They're all blessed with prodigious gifts, except for Mirabel (voiced by “Brooklyn Nine-Nine” actor Stephanie Beatriz), who lacks her siblings' superhuman abilities. However, it is Mirabel who discovers that the supernatural powers protecting the village of Encanto are in danger of collapsing, which means it will fall to her to save her home and those she loves. The film is a hit with critics. Variety's Owen Gleiberman praised it as "a lively, lovely, lushly enveloping digitally animated musical fairy tale." Featuring original music from “Hamilton” creator Lin-Manuel Miranda, “Encanto” follows a family living in a magical town in the mountains of Colombia.
Elsewhere, look for "House of Gucci" to pull in roughly $20 million, while the "Resident Evil" sequel will likely gross in the neighborhood of $15 million over the five-day period.
On Wednesday, the franchise reboot earned $5.4 million. Sony's "Ghostbusters: Afterlife" topped the box office last weekend and will be a formidable presence this week. Marvel's "Eternals" picked up $1.9 million on Wednesday, bringing the superhero film's stateside total to $141.1 million. That pushes its domestic haul to $57.9 million.
If they do, the battered cinema business will have a lot to celebrate this holiday season.” /> As America gathers around their dinner tables to give thanks, the exhibition industry is hoping fervently that consumers chase down the pumpkin pie and turkey with a visit to the local multiplex.
Disney’s “Encanto” topped the Wednesday box office, netting $7.5 million in its first full day of release. The family film has heavy competition over the Thanksgiving holiday. Also vying for a major slice of the pie are MGM’s star-studded crime drama “House of Gucci," which brought in a solid $4.2 million on Wednesday, as well as Sony's “Resident Evil: Welcome to Raccoon City," which scored $2.5 million.
“Encanto” is expected to top the box office and generate $35 million to $40 million over the five-day period, a much more muted launch for a Disney holiday offering than previous Thanksgiving debuts from the Mouse House, such as “Frozen II” in 2019 ($123.7 million), “Ralph Breaks the Internet” in 2018 ($84.6 million) and “Coco” in 2017 ($71 million). However, those movies bowed in pre-pandemic times. Right now, it's looking to end up on the lower end of projections unless there's a surge of interest in the film over the weekend. If "Encanto" over-performs, that may be the result of a vaccination push to put shots in the arms of children between five to 11, which could make families more confident about returning to cinemas. If “Encanto” can deliver on its current estimates, it will rank as a relative victory at a moment when ticket sales are depressed industry-wide and COVID rates are on the rise again.
"House of Gucci" is directed by Ridley Scott, whose medieval epic "The Last Duel" flopped at the box office when it opened in October. Other films aimed at older crowds, such as "King Richard" with Will Smith" and "Spencer" with Kristin Stewart, have failed to generate much in the way of ticket sales despite debuting with Oscar buzz. Reviews have been mixed, with some critics praising it as a skillful dissection of the monied elite and others decrying it as an overly ripe melodrama. But those films lacked one thing that "House of Gucci" has in spades — Lady Gaga, who has a delicious, scenery chewing role as Patrizia Reggiani, an outsider who marries into the Gucci family, and whose obsession with power and privilege lead to her undoing. "House of Gucci" is trying to become the rare adult drama to connect with viewers during the pandemic era.

One of the schemes, BAFTA Crew, has a roster of 1,500 industry-ready crew members. So those people are ready to work now.” Tim Hunter, BAFTA executive director for learning, inclusion, policy and membership, tells Variety: “We’ve done all the work to ensure that they’re talented, and nobody needs to really worry that they’re not going to be up to the job. We’ve done the work to make sure that they are diverse and supported in any kind of access requirements or anything else that they need, and to build their skills.
The Princess Anne Theatre now has Dolby Atmos and Dolby Vision audiovisual systems in place. It retains its 227 seats but with a difference — 17 of those spaces are wheelchair accessible. The 41-seat Run Run Shaw preview theater, with six accessible spaces, is at a new location within the building and also has bespoke audiovisual equipment. Given the ever-present threat of COVID-19, there is also a new air displacement system, ensuring constant fresh air.
