Venice 2023 Showbiz and Celebrity Breaking News

Luc Besson is back in theaters with his first film since 2019’s “Anna.” And from the looks of its new trailer, “DogMan” is another ultra-stylish, semi-deranged action thriller from the French director. But how will it hold up against Besson’s best films like “The Fifth Element,” “Le Femme Nikita,” and “Taken“? Audiences find out when “DogMan” hits theaters next month.

Fresh off its fall festival circuit run, including its world premiere in competition at the Venice Film Festival, “The Promised Land” will finally arrive in US theaters next February. That’s plenty of time for audiences to catch up with the historical drama before it might vie for the Oscar for Best International Feature Film in March.

Sofia Coppola‘s “Priscilla” hits theaters today amid a great deal of buzz, partially thanks to star Cailee Spaeny winning the Best Actress Award at the Venice Film Festival for her title role. But not everyone was thrilled Coppolla announced plans to adapt Priscilla Presley‘s 1985 “Elvis And Me” for the big screen last year.

Netflix has a bunch of anticipated films left on their 2023 release calendar, but maybe none more so than David Fincher‘s “The Killer.” And the director’s follow-up to 2020’s “Mank” sees him in familiar territory: adapting a hardboiled thriller in a way only he can. READ MORE: David Fincher On Why He Chose To Use The Smiths In ‘The Killer’: “I Thought It Was Amusing And Funny” Fincher reunites with “Se7en” scribe Andrew Kevin Walker for his latest feature, about an assassin who gets caught in an international manhunt after a hit goes wrong.

Did anyone expect J.A. Bayona to follow up “Jurassic Park: Fallen Kingdom” with an altogether different kind of survival thriller? Maybe not, but “Society Of The Snow” has garnered a lot of positive word of mouth as it made the festival rounds this Fall.

The movie world lost one of its greatest living directors when William Friedkin passed away in early August. And Friedkin’s death happened just weeks before his last film, “The Caine Mutiny Court-Marshal,” had its world premiere at the Venice Film Festival.

How’s this for a big pick-up in an otherwise quiet sale season on the Fall film festival circuit? Variety reports that Netflix bought the rights to Richard Linklater‘s latest film “Hit Man” after it screened at the Venice Film Festival and TIFF to rave reviews. It’s Netflix’s second significant purchase out of TIFF, the other being Anna Kendrick‘s directorial debut “Woman Of The Hours.” READ MORE: ‘Hit Man’ New Look: Richard Linklater Says His New Genre-Bending Movie Is “All About Identity” Based on a true story (but taking liberties with the source material) “Hit Man” stars Glen Powell as Gary Johnson, a part-time teacher who moonlights as a fake hitman for the local Texas police department.

It’s hard to encapsulate the cinema of a particular filmmaker in just one word, but if one were to try their hand at it with Mexican maverick Michel Franco, a word that’d come to mind is violence. The filmmaker’s work is built upon the looming expectation of violent transgression, society standing flimsy atop the fragile idea of cordiality.

Todd Haynes’ biopic “I’m Not There” famously featured several actors in the role of Bob Dylan, each embodying the artist in one era of his varied musical career. The idea, of course, was to acknowledge Dylan’s shapeshifting nature as well as the fact that his work can mean different things to different people — some may find one actor’s interpretation more convincing and accurate than that of another.

It surprised no one earlier this year when Trent Reznor & Atticus Ross officially came on board to score David Fincher‘s “The Killer.” After all, the pair have scored all of Fincher’s films since 2010’s “The Social Network.” But it surprised audiences at the movie’s world premiere in Venice last weekend when Reznor & Ross’ work didn’t feature prominently in “The Killer” at all.

That Glen Powell is a gem of an actor is nothing new, but twenty years into his career, and after stealing the show in a bunch of films and series, we can all finally stop praying for him to get a leading role worthy of his talents. In “Hit Man,” Powell reunites with his “Everybody Wants Some!!” director Richard Linklater for a part that allows him to be by turns nerdy, sexy, and funny, but at all times almost unbearably charming.

