The memoir from Lisa Marie Presley is finally here, and it comes with some bombshells. Finished posthumously by her daughter, Riley Keough, “From Here to the Great Unknown” details startling insight into the famous family. 2g1v24

The daughter of the King of Rock’n’Roll, Elvis Presley, died suddenly at 54. Keough posits that her mother’s decline in health was connected to the death of her brother Benjamin, who died by suicide in 2020. The Presley family has been often marked by tragedy and that isn’t even one of the more surprising perspectives in the book.

Lisa Marie also details the strained relationship with her mother Priscilla. Some s have been publicly acknowledged for some time, but Lisa Marie delves into uncomfortable details like Priscilla’s boyfriend at the time, Michael Edwards, being sexually inappropriate to her at a young age. Via Business Insider, Lisa Marie also claims that her mother never wanted her, which was the genesis of their complicated relationship.

“She didn’t want to gain pregnancy weight. She thought that wouldn’t be a good look for her as Elvis’ wife. There were so many women after him, all of them beautiful. She wanted his undivided attention.”

Priscilla gave birth to Lisa Marie at only 22 years old, less than a year after she married her father. s Lisa Marie’s conclusion, even Priscilla’s own memoir, “Elvis and Me.” Priscilla details in the book that she didn’t want to get pregnant so quickly and considered an abortion before deciding against it. Lisa Marie has a more specific conclusion in her book.

“She was so upset that she was pregnant that initially she’d only eat apples and eggs and never gained much weight. I was a pain in her ass immediately and I always felt she didn’t want me.”

This is a far cry from the recent biographical movie featuring the pop culture icon.

Priscilla has a more romantic perspective 1b685h

In many ways, Sofia Coppola’s 2023 independent film, Priscilla, shows the ugly truth about the relationship between her and Elvis. Metting Elvis (Jacob Elordi) at a party at only 14 years old, Priscilla (Caillee Spaeny) quickly becomes the object of his affection even though he was a decade older than her. Even at the time the age gap was suspect, becoming more controversial when Elvis brings Priscilla to Graceland to finish her high school education.

Priscilla details the questionable aspects of the relationship as Elvis molds a child into the perfect wife for him. The film also features events in Priscilla’s book, such as her husband’s manipulative tendencies to control her and an incident where he throws a chair at the wall near her head. But when it comes to the subject of Priscilla’s pregnancy, the depiction is gentler than what fans have come to learn from the Presley women’s personal s.

In the film, Priscilla its that she didn’t think that she would get pregnant this fast, but there is no discussion of trying to terminate the pregnancy. Both Elvis and Priscilla appear excited to have a child together. It isn’t hard to determine why this creative decision was made. Adding doubts about the pregnancy would detract from the narrative and ultimately be in poor taste regarding Lisa Marie’s memory. “From Here to the Great Unknown” has a more authentic of the family that America has been enraptured with for decades.

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It may have never been showered with critical acclaim – and the level of fervor it inspired among its most ardent devotees went right over the heads of many – but it can’t be denied that The Twilight Saga did hire several stellar directors to steer the literary-turned-cinematic phenomenon to over $3.3 billion at the box office.

Catherine Hardwicke broke out in a big way with her acclaimed feature debut Thirteen before landing the opening chapter just five years later, while Chris Weitz had an Academy Award nomination under his belt for penning About a Body, with David Slade regarded as one of horror’s brightest new talents, before Oscar-winner Bill Condon brought the series over the finish line through the two-part Breaking Dawn.

However, another recipient of the most prestigious prize in Hollywood could have been the one to close out The Twilight Saga, with three-time nominee and one-time victor Sofia Coppola revealing to Entertainment Weekly that she held talks about it. Wisely, though, the prospect of that harrowing CGI baby and the questionable lore of imprinting put her off the idea.

“We had one meeting, and it never went anywhere. I thought the whole imprinting-werewolf thing was weird. The baby. Too weird! But part of the earlier Twilight could be done in an interesting way. I thought it’d be fun to do a teen-vampire romance, but the last one gets really far out.”

The decision to plunge young Renesmee straight into the uncanny valley from the moment of her birth is capable of causing nightmares and inducing ridicule in equal measure, although it would have been undeniably fascinating to see what a talent such as Coppola could have brought to the grand finale of a blockbuster behemoth.

Scarlett Johansson is one of the biggest movie stars on the planet, and has been for the past several decades. After breaking out in the industry in the late ’90s through such projects as Ghost World and Home Alone 3, Johansson really made her mark on Hollywood in 2003’s rom-com-drama Lost in Translation, which earned director Sofia Coppola the Oscar for Best Adapted Screenplay and an Oscar nom for her co-star Bill Murray.