Alongside the findings of the review, which are being implemented, CEO Amanda Berry tells Variety that “special awards” like the outstanding British contribution award and the BAFTA Fellowship are being “thoroughly and thoughtfully” examined in terms of what they represent and celebrate.
We also want to continue to promote positive and meaningful industry change. Our work with other organizations such as the BFI on bullying, harassment and racism-prevention guidelines continues.” “We want BAFTA to be an open and inclusive place and for the industry volunteers who join our committees and juries, as well as our wider membership, to understand and share our values. “We’ve also been looking at how we can better communicate our expectations of behavior and the values that underpin our work,” Berry adds.
It began as a response to the lack of diversity in the nominations but expanded to more than 120 changes to BAFTA’s voting, membership and campaigning processes. But the recent past has been a turbulent period for the organization, beginning with the #BAFTAsSoWhite scandal during the 2020 nominations, where there were no nonwhite nominees in the acting categories. David Lean was appointed the academy’s first chair, and the first awards ceremony took place in 1949. Over the years, the film awards gained in global prominence, and in 2001 they moved from their traditional April slot to February, ahead of the Oscars. BAFTA was formed in 1947 as the British Film Academy, the result of the efforts of key figures — led by filmmaker Alexander Korda, whose “The Private Lives of Henry VIII” (1933) was the first British film nominated for a best picture Oscar — in the industry to promote and develop British film as an art form. Since then, the BAFTA Awards have served as a bellwether for the Academy Awards. The backlash led to a groundbreaking, in-depth awards review, commissioned by BAFTA chair Krishnendu Majumdar.
Ade Rawcliffe, group director of diversity and inclusion at U.K. broadcaster ITV, also serves as chair of the BAFTA learning and new talent committee. “We use the BFI Diversity Standards now as a condition for entry [to the BAFTA talent schemes],” Rawcliffe tells Variety.
As for the film awards, the long-listing process and the “conscious voter” videos that have been implemented to help level the playing field have seen members who cast ballots watch more movies, resulting in 50 films nominated in 2021 compared with 39 in 2020 and a surge in the number of women directors nominated.
Since then, the organization has been in a period of regeneration, in more ways than one.
Regarding the long-standing debate around merit versus representation, Rawcliffe says, “It started out being a review of our awards process for the film awards, but it ended up being ‘What is the purpose of BAFTA, and what are our values?’ And I would say that representing our audience and representing the country is a key value of BAFTA. I would say that representation makes up the definition of excellence; I don’t see these things as being mutually exclusive. So I would not separate them. They are things that we stand for.”
“We’re particularly focused on helping talent from underrepresented groups to access careers in film, games and television with initiatives such as Breakthrough, which supports emerging talent in the U.S. “The awards are just the very visible tip of the iceberg in terms of the unique work that BAFTA does year-round,” says Berry. and India as well as the U.K.”
A stated aim of the BAFTA redevelopment is to provide 80,000 people a year with the tools to pursue a career in film, games and television.
Members will be able to scan and link to information about the participants. While the portraiture throughout the building reflects the diversity of winners and nominees, a striking feature of the Attenborough space is the portraits of those selected for BAFTA’s Breakthrough, Elevate and other talent initiatives. The architects raised the roof, literally, and added a floor — it’s now the new members area — named after Oscar-winning “Gandhi” filmmaker and “Jurassic Park” actor Richard Attenborough.
“It’s about how we can use our platform to change the industry, and it’s really, really important how we use our voice in the industry.”
What used to be the David Lean Room events space is now rebranded as the Ray Dolby Room (with Lean receiving a titular boardroom instead), and physical sets and props have been replaced by a sophisticated projection system. What was once the members’ bar is now the Creative and Future Galleries, a multipurpose space for learning and new talent activity. For members and visitors accustomed to the old headquarters, the physical changes are pleasantly startling.
