Latest news with #AftertheHunt
2 hours ago
- Entertainment
Luca Guadagnino's 'After the Hunt' to open New York Film Festival
NEW YORK -- NEW YORK (AP) — Luca Guadagnino's 'After the Hunt' will open the 63rd New York Film Festival, Film at Lincoln Center announced Wednesday. 'After the Hunt' will first premiere at the Venice Film Festival, but on Sept. 26, it will kick off the New York Film Festival. An Amazon MGM Studios release due out this fall, it stars Julia Roberts as a Yale philosophy professor whose comfortable life is tested after her protege (Ayo Edebiri) accuses the professor's longtime colleague (Andrew Garfield) of sexual assault. Dennis Lim, artistic director of the festival, said Guadagnino's film 'confirms his status as one of the most versatile risk-takers working today.' 'Brilliantly acted and crafted, 'After the Hunt' is something rare in contemporary cinema: a complex, grown-up movie with a lot on its mind that also happens to be a deeply satisfying piece of entertainment,' Lim said in a statement. Guadagnino will return to the festival that last year hosted his William S. Burroughs adaptation 'Queer,' and that also selected his 2017 film 'Call Me by Your Name.' 'I have always found the New York Film Festival to be an arbiter of global cinema,' said Guadagnino. 'For over 60 years it has been a festival that makes audiences open their minds and hearts to the most daring and compelling global cinema from both established and emerging filmmakers.' The New York Film Festival runs Sept. 26 through Oct. 13.
The Guardian
6 days ago
- Entertainment
- The Guardian
Ike Barinholtz cast as Elon Musk in OpenAI film from Luca Guadagnino
The Studio's Ike Barinholtz is set to play Elon Musk in Artificial, the Luca Guadagnino-directed film about Sam Altman and OpenAI. Barinholtz was nominated for an Emmy for his role as production executive Sal Saperstein in the acclaimed comedy series co-created by, among others, Seth Rogen and Evan Goldberg, as well as acting as one of the co-creators of Kate Hudson sports-comedy series Running Point. Musk was one of the co-founders of OpenAI in 2015, along with Altman and a string of others; however, he left the company in 2018 and started a rival firm called xAI in 2023. Musk and OpenAI have been at loggerheads since, with a string of legal claims on both sides. Musk has accused OpenAI of abandoning its original charitable mission by establishing a for-profit subsidiary, and in August 2024 launched legal action against the company claiming he was manipulated into co-founding it, saying: 'The perfidy and deceit is of Shakespearean proportions.' Musk subsequently attempted a takeover of the company in 2025; his $97.4bn bid for OpenAI was rebuffed, with Altman posting on social media: 'no thank you but we will buy twitter for $9.74 billion if you want.' In April, OpenAI countersued Musk for what it claimed were his 'malicious campaigns' and 'harassing legal claims'. Although plot details have not been confirmed, Guadagnino's film is said to concentrate on the brief period of behind-the-scenes drama when Altman was fired and re-hired as OpenAI CEO within a matter of days in November 2024. The board had claimed Altman was not 'consistently candid in his communications', but Altman was reinstated after many of the company's employees threatened to quit. Andrew Garfield, Monica Barbaro and Anora's Yura Borisov have reportedly been cast in the film, though their roles have not been clarified. The writer has been confirmed as novelist Simon Rich, a former contributor to the Observer and writer of Rogen comedy An American Pickle. Guadagnino has just completed thriller After the Hunt, starring Julia Roberts, Ayo Edebiri and Garfield, which is due to receive its world premiere at the Venice film festival.