Despite not landing any Academy Award recognition herself, Johansson’s performance as Charlotte, a college graduate vacationing in Tokyo who strikes up an unexpected connection with Murray’s aging actor Bob, a fellow American who happens to be staying in the same hotel, earned critical acclaim — the actress’ maturity and ability to embody a character wise beyond her years received particular applause. But how old was Johansson in Lost in Translation?

There was a 35-year age gap between Scarlett Johansson and Bill Murray in Lost in Translation 2f1u5m

Although the character of Charlotte is in her early 20s, Scarlett Johansson herself was only 17 when making Lost in Translation. Bill Murray, meanwhile, was 52 years old, meaning there was a 35-year age gap between the two leads, who develop a romance of sorts across the film. In recent years, as Hollywood’s tendency to pair aging leading men up with much younger leading ladies has faced closer scrutiny, Lost in Translation has come under the spotlight for what is now seen as a controversial pairing.

Sofia Coppola addressed the controversy herself when reflecting on the film for the 20th anniversary of its release in September 2023. When itting to Rolling Stone that her kids were taken aback by the characters’ extreme age difference upon seeing the movie for the first time, Coppola was asked whether she thought Lost in Translation‘s central dynamic hits different in contemporary times than it did in the early 2000s. Coppola itted that the fact Charlotte and Bob are from different generations is a major theme of the film’s story:

“Yeah … I don’t know. I’m not going to think about it. I was just doing my thing at the time it was made. I did notice that watching it with my kids, because they’re teenagers and they were like, “What’s going on with that?” But Bill is so lovable and charming. Part of the story is about how you can have romantic connections that aren’t sexual or physical. You can have crushes on people where it isn’t that kind of thing. Part of the idea was that you can have connections where you can’t be together for various reasons because you’re at different points in life.”

Johansson herself, meanwhile, said much the same thing when questioned by Yahoo! Entertainment about whether Bob and Charlotte’s relationship could be retold today, defending their dynamic as two Americans abroad who form an unique bond as a “timeless” tale:

“It’s a relationship between too people and I think it’s sort of timeless in that way. You know, I think the relationship, the way those two characters affect one another, is really profound, and I don’t know if there’s any, you know, you watch it and you don’t judge it. It’s just two people who come together in this circumstance that’s foreign, they’re out of their body, they’re out of what’s familiar to them, and it’s because of that that they connect with one another. You feel like if they met any other place or any other time they wouldn’t be as vulnerable.”

Sofia Coppola is one of the great directors of her generation. Taking after her father, the 52-year-old director has continuously made irreverent cinema and added to the art form in a way that feels both refreshing and mature. After getting her start in 1999’s The Virgin Suicides, it was the introspective Lost In Translation that catapulted Coppola’s career, earning her an Oscar for Best Original Screenplay.

What was the age gap between Scarlett Johansson and Bill Murray in Lost in Translation? 43m52

Lost in Translation starred a 17-year-old Scarlett Johansson and a 52-year-old Bill Murray — a 35 year age gap — which despite the film’s widespread acclaim, has not aged well.

In all fairness, Johansson’s character was older than the actress was in real life – she played Charlotte, a 20-something college graduate who flies to Tokyo with her husband but is ultimately feeling lonely as he spends most of his time working. Murray is Bob Harris, a has-been movie star who is shooting commercials in the Japanese capital. They’re staying at the same hotel and eventually connect while hanging out at the bar, forging a strong connection and friendship which — albeit never turning sexual — has romantic undertones.

Bob and Charlotte only go as far as sharing a kiss, but age gaps in media have been increasingly scrutinized in recent times, and there are few as wide as Lost in Translation‘s. The #MeToo movement — which took off in 2017 — reexamined the power imbalances between men and women and the culture of sexual abuse that had ravaged Hollywood, turning a much more attentive lens toward the representation of women in media and their treatment in the industry, essentially making an intimacy coordinator mandatory on any movie set.

What does Sofia Coppola think about the age gap in Lost in Translation? 6j6y2e

Coppola told Rolling Stone in a piece celebrating Lost in Translation‘s 20th anniversary that she recently watched the film with her kids. Growing up Gen Z, they were probably more attuned to the discourse surrounding age gaps and grooming which has taken over the internet over the last few years, so they naturally reacted to the staggering difference between Charlotte and Bob’s ages.

“I showed it to my kids a few years ago when we were going to Tokyo and staying at the Park Hyatt, and that was the first time I’d watched it in a while, and they were like, ‘Why is she so young and he’s so much older?'”