Physically, the hallowed BAFTA headquarters at 195 Piccadilly in London can’t change its facade, being a historically listed building. However, the interior has gone through a state-of-the-art sustainable and accessible retrofit costing £33 million ($47.4 million), per figures published by Benedetti Architects, which is in charge of the process, overseen by BAFTA head of property Pauline Campbell.
I think the review was very much about taking a long look at where we were, and how we could be better and how we could future-proof ourselves.” Sara Putt, deputy chair of the academy and chair of the television committee, tells Variety: “I think [BAFTA] has changed, and is changing, and will continue to change.
“It’s about looking where the BAFTA can help to make sure that those from underrepresented groups are not hitting glass ceilings, are getting through, getting in front of the right people and getting those opportunities.” “We all know there are huge skill shortages in areas of the industry,” says Putt.
BAFTA also helps introduce talent to potential employers, primarily through roundtables, in an environment that aims to convey a sense of trust and security, Hunter says, adding that the organization is creating a “virtuous circle” where information collected as part of the diversity requirements is used to enhance its programs.
“It is our London hub and a center for creative excellence. “We see 195 as an investment in future generations of talent,” says Berry. The increased space and dramatic expansion of our programs and events means quite simply that we can discover and nurture even more talent. I believe that talent is everywhere, whereas opportunity is not and we want to change that.”
The BAFTA talent initiatives are particularly welcome at a time when the U.K. production industry is booming but there is a critical shortage of personnel.
The new look of the British Academy of Film and Television Arts is more than just a fresh coat of paint. The academy, which presents the U.K.’s premier film, television and gaming industry awards, is in the process of a major makeover and redevelopment — inside and out.
Another stated goal of the review — to add 1,000 underrepresented individuals to the BAFTA ranks over two years — is on track, the organization says, with one-third of the target achieved.
Meanwhile, the physical redevelopment process that Berry describes as the “most ambitious project in BAFTA’s 75-year history” is culminating in the doors of 195 reopening in a series of soft launches. Philosophically, “the work of the review is ongoing, but this impact is very promising,” Berry says.” />
In March 2021, actor-producer Noel Clarke was given the BAFTA Outstanding British Contribution to Cinema Award — an honor he accepted as part of a televised ceremony. However, following sexual misconduct allegations brought against Clarke in a bombshell report by The Guardian, BAFTA — facing criticism for having gone ahead with the ceremony despite prior knowledge of untoward behavior — withdrew the award and suspended his membership. The review was published in September 2020 and was praised across the industry, but further struggles were in store for the organization.
“A key priority for the redevelopment of 195 has been making sure the building is as welcoming and accessible as possible too,” Berry adds. We’ve also been consulting with disability specialists to ensure our programs are accessible and inclusive to all, and that includes people with invisible disabilities or those that are neurodiverse too.” It’s not just about the physical space either. “For example, we have consulted disabled members of the industry, and they have been some of the first groups to tour the building and provide feedback, which I’m delighted to say has been positive.

Both Swift and West are extremely powerful players in the music industry and both are affiliated with Universal Music Group, the world’s largest music company. He has three other 2022 nominations, all in the rap category. He is certainly no friend to the Academy, as he recently posted a video of himself urinating on a Grammy award (presumably one of his 22 trophies) and caused drama for it with this nomination, which includes a songwriting credit for Marilyn Manson, whom West has embraced amid multiple allegations of sexual misconduct against the shock-rock singer. Yet that take is countered by the other late-addition best album nominee, Kanye West, whose countless controversial statements in recent years have cast a pall over his creative work for many.