See - Sada Elbalad
6 days ago
- Entertainment
- See - Sada Elbalad
Julia Roberts' "After the Hunt" to Open New York Film Festival
Yara Sameh Luca Guadagnino's 'After the Hunt' will open the 63rd New York Film Festival on September 26. The film boasts an all-star cast led by Julia Roberts in a story about the impact of an alleged sexual assault on an Ivy League campus. Michael Stuhlbarg, Ayo Edebiri, Chloë Sevigny and Andrew Garfield co-star in 'After the Hunt,' which Amazon MGM Studios backed. Nora Garrett wrote the screenplay. Previous opening night films at the festival have included Martin Scorsese's 'The Irishman,' Joel Coen's 'The Tragedy of Macbeth' and Todd Haynes' 'May December.' RaMell Ross's 'Nickle Boys' opened last year's edition. Billed as the film's North American premiere, 'After the Hunt' will return Guadagnino to the festival, a place where he previously screened 'Call Me by Your Name' and 'Queer.' 'After the Hunt' will screen at Alice Tully Hall on Friday, September 26, with Guadagnino and members of the cast in attendance. The festival, which is a key stop for awards hopefuls, will take place through October 13. 'After the Hunt' will have its world premiere at the Venice Film Festival. According to a plot description from the festival, Roberts plays a 'chilly, seemingly self-assured Yale philosophy professor Alma Olsson, whose comfortable professional career and domestic life with her mercurial husband Frederik (Stuhlbarg) are thrown into chaos after her PhD candidate protégée Maggie (Edebiri) accuses Alma's longtime colleague and friend Hank (Garfield) of sexual assault. As a result, the air of rarefied academic privilege on campus begins to dissolve, and Alma must navigate minefields of gender, sexuality, race, and institutional power, all while trying to reconcile her own difficult choices with the demons of her past.' 'I have always found the New York Film Festival to be an arbiter of global cinema. For over 60 years it has been a festival that makes audiences open their minds and hearts to the most daring and compelling global cinema from both established and emerging filmmakers,' said Guadagnino. 'To be invited to open the 63rd edition is a tremendous responsibility and honor. I, alongside the incredible cast and crew and our companions at Amazon MGM Studios who made 'After the Hunt' possible, am elated and thrilled to bring to New York our tale of morality and power.' 'We are excited to open this year's festival with Luca Guadagnino's latest, which confirms his status as one of the most versatile risk-takers working today,' said Dennis Lim, artistic director, New York Film Festival. 'Brilliantly acted and crafted, 'After the Hunt' is something rare in contemporary cinema: a complex, grown-up movie with a lot on its mind that also happens to be a deeply satisfying piece of entertainment.' Imagine's Brian Grazer, Jeb Brody and Allan Mandelbaum produced 'After the Hunt' with Guadagnino. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News Israeli-Linked Hadassah Clinic in Moscow Treats Wounded Iranian IRGC Fighters Arts & Culture "Jurassic World Rebirth" Gets Streaming Date News China Launches Largest Ever Aircraft Carrier Videos & Features Tragedy Overshadows MC Alger Championship Celebration: One Fan Dead, 11 Injured After Stadium Fall Lifestyle Get to Know 2025 Eid Al Adha Prayer Times in Egypt Arts & Culture South Korean Actress Kang Seo-ha Dies at 31 after Cancer Battle Business Egyptian Pound Undervalued by 30%, Says Goldman Sachs Sports Get to Know 2025 WWE Evolution Results News "Tensions Escalate: Iran Probes Allegations of Indian Tech Collaboration with Israeli Intelligence" News Flights suspended at Port Sudan Airport after Drone Attacks
Yahoo
23-07-2025
- Entertainment
- Yahoo
Venice Strikes Back: Alberto Barbera on His Powerhouse 2025 Festival Lineup
After getting upstaged by Cannes at this year's Oscars — when Sean Baker's Palme d'Or winner Anora took best picture over Brady Corbet's Lido champ The Brutalist — Venice has come roaring back. Venice's 2025 lineup, with its blend of prestige auteurs, big-name debuts and politically charged provocations, reaffirms the Lido as the premiere launchpad for award-season hopefuls. Highlights this year include Julia Roberts in Luca Guadagnino's After the Hunt, Dwayne Johnson in Benny Safdie's The Smashing Machine and a triple threat from Netflix: Guillermo del Toro's Frankenstein starring Jacob Elordi, Noah Baumbach's Jay Kelly with George Clooney and Kathryn Bigelow's A House of Dynamite with Idris Elba and Rebecca Ferguson. More from The Hollywood Reporter Jussie Smollett Speaks in Netflix Doc 'The Truth About Jussie Smollett?' Paramount Execs Tell Staff That Africa Offices and Channels May Close Amid Strategy Review (Exclusive) Disability Advocate, AGC Studios Boss, 'Poor Things' Producer, Berlinale Boss Set for Locarno Pro Add in new features from Yorgos Lanthimos, Jim Jarmusch, Park Chan-wook, François Ozon, Paolo Sorrentino, Mona Fastvold, Gus van Sant, Julian Schnabel, Mamoru Hosoda and Laszlo Nemes, and the political heft of Kaouther Ben Hania's Gaza drama The Voice of Hind Rajab and Olivier Assayas' The Wizard of the Kremlin [with Jude Law as Vladimir Putin], and you have, on paper, one of the best Venice festivals in years. That's saying something. Shortly after unveiling this year's program, Venice artistic director Alberto