Coppola said she never really thought about that while making the film, despite being closer to her female protagonist’s age. She added that she was just “doing [her] thing at the time,” and prefers not to think about whether the movie would have been made today. Despite the actress being just 17, Coppola also shot some light nudity involving Johansson, which she its would be harder to do today. “I probably couldn’t do that today, either,” the award-winning director told Rolling Stone.

Ultimately, Coppola stands by the romance of Lost in Translation, which she believes is rooted in the impossibility of the relationship. “I think it’s romantic when you have a connection with someone that you can’t be with for so many reasons, but they still see a side of you that maybe someone of your generation doesn’t.”

Lost in Translation is available to buy, rent, or stream on Netflix.

Since the dramatic beginnings of the SAG-AFTRA strike began, the guidelines for actors have been clear. Actors ed the WGA in striking against labor conditions during the highly publicized London premiere of Christopher Nolan’s biopic, Oppenheimer. The main cast was already transparent about their stance on the issue, so when the strike officially went forward, Cillian Murphy, Emily Blunt, Florence Pugh, and the rest of the SAG actors left the premiere. Nolan voiced his of the decision as he stayed for publicity. 

With the strike in effect, labor rules restrict actors from not only working but also doing publicity for any projects to be released during negotiations. There will always be dissenters who have differing opinions on the strike, such as anti-strike sentiments made by Arrow’s Stephen Amell, but for the most part, the union s this solidarity. But the Venice Film Festival is proceeding as usual, despite these events. And there will still be some familiar faces promoting their hard work in the movies premiering.

Jessica Chastain and Mads Mikkelsen are just some actors appearing at the Venice Film Festival to promote their films. The performers are not acting in opposition to union rules, but have been given special dispensation to attend the event. Many independent projects have been allowed to keep filming because the production does not fall under the umbrella of AMPTP. Chastain’s film, Memory, is set to be released this September and is directed by Mexican filmmaker, Michel Franco. The Eyes of Tammy Faye actor is known for picking her films carefully, so there is no surprise that she went with an independent project for her Oscar-nominated follow-up.

Additionally, Mikkelsen is Danish and often lends his talent to non-English speaking roles. His 2020 film Another Round hails from his home country and features a group of teachers testing the boundaries of sobriety. For the festival, Mikkelsen will be promoting The Promised Land, a biographical film about Ludvig Kahlen. According to Variety, Adam Driver will also be in attendance for his highly anticipated film, Ferrari. Directed by legendary Heat director, Michael Mann, Driver will portray the famous car racer. Independent directors stack the festival further, with the appearance of Luc Besson and Sofia Coppola. The Leon: The Professional director is promoting his new film DogMan, starring Caleb Landry Jones. Coppola is behind the Priscilla Presley biopic and will be ed by stars Jacob Elordi and Cailee Spaeny as well as an appearance from Priscilla herself.

It should be noted that many of these production companies received waivers specifically because indie projects are not being produced by any of the studios under the AMPTP. Even niche companies such as A24, responsible for some of the more innovative new films coming out, can afford to treat their artists respectfully. AMPTP, on the other hand, continues to drag its heels and has even hired a PR crisis management team to assist in the ongoing negotiations. What started as an initial dispute that could have been resolved through communication still appears to have no end in sight.

In the expansive world of cinema, certain directors skillfully chisel out spaces so distinct that their names become synonymous with a filmmaking style. One example is the genius of Christopher Nolan, master of convoluted narratives and eye-popping aesthetics. His latest cinematic creation, Oppenheimer, is a shining testament to his brilliance.

Nolan is in good company with the likes of master of suspense Alfred Hitchcock, maestro of poignant storytelling and technical wizardry Akira Kurosawa, and visionary builder of worlds Ridley Scott. 

With their meticulous and distinct approach, these directors never fail to leave viewers enthralled by the stories they tell. Their stylistic range is as broad as it is famous, creating a mosaic of theatrical brilliance that has shaped the industry and will continue to inspire new generations of filmmakers. Here’s our (by no means definitive) list of 12 directors with unforgettable styles.

12. Ridley Scott 6p5116

Ridley Scott has carved out a special place for himself in the film industry thanks to his distinctive style, marked by lavish visuals and intricate plotting. Scott’s graphic design and marketing background allows him to create films that stand out for their exquisite attention to visual detail, frequently transforming every frame into a work of art. His ability to capture atmospheric tones in Blade Runner’s futuristic landscapes helps create a recognizable and otherworldly world. This talent for evocative production is also on full display in the claustrophobic horror picture Alien, in which the tense atmosphere of the spaceship contributes significantly to the overall effect. 