With 12 reviews so far, Roman Polanski’s latest film, “The Palace,” currently sits at a horrendous 0% on Rotten Tomatoes. Polanski hasn’t really had a hit film in a very long time and has also been at the center of controversy for decades, but a 0% is still really rough, with some reviews calling it the worst movie of the year.

I remember reading years ago that whenever the time comes for Woody Allen to make a new film, he opens a drawer in his desk and picks at random from the piles of scripts he has written over the years.

You don’t need to know much about the criminal justice system to understand its broken, biased, and grim nightmare— unfair, unjust, unforgiving, a bureaucratic Kafka-esque hellscape you never want to be trapped within. Turkish filmmaker Selman Nacar (“Between Two Dawns”) understands this all too well—he was a law student for several years before switching to filmmaking and saw all the flaws in the legal justice system firsthand.

The most powerful aspect of Sofia Coppola’s “Priscilla,” premiering in Competition at this year’s Venice Film Festival, is in the title: to focus on Priscilla Presley, née Wagner, formerly Beaulieu, is to show a side of a marriage and of the King himself less familiar than and in some ways different from the romantic popular legend. But Coppola’s film does much more than simply show us the facts of how a fourteen-year-old girl gets to become the girlfriend and then wife of one of the biggest artists of all time.

The question of whether or not technology has killed the classic crime thriller has popped in and out of the discourse as the years saw pocket watches morph into sci-fi-looking gadgets capable of getting one both dinner and a first-class ticket to Dubai in the space of a couple of minutes.

You didn’t expect French filmmaker Bertrand Bonello to make a conventional sci-fi, did you? Good, because “The Beast” is far from it. It all starts in 2044 with beautiful actress Gabrielle (Léa Seydoux) in desperate need of a job.

Wes Anderson fans were surprised when the filmmaker revealed earlier this summer that his upcoming Netflix project “The Wonderful Story Of Henry Sugar” is only 37 minutes long. But there’s a good reason for its short length.

Ten years after “Spring Breakers,” the neon pinks and greens of Harmony Korine’s mainstream breakthrough return in an Internet-inflected and even more abstract ode to the thug life, with seriously mixed results. To call “Aggro Dr1ft” stupid or silly isn’t wrong, but it is missing the point.

A scene early in Ibrahim Nash’at’s chilling new documentary “Hollywoodgate” makes clear the stakes of Nash’at’s undertaking. Invited by the Taliban to film a top leader, the new air force commander Malawi Mansour, and a lower-ranking Taliban Mukhtar, after the departure of American Troops from Afghanistan in 2021, Mansour makes clear his feelings about the documentary and Nash’at.

Time is a relative construct stretched to the limits of elasticity by Saverio Constanzo with the period drama “Finally Dawn.” The bloated 140-minute runtime begins at a cinema in Rome in 1953 as three women watch the final scene of a saccharine war drama, the light of the big screen coming to reveal a mother and two daughters, one donning the beauty of a Hollywood starlet and the other the beauty of a traditional Italian woman, with big blue eyes framed by thick curly hair. Venice Film Festival 2023: The 17 Most Anticipated Movies To Watch The curly-haired girl is Mimosa (Rebecca Antonaci), a shy 21-year-old used to inhabiting the uncomfortable but familiar shadow of her daintier sister, Iris (Sofia Panizzi).

Before “Maestro” plunges into the sharp monochrome of its first chapter, Bradley Cooper’s Leonard Bernstein relays to a camera crew how he can still feel the presence of his wife within the walls and gardens of their beautiful countryside manor. “I miss her so much,” he says, the passage of time denounced by the sprawling maze of wrinkles that frames his youthful blue eyes.

Wes Anderson fans were surprised when the filmmaker revealed earlier this summer that his upcoming Netflix project “The Wonderful Story Of Henry Sugar” is only 37 minutes long. But there’s a good reason for its short length.