Barbera spoke to The Hollywood Reporter about the fierce but friendly rivalry between the major festivals, the challenge of programming two-to-three-hour epics and why politics are back on screen in a big way. This is going to sound like I'm a broken record, because I say it every year, but you have another phenomenal lineup. We in the press always pit the big festivals — Cannes, Venice, Toronto — against one another, but how much is competition, a desire to beat the other big festivals, a drive for you? I'm a good friend of [Cannes festival director] Thierry [Fremaux] and [Toronto Film Festival CEO] Cameron [Bailey]. We're colleagues. We meet each other at each other's festivals. I've got a wonderful relationship with them. But of course, it is a competition. That's just a fact. There is competition between festivals, and each of us tries to get the best films from what the market gives us. We are lucky in that we're maybe in a better position, coming at the beginning of the new season, where Cannes is at the end of the old one. And we're a week, 10 days, ahead of Toronto, so we are often lucky to get a lot of world premieres. I know Toronto tries to get as many world premieres as possible, and they don't always succeed in competing with us on certain films. But this competition is a way to push you to do your best, to get the best out of the submitted films. How do you measure success for a festival lineup? The first element is the way the film is accepted during the festival, the response of both the critics and the audience to the film. That's the first moment when you realize if you made a good choice or if you were wrong. Because when you invite one film, it means you give up the chance to invite another. And it always happens that this or the other film doesn't meet the expectations that were created when we announced the lineup. That first moment when the film screens is when I realize if I did a good job or not. Then, of course, if the film travels to other festivals or gets awards, if it goes to or wins the Oscars, which happens a lot, that helps to confirm and establish the position of the festival, of our position in the international calendar of festivals, and gives us the chance the following year to get access to the most interesting and important films of the season. In your presentation, you suggested you would have liked to have put Luca Guadagnino's in competition. Was it Amazon MGM that wanted it to run out of competition? That was a decision by Amazon MGM. From the beginning, when they showed the film to us, they told us 'We don't want to be in competition. This is a film we believe in. It's our candidate for the Oscars. It doesn't need to be in competition.' So I accepted that. I respect the decision of producers. Most of the time. star Julia Roberts will make her Venice debut this year, as will Dwayne Johnson, star of Benny Safdie's competition film . Any advice for the Lido newbies on navigating the Venice red carpet? I'm sure they know how to behave. They are great professionals, both of them. And they are delivering exceptional performances in the two films that we'll see. Both Julia Roberts and Dwayne Johnson are really outstanding. So I'm very happy to have them in Venice. As you know, we have a wonderful new audience, very warm, very gentle. I think the experience here is easier for talents than at other festivals — that's what they tell me. Partially due to the success that you've had over the years, more and more people are coming to Venice. How much pressure is that putting on the festival's infrastructure? A lot. Well, not on the festival itself, because we have a lot of seats, a lot of theaters, to accommodate everybody. The pressure is put on the infrastructure outside the festival, on the hotels, the restaurants, and so on. Venice is one of the most touristic places in the world, with a lot of events at the end of August and the beginning of September. There are a lot of people coming in, also for other events. It's difficult to find hotels, and it's becoming more and more expensive to attend. This is the main issue we have. We don't have enough hotels on the Lido, actually, just one five-star hotel, The Excelsior. The good news is that they are going to renovate the Grand Hotel Des Bains. It will take 4-5 years, but it should come back as beautiful as it was in the past. So I'm quite confident and optimistic about that, because it's from people from Dubai [Abu Dhabi's Eagle Hills is backing the $230 million renovation] who have a lot of money. So it should work, right? I've written a few times who struggle with the cost of going to Venice and also with access to the talent that they need to justify coming. Is there anything that you or the festival can do to address this problem? It's extremely difficult to do something regarding the hotels, the cost of the rooms, the restaurants and so on. The infrastructure is just not there. I know there is an issue for some independent journalists to get access to interviews with stars and so on, but again, this is out of our control. It's the decision of the production team or the press agent for each film. I try to convince them to be more open and available, but they often only stay 48 hours, 72 hours in Venice, because of the cost of staying here, so it's difficult to meet all the requests they get from journalists. It's a major