Humanity, morality, and existentialism are common themes in his works. Whether pondering the meaning of life in Blade Runner or delving into the moralities of war in Black Hawk Down, Scott ensures that his visually spectacular pictures equally excite the mind. Furthermore, his portrayal of female protagonists, such as Ellen Ripley in Alien, demonstrates a progressive approach to character development, making him a trailblazer in showcasing strong, complex female characters in cinema. 

11. Alfred Hitchcock 2k6k1j

Alfred Hitchcock, widely referred to as the “Master of Suspense,” is renowned for his unrivaled skill in creating suspenseful, psychological thrillers that delve deeply into the minds of his audiences. His direction is distinguished by a keen eye for detail, cutting-edge cinematic techniques, and an intuitive ability to create tension. Hitchcock frequently employed the MacGuffin, a plot device that propels the action even if its nature is unclear or incidental. 

His skill at employing subjective camera angles in films like Vertigo and Rear Window demonstrates how effectively he can draw the audience into the protagonist’s perspective, increasing their investment in the story and their sense of suspense. Hitchcock was also noted for his darkly playful approach, and his partnerships with composer Bernard Herrmann heightened the atmospheric tension; the shrieking strings in Psycho are evidence of their mutually beneficial connection. 

10. Greta Gerwig 6j3z5a

Greta Gerwig, now an established force in modern film, has quickly carved out a niche with movies that ring true in their humanity, wit, and a keen understanding of the human experience, especially from a female perspective. The phenomenal success of her latest picture, Barbie, is evidence of this. Gerwig kept her vision intact throughout production despite Hollywood’s tendency to conform to studio suggestions. That Gerwig is the only woman to receive sole credit for directing a billion-dollar blockbuster is a significant accomplishment. 

Gerwig’s directing style, which can also be seen in the critically praised Lady Bird and the reinvented Little Women, is based on delicate character development and highly detailed plots that speak to both personal and universal realities. Her heroines, who are generally young women, struggle with the intricacies of relationships, goals, and self-identity, all while navigating the tapestry of changing times. Her camera doesn’t just observe; it dances, capturing the fleeting moments that define life’s changes with lightness and fluidity. 

9. The Wachowskis 6pdp

Lana and Lilly Wachowski have continuously pushed the frontiers of cinematic storytelling by combining new aesthetics with sophisticated, philosophical storylines. From the pioneering Matrix series to the stunning Cloud Atlas and Speed Racer, their directorial approach combines high-octane action with existential musings, addressing issues of reality, identity, and humanity’s connection with technology. One of the Wachowskis’ defining characteristics is their use of cutting-edge visual effects. 

The Wachowskis’ stories explore weighty philosophical questions, with inspiration drawn from various sources, including literature, myth, and religion. Their protagonists, who are often misfits or rebels, struggle with questions of identity in the context of expansive, frequently dystopian landscapes. Iconic characters that personify these existential struggles result from collaborations with actors like Keanu Reeves and Hugo Weaving. 

8. Spike Lee 3k5u41

Spike Lee is lauded for his bold narratives that offer cutting commentary on racial issues, government, and urban culture. Lee’s directing approach is unique and thought-provoking because it combines raw energy, social critique, and visual flare. His films frequently push audiences’ buttons by tackling weighty social problems, most of which revolve around the Black experience in the United States. Many of Lee’s films, including Do the Right Thing and Malcolm X, use his trademark “double dolly shot,” in which actors appear to float against the backdrop, producing a bewildering yet striking visual experience. 

Lee also uses color symbolically, with some shades emphasizing feelings or highlighting underlying ideas. While dealing with weighty social issues, his stories are also interspersed with humor, music, and culture, giving them a pulsating vibrancy that resonates with audiences. He frequently breaks the fourth wall, most notably in She’s Gotta Have It, making viewers active participants in the narrative’s discourse rather than ive observers.

7. Michael Bay 642er

Michael Bay, synonymous with high-octane blockbuster movies, has developed a signature style full of action, spectacle, and grandiosity. Explosive action sequences, typically intensified through rapid editing, dramatic camera movements, and booming soundscapes, are characteristic of his style. From Transformers to Armageddon and Bad Boys, his films always go for a grander scope and dramatic effect. The word “Bayhem” was coined to define it, which combines fast editing, large-scale set pieces, and meticulous choreography of both characters and camera. 