When it comes to the 80th edition of the Venice Film Festival, there’s any number of in-competition titles that could win the coveted Golden Lion. But a top sleeper pick may be Ava DuVernay‘s “Origin,” which has its world premiere on the Lido on September 6.

In Richard Linklater’s “Hit Man,” truth proves stranger than fiction. Based on Skip Hollandsworth’s Texas Monthly piece of the same name from 2001, Linklater’s newest film follows Glen Powell as Gary Johnson, a man so good at pretending to be someone else he could convince clients he was a cold-blooded contract killer.

Mads Mikkelsen has proved time and again a master at playing quiet, rational, and seemingly harmless men who, when pushed, swiftly reveal themselves also to be skilled executioners; their pent-up rage does not bubble up so much as shoot out of them in sudden bursts of ultraviolence. Mikkelsen proves it once more in “The Promised Land,” the new period drama that reunites him with his “A Royal Affair” Danish director Nikolaj Arcel, and premieres in competition at the 80th Venice Film Festival this week.

British author Roald Dahl has long been referred to as one of the best storytellers for children of the 20th century, a seemingly flattering but objectively flawed observation. Dahl is, after all, not just one of the best storytellers for children of the 20th century.

A parent’s desire to trap their offspring in perpetual childhood is not a foreign concept to Greek filmmaker Yorgos Lanthimos, whose 2009 psychological drama “Dogtooth” chronicled the dysfunctional routine of a wealthy businessman, his meek wife, and their severely infantilized adult children.

There are plenty of intriguing titles vying for the Golden Lion at this year’s Venice Film Festival. But Yorgos Lanthimos‘ “Poor Things,” the director’s first film since 2018’s “The Favorite,” may be the most intriguing of all.

Wes Anderson fans were surprised when the filmmaker revealed earlier this summer that his upcoming Netflix project “The Wonderful Story Of Henry Sugar” is only 37 minutes long. But there’s a good reason for its short length.

Love him or hate him, Nicolas Winding Refn continues to be a voice of sanity in a film industry beset by upheaval. Variety reports that the Danish auteur went off again about what ails cinema today at the Venice Film Festival in a tribute to Ruggero Deodato.

For a few beautiful years in the early 2000s, Michael Pitt’s spine-chilling blue eyes wreaked havoc in world cinema, from Bernardo Bertolucci’s “The Dreamers” to Michael Haneke’s “Funny Games.” Then, due to quite a few controversies, the actor stepped away from the limelight, taking on smaller projects here and there and leaving an abyssal gap in the industry: a blue-eyed menace whose presence in any given film immediately signaled some form of psychological torture. Many have tried their hand at filling this gap, from the sprawling Skarsgårds to Dane DeHaan, but no one has come as close to it as Caleb Landry Jones.

Watching Michael Mann’s “Ferrari,” one may wonder whether it’s even possible to make a film about an Italian figure and have it not be at least 80% about style. An admittedly rather inane thought, but one made a little more legitimate by the central presence of Adam Driver as the titular Enzo Ferrari.

The Venice Film Festival is now underway, albeit without a lot of actors on the Lido thanks to the ongoing SAG-AFTRA strike. But Variety reports that “Ferrari” star Adam Driver is at the festival to support Michael Mann‘s latest film (as it’s not part of the AMPTP), and he didn’t hold back about certain companies refusing to meet guild demands.

While he’s now 50 years old, former enfante terrible filmmaker Harmony Korine is still a little mischievous boy at heart. While he’s seemingly mellowed somewhat—and kinda stopped telling tall tales— unless his recent comments about potentially directing a Terrence Malick script is one of his fibs—he’s also not against doing wild experimental sh*t.

To drum up hype for EDGLRD, his new creative collective/design studio, Harmony Korine put one of America’s greatest living filmmakers in his sights. EW reports (via a new GQ profile) that, with the recent advances in gaming technology (the same Korine uses to make his new film “Aggro Dr1ft“), videogames now look better than movies visually.