Pálfi Zsolt (Hungary) 'Spiked,' Caroline Origer (Belgium, France, Luxembourg, United Kingdom) 'Stitch Head,' Steve Hudson (Germany, Luxembourg) 'Thelma's Perfect Birthday,' Reinis Kalnaellis (Latvia, Luxembourg) 'Hyakuemu,' Kenji Iwaisawa (Japan, USA) Best of Variety New Movies Out Now in Theaters: What to See This Week What's Coming to Disney+ in April 2025 The Best Celebrity Memoirs to Read This Year: From Chelsea Handler to Anthony Hopkins