Additionally, sun-kissed hues abound, with the golden hour serving as a recurring, almost character-like presence, creating dramatic shadows and giving the characters an ethereal shine. Despite his reputation for putting flash over substance, Bay has always put the emotional experience of cinemagoers ahead of complex storyline developments. His depictions of good and bad guys are equally raw, with the former frequently serving as iconic examples of their respective roles.

6. Sofia Coppola 2y3n73

In contrast to the sometimes frantic events depicted in her films, Sofia Coppola is known for her deep introspection and sophisticated approach to storytelling. From Lost in Translation to The Virgin Suicides, Coppola’s movies all exude a distinct aesthetic characterized by soft palettes, ambient lighting, and carefully curated soundtracks. Her artistic approach, often ethereal and surreal, investigates the tension between isolation and community, particularly in enormous urban or suburban environments. Her stories frequently include female heroines negotiating cultural expectations, personal ambitions, and complicated relationships. 

There’s a recurring motif of separation and alienation, whether it’s Charlotte and Bob’s cultural dislocation in Lost in Translation or the cloistered life of the Lisbon sisters in The Virgin Suicides. Her music, which is usually dramatic and evocative, blends effortlessly with the story, heightening the emotional resonance of her works. In Marie Antoinette, for example, the old-fashioned soundtrack contrasts with the historical setting, emphasizing the ageless character of young rebellion and identity search.

5. Akira Kurosawa 19n2b

Akira Kurosawa, a maestro of Japanese cinema, is revered globally for his pioneering style, blending rich narratives with technical brilliance. From Seven Samurai to Rashomon, Kurosawa’s films explore the complexity of the human condition in all its forms, from the individual to society. In Rashomon, for example, he presents the story from several characters’ points of view to cast doubt on the absolute reality and the impersonality of human experience. 

Kurosawa’s features have a rhythmic, theatrical aspect thanks to incorporating elements from traditional Japanese theater, such as Noh and Kabuki, into his character portrayals and dramatic moments. Working with actor Toshiro Mifune provided depth to his works, and the star’s theatrical performances were an excellent fit for Kurosawa’s vision. Kurosawa was also notorious for editing his films on set, a technique that offered him more say over the story’s progression.

4. Tim Burton 2v3zh

Tim Burton, the visionary auteur of contemporary cinema, has etched an indelible mark with his whimsically gothic and eccentric style. When looking at Edward Scissorhands or The Nightmare Before Christmas, Burton’s films reveal a cosmos laced with dark fantasy, morbid humor, and a poignant exploration of outsiders and misfits. Burton’s visual language is full of disparities, from black shadows to bright, white characters, representing the dichotomy of evil and good. 

The twisted architecture, skewed angles, and exaggerated sets that litter his films reflect his love of German Expressionism. Recurring actors like Johnny Depp and Helena Bonham Carter play both vulnerable and strange characters as they try to make their way through a world that both marvels at and shun them. Eerie environments give way to moments of silliness and laugh-out-loud quirks in many of Burton’s films, making for a unique blend of horror and humor. 

3. Wes Anderson 1n4j5b

With his meticulously crafted visuals and distinctive storytelling, Wes Anderson is one of the most recognizable directors in modern cinema. Anderson’s films, ranging from The Royal Tenenbaums to The Grand Budapest Hotel, are an ode to his dedication to precision, symmetry, and a color palette that seems nostalgic and vibrantly modern. Characters and objects are frequently positioned in the center of the frame in Anderson’s films, creating a symmetrical, aesthetically beautiful, and thematically meaningful arrangement. 

Themes in Anderson’s stories frequently focus on dysfunctional families, lone dreamers, and misfit adventurers, with a blend of humor and sadness exploring their peculiarities, tragedies, and redemptions. The stories take place in beautifully detailed settings where even the most minor details, such as handwritten notes and custom-made tents, tell a story. Anderson’s color selections are also distinctive; his films use a distinct color palette, frequently pastels, that evokes a sense of timelessness. 

2. Quentin Tarantino 2z175q

Director with an adventurous, visceral, and unmistakable style, Quentin Tarantino’s films, like Pulp Fiction to Django Unchained, are distinguished by their complex plots, witty language, evocative scores, and shameless devotion to genre conventions. In Pulp Fiction, where multiple stories converge yet are shown in a chaotic order, he plays with time frames to make the narrative more exciting and challenging. Another signature of Tarantino’s work is the language; his characters have lengthy, meandering exchanges that, despite their seeming ordinariness, are full of wit, cultural references, and subtextual drama. 