problem, but I don't know what we can do to solve it. You also mentioned in your presentation how submitted films are getting longer and longer. How big a problem is that when it comes to programming? It's a big issue because we usually have four [competition] films a day, in the main theater, two in the afternoon and two in the evening. If every film is two hours long or more, it means the last film won't start until very late in the evening. It's a huge problem for everybody. From tomorrow, I'll start working on the screening schedule, and I'll see how things look, but I'm a little worried. We'll find a solution, of course, but it's not easy. This is a trend that started one to two years ago and has become a really major trend. Most of the films are more than two hours long, and many are two hours and 30 minutes long or longer. It's a problem. Venice has never avoided political films, but current events seem at the center of a lot of movies in this year's lineup, from Kathryn Bigelow's to Kaouther Ben Hania's to Olivier Assayas' . Why did you think it was important to program these movies? They are all very strong films in of themselves. Not only very emotional but excellent films dealing with contemporary issues. Most of the films this year are dealing with contemporary problems. Whether it's the use of atomic weapons [A House of Dynamite], to the horrors of the wars in Ukraine or Gaza, or looking at dictatorships in many countries in the world. It's the comeback of the cinema of reality, and I think it's important that the festival is open to the contemporary world and not closed off inside the universe of films and cinema, that cinema of dreams. There will still be a lot of entertaining films, spectacular films, at the festival, but most of the films are strongly connected to contemporary problems and issues. Some are very strong and emotional. I get emotional talking about The Voice of Hind Rajab. I was so impressed when I watched that film. Every time I think about it, I get emotional again. I think it will be one of the films that will get the most intense response from everybody, from the press and from the audience, for obvious reasons, not only political reasons but for emotional, human reasons. Netflix is also back in force this year, after . Yes, they couldn't come last year because they didn't have any films to offer, but they have three very strong films this year, from Kathryn Bigelow, from Noah Baumbach and from Guillermo de Toro. We worried if it was a good idea to have three films from Netflix in the main competition, but they are all so good, they all deserve to be in there. Do you ever worry that your streak at Venice will end, that this could be your last good year? Every time. After every festival, I tell myself, I won't be able to do as strong a lineup next year. And then we are lucky enough to get access to the most interesting films of the season. And this is the case again. For this year at least. Best of The Hollywood Reporter The 40 Greatest Needle Drops in Film History The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best Solve the daily Crossword
Yahoo
23-07-2025
- Entertainment
- Yahoo
Taylor Kitsch to Star in ‘Eleven Days' Prison Hostage Thriller
Taylor Kitsch is set to play a Texas prison boss facing a hostage taking drama in Eleven Days, a new thriller directed by Peter Landesman. In the indie, set in 1974 and based on a real-life prison uprising, Kitsch will take the role of Jim Estelle, the head of the Texas Department of Corrections, attempting to end a hostage taking in the Huntsville Penitentiary led by heroin kingpin Federico Carrasco as part of an escape plan gone wrong. More from The Hollywood Reporter Charlie Coleman Joining Amazon MGM Studios as Head of International Theatrical Marketing Mark Ruffalo Slams Joe Rogan Over Response to ICE Immigration Raids: "It's a Little Late Now" Sony to Release Select Amazon MGM Movies Overseas, Beginning With Luca Guadagnino's 'After the Hunt' Estelle has to lead crunch negotiations with the hostage takers and their ruthless leader to end the tense siege drama. 'Lines between captor and captive, justice and survival, begin to blur as the siege spirals for eleven endless, terrifying days,' a synopsis from the film's producers reads. The screenplay is by Kevin Sheridan, with revisions by Landesman. Eleven Days is based on the book Eleven Days in Hell: The 1974 Carrasco Prison Siege at Huntsville, Texas, by William T. Harper. The film's production is scheduled to take place in Texas in September, with Vincent Newman and Vance Howard serving as producers. Kitsch recently starred in Netflix's American Primeval limited series and will also appear in the upcoming prequel series Dark Wolf, a spinoff of The Terminal List series in which Kitsch played the character Ben Edwards. Other credits include Only the Brave, opposite Josh Brolin, Miles Teller, Jeff Bridges and Jennifer Connelly, as well as the TV movie The Norman Heart for HBO, in which he starred alongside Mark Ruffalo and Julia Roberts. Landesman's film credits include Concussion, the 2015 football drama about player brain injuries that starred Will Smith, Parkland and Kill the Messenger. Kitsch is represented by Untitled Entertainment and WME. Best of The Hollywood Reporter The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best 13 of Tom Cruise's Most Jaw-Dropping Stunts