Whether they’re discussing Madonna’s music or the nuances of European fast food, these conversations often go on to achieve legendary status. Graphic and stylish, the violence in Tarantino’s world is both shocking and fascinating for its balletic spectacle. His aesthetic preferences, which include bold color palettes and carefully composed shots, are consistent with this theme. Characters created in tandem with stars like Samuel L. Jackson and Uma Thurman will stay with you long after the movie’s over. 

1. Martin Scorsese 531411

Martin Scorsese is one of the most influential filmmakers of all time, and his directing style, which blends brutal reality and profound reflection, continues to make an impact. Scorsese’s entire filmography, from Taxi Driver to The Wolf of Wall Street, exudes an electric, intense vibe rooted in the complex social dynamics of urban centers like New York. His stories frequently delve into the psychology of imperfect characters, touching on topics such as obsession, redemption, and the conflict between personal ambition and morality. 

The dynamic camera work is a hallmark of Scorsese’s films; his use of lengthy tracking views, most notably in the Copacabana section of Goodfellas, transports the viewer into the beating heart of the action. The aesthetically arresting moments in Scorsese’s films result from his work with cinematographers, particularly Michael Ballhaus and Robert Richardson. Character arcs that are both terrifying and intensely real are another feature of his collaborations with Robert De Niro and, more recently, Leonardo DiCaprio. 

With actors striking across the United States, there were concerns about whether the Fall’s most important film festivals would go on as planned, with Venice arguably topping the list. Just four days ago, Luca Guadagnino pulled his electrifying release Challengers from the festival’s line-up, given the likely absence of his cast (composed of Zendaya, Mike Faist, and Josh O’Connor) to promote the film, and pushed its release from September to April 2024.

Regardless, it looks like the festival held on to a good chunk of its program, with some household names taking their new films to the stunning Italian city for their exclusive premieres. The list includes David Fincher’s Netflix thriller The Killer with Michael Fassbender, Michael Mann’s Ferrari biopic with Adam Driver, Sofia Coppola’s Priscilla about Priscilla Presley, Ryûsuke Hamaguchi’s surprise release Evil Does Not Exist, Yorgos Lanthimos’ Emma Stone-led Poor Things, Ava DuVernay’s Origin, and Wes Anderson’s short The Wonderful Story of Henry Sugar which will be showing out of competition. The presence of films by Roman Polanski and Woody Allen, who have both been involved in sexual abuse scandals, is once again attracting major backlash.

Official selection: In competition 37656q

Adagio; dir. Stefano Sollima
The Beast; dir. Bertrand Bonello
Io Capitano; dir. Matteo Garrone
Comandante; dir. Edoardo de Angelis
El Conde; dir. Pablo Larraín
Die Theorie von Allem; dir. Timm Kröger
Dogman; dir. Luc Besson
Enea; dir. Pietro Castellitto
Evil Does Not Exist; dir. Ryusuke Hamaguchi
Ferrari; dir. Michael Mann
Finalmente L’Alba; dir. Saverio Costanzo
Green Border; dir. Agnieszka Holland
Holly; dir. Fien Troch
Hors-Saison; dir. Stéphane Brizé
The Killer; dir. David Fincher
Lubo; dir. Giorgio Diritti
The Promised Land; dir. Nikolaj Arcel
Maestro; dir. Bradley Cooper
Memory; dir. Michel Franco
Origin; dir. Ava DuVernay
Poor Things; dir. Yorgos Lanthimos
Priscilla; dir. Sofia Coppola
Woman Of; dir. Małgorzata Szumowska and Michał Englert

Orizzonti section (Horizons) t4q1j

A Cielo Abierto, dirs. Mariana Arriaga, Santiago Arriaga
El Paraiso, dir. Enrico Maria Artale
Behind the Mountains, dir. Mohamed Ben Attia
The Red Suitcase, dir. Fidel Devkota
Tatami, dirs. Guy Nattiv, Zar Amir Ebrahimi
Paradise Is Burning, dir. Mika Gustafson
The Featherweight, dir. Robert Kolodny
Invelle, dir. Simone Massi
Hesitation Wound, dir. Selman Nacar
Heartless, dirs. Nara Normande, Tiao
Una Sterminata Domenica, dir. Alain Perroni
City of Wind, dir. Lkhagvadulam Purev-Ochir
Explanation for Everything, dir. Gabor Reisz
Gasoline Rainbow, dirs. Bill Ross, Turner Ross
En Attendant la Nuit, dir. Céline Rouzet
Housekeeping for Beginners, dir. Goran Stolevski
Shadow of Fire, dir. Shinya Tsukamoto
Dormitory, dir. Nehir Tuna

Orizzonti extra 4u5360

Bota Jone, dir. Luana Bajrami
Forever Forever, dir. Anna Buryachkova
The Rescue, dir. Daniela Goggi
In the Land of Saints and Sinners, dir. Robert Lorenz
Day of the Fight, dir. Jack Huston
Felicita, dir. Micaela Ramazzotti
Pet Shop Boys, dir. Olmo Schnabel
Stolen, dir. Karan Tejpal
L’Homme d’Argile, dir. Anais Tellenne

Out of Competition: Series 1d2k57

D’Argent et de Sang (episodes 1-12), dirs. Xavier Giannoli, Frederic Planchon
I Know Your Soul (episodes 1&2), dirs. Alen Drljevic, Nermin Hamzagic

Out of Competition: Non-fiction 104ra

Hollywoodgate, dir. Ibrahim Nash’at
Amor, dir. Virginia Eleuteri Serpieri
Ryuichi Sakamoto | Opus, dir. Neo Sora
Frente a Guernica (Version Integrale), dirs. Yervant Gianikian, Angela Ricci Lucchi
Enzo Jannacci Vengo Anch’io, dir. Giorgio Verdelli
Menus Plaisirs – Les Troisgros, dir. Frederick Wiseman

Out of Competition: Fiction 6m6e3

Aggro Dr1ft; dir. Harmony Korine
The Caine Mutiny Court-Martial; dir. William Friedkin
Coup de Chance, dir. Woody Allen
Daaaaaali!; dir. Quentin Dupieux
Hit Man; dir. Richard Linklater
L’ordine del Tempo; dir. Liliana Cavani
Making Of; dir. Cédric Kahn
The Penitent; dir. Luca Barbareschi
The Palace; dir. Roman Polanski
Society of the Snow; dir. J.A. Bayona
Snow Leopard. dir: Pema Tseden
Vivants; dir. Alix Delaporte
The Wonderful Story of Henry Sugar, dir. Wes Anderson

The 80th edition of the Venice Film Festival will take place between Aug. 30 and Sept. 9. If the SAG-AFTRA strike, which has been underway since July 14, persists, actors represented by the labor union, and who would be promoting studio and streamer films, will not be able to attend the festival, including names like Bradley Cooper, Adam Driver, Michael Fassbender, and more. The festival’s artistic director Alberto Barbera said, at a press conference for the festival that took place Tuesday, July 25, that he hopes “actors who are in independent [U.S.] productions – and there are many in Venice – will be coming.”

Seven decades since his peak, and the world still can’t get enough of Elvis Presley; after Baz Luhrmann gifted modern audiences a dazzling glance at the life of the legendary singer in Elvis, in which Austin Butler put on the lead performance of a lifetime, the unlikely next step wound up being Agent Elvis, the adult animated Netflix comedy in which Elvis lives a secret life as a superspy.

And now, the rich world of Elvis is set to expand once again in a big way, with writer-director Sofia Coppola taking the reins on A24‘s Priscilla, an biographical film based on Elvis and Me, the memoir of Elvis’ former wife Priscilla Presley. And while the film’s new trailer hasn’t offered much footage for us to go off of, the known subject matter and the film’s creative team should be more than enough to capture the attention of Elvis stans and movie lovers alike.

With stylish aesthetics abound, Priscilla will take the spotlight off of Elvis and place it on the eponymous Priscilla Presley, who courted and was married to the singer for six years, as the film follows her life and relationship with Elvis.

Cailee Spaeny (Pacific Rim: Uprising) and Jacob Elordi (Euphoria) star as Priscilla and Elvis, respectively, while Raine Monroe Boland and Emily Mitchell portray Lisa Marie Presley, the daughter of Elvis and Priscilla, at different stages of her life.

Sofia Coppola, who penned the film’s screenplay, also helms the film from the director’s chair.

At the time of writing, there is no confirmed release date for Priscilla, though filming for the project concluded in December 2022, so news on a release date shouldn’t be terribly far in the future.

Director Steven Soderbergh has always been on the forefront of experimental ways to create films. He was one of the first filmmakers to embrace the digital revolution, and even shot two of his films on iPhones. Now, Soderbergh plans to help finance films using blockchain technology.

Simply put, blockchain is a decentralized way to record information. IBM describes it as a “digital ledger system stored across a variety of networks. A system that could be programed to record and track anything of value.”

Through his production company Extension 765, Soderbergh provided Decentralized Pictures with $300,000, intended to help up-and-coming filmmakers finish their feature films or shorts. Decentralized Pictures is Roman Coppola’s non-profit company, which utilizes the blockchain to provide financial to filmmakers. Soderbergh told Indiewire:

“As with a lot of things I’ve done, it’s kind of an experiment. Part of my interest in this was to really get under the hood of how this is supposed to work to see if it really does work. Because for me, it’s still an open question, only because anything that was invented by a human being is probably at some point going to have the flaws that a human being has. I really want to get up in the grill of this blockchain approach or structure to see if it’s going to do what it’s supposed to do.”

According to their website, Decentralized Pictures

“is a nonprofit organization based on an idea that artistic talent may be discovered in innovative ways. Through consensus we have set up a democratic film fund, online community of creatives, film-fans, and industry professionals who will decide who is most deserving of our . Submit your idea, and if the world agrees with you, we’ll help you make it.”

Soderbergh is no stranger to finding innovative ways to finance his own films; he famously funded his film Logan Lucky himself through foreign pre-sales. Now, he sets his sights on using the blockchain to efficiently and democratically find the best unknown talent.

“I feel much more confident that we will be identifying real talent more efficiently than if we were just going off scripts.”

Coppola co-founded Decentralized Pictures with Leo Matchett and Michael Musante. Sofia and Gia Coppola serve on the board. They hope this new blockchain-based model will create a more equitable way to unknown filmmakers. Roman Coppola had this to say about Soderbergh’s contribution:

“Making a film can be a complicated and costly endeavor, by giving we can kickstart opportunities for people who might feel left out of the usual ways of financing. Mr. Soderbergh’s award is an extraordinary resource for new generation filmmakers to express themselves.

You can visit Decentralized Pictures for more information.

Known as Hollywood Hills Burglar Bunch, just The Burglar Bunch or more famously The Bling Ring, director Sofia Coppola’s latest adapts the plundering exploits of the group of teenagers who terrorized the celebrity strip, making off with more than $3 million before being caught. Courtesy of some promo material unveiled at Cannes (which just wrapped) and EW who broke the news, we have the first official image for the teeny-bopper crime tale which showcases our masterminds in full D&G glory. The Bling Ring is also written by Coppola and stars “Harry Potter’s” Emma Watson along with relative unknowns Israel Broussard (Flipped), Taissa Farmiga (American Horror Story) and first-timers Katie Chang and Georgia Rock. Leslie Mann will also appear as the mother of Watson’s character and Paris Hilton and Kirsten Dunst will have cameo roles. The true-to-life premise is very intriguing, let’s just hope that this doesn’t turn into some kind of Oceans 11 for the “Twilight” crowd. With Coppola at the helm however, we are far more likely to get something substantial and perhaps even great. It will also test Watson’s star potential in a leading role. The Bling Ring will sparkle in theaters some time next year.

Leslie Mann has been cast alongside Harry Potter‘s Emma Watson in Sofia Coppola‘s next film, The Bling Ring. Also ing the cast is a group of relatively unknown actors which include, Israel Broussard, Katie Chang, Claire Pfister and Georgia Rock. The film follows a group of young people, led by Watson’s character who “reportedly stole thousands to millions of dollars worth of belongings from celebrities such as Paris Hilton, Orlando Bloom, Rachel Bilson and Lindsay Lohan.” Coppola is writing the screenplay for the film, which is inspired by The Vanity Fair article titled “The Suspects Wore Louboutins” which can be read here. This will be Coppola’s first film since her Venice winning 2010 hit Somewhere. Production on The Bling Ring will start this Spring in Los Angeles for a 2013 release.

Looks like Daniel Radcliffe isn’t the only one looking to buff up his post-Harry Potter career. Radcliffe’s co-star from the series, Emma Watson, has been booking new roles left, right and center and now we have confirmation on yet another one, a part in Sofia Coppola‘s The Bling Ring. The film will follow the true story of “The Burglar Bunch aka Hollywood Hills Burglar Bunch aka The Bling Ring, a group of teenagers who pulled off some brazen heists of celebrity homes, including those of Paris Hilton, Lindsay Lohan, Rachel Bilson, Megan Fox and Orlando Bloom, taking up to $3 million dollars worth of goods.” Looks like the young actress has made yet another wise career choice with this one. This is the first time I’m hearing of The Burglar Bunch but it sounds like an interesting story and will likely make for a good film, especially in the hands of the talented Sofia Coppola. Plus, Watson is a fine young actress who I think is going to have a pretty successful post-Potter career. In addition to The Bling Ring, Watson also has The Perks Of Being A Wallflower and Your Voice In My Head coming up. She also just signed on to star in Guillermo del Toro‘s Beauty and the Beast. We’ll let you know when we hear more on The Bling Ring.