While the timing of the move was unusual, it was positioned by CEO Harvey Mason jr. as a long-discussed topic that, once they saw the large number of great nominees, presented “an incredible opportunity for us to honor more artists and shine a light on more great music, and potentially offer a greater opportunity for more genres of music to be honored," he told Variety on Monday. The day before the 2022 Grammy Awards nominees were announced, representatives from the Recording Academy, which oversees the awards, began informing members of the media that the four top awards — the “Big Four” of Best Album, Song, Record and New Artist — would be expanded to ten from the previous eight.
Whether or not his big-hearted explanation is fully accurate remains to be seen, and although Mason and the Academy have made big moves to clean up their act since he took office early in 2020 — at least outwardly — the string of major controversies that have marred each year make it more difficult to take such statements at face value.” />
Those artists include Taylor Swift, Kanye West, Lil Nas X, Doja Cat, ABBA, Brandi Carlile, and the two Best New Artist adds, Baby Keem and Arooj Aftab. But late Wednesday, one day after the nominees were officially announced, the New York Times listed the artists and recordings that had been added to the big categories at the last minute, based on an earlier, preliminary nominees list that it had obtained (the Academy has not disputed the accuracy of that list). Mason said that the added nominees were simply the ones who’d received the ninth and tenth-most votes.
See the full list of official nominees here. It also should be noted that the Grammys changed their nominee-voting system this year, which had previously been curated by “secret” nomination-review committees consisting of unidentified industry experts that made last-minute tweaks; those committees were eliminated in April, in the wake of the Weeknd’s stunning exclusion from all nominations last year, despite having one of the most successful albums and singles of 2020. In all but a few speciality categories, the Academy says the votes come directly from the Academy's voting membership, which is between 11,000 and 12,000 voters, and are tabulated by the top auditing firm Deloitte Touche Tohmatsu Limited.
Sources tell Variety that the expansion of the top lists was the cause of the delay. Advance lists of the nominees, which are traditionally serviced to the media 24 hours before the announcement, arrived much later than usual on Monday.
Asked directly about the timing of the rule change, Mason told Variety on Monday, “It’s something that we’ve talked about for quite some time but it ended up happening fairly recently,” he said. “We looked at the voting and the amount of submissions [for the 2022 Grammys] and saw it as a great opportunity.” He also flatly denied that ratings for the Grammy Awards telecast were a factor in the decision.
Finally, looking at the always-controversial Best New Artist category, rapper Baby Keem already had two nods, Best Rap Song and Best Rap Performance, for his collaboration with multiple Grammy winner Kendrick Lamar. And while Arooj Aftab is the least familiar in the category to most fans, the jazz-leaning Pakistani singer-songwriter-producer moved to the U.S. Her third and most recent album, “Vulture Prince,” was released on the indie New Amsterdam Records earlier this year; Keem is affiliated with Sony Music. in 2005, is a Berklee School of Music graduate and her song “Mohabbat” was listed by former President Barack Obama on his summer 2021 playlist.
Looking at the list of last-minute nominees, it seems plausible at least that those artists received the ninth and tenth-most votes. But the Grammys long have been accused of insider dealing, including by Deborah Dugan, Mason’s predecessor as CEO, who was controversially ousted just before the 2020 awards and filed a blockbuster, allegation-filled legal complaint against the organization; the two parties settled earlier this year.
Additionally, singer-songwriter Linda Chorney has noted that she was erroneously credited with a nomination in a Roots category by some publications that were apparently citing an early version of the nominees list, although it was unclear at the time of this article’s publication whether that was the same list that the New York Times has cited. While those publications corrected their lists, Google never forgets.
But more to the point, considering the media and fan firestorm around the Weeknd’s exclusion last year, and the massive social-media power of Swift’s following, the prospect of her being completely excluded from the 2022 Grammys was daunting for any number of reasons. Most notably, Swift, and the Academy, had much to gain by her addition: It’s her only 2022 Grammy nomination, she won Best Album last year with “Folklore,” the predecessor to this year’s nominee, “Evermore,” and has three total Best Album wins amid her 11 career trophies.
And while the add for Lil Nas X’s “Montero (Call Me by Your Name)” is a nice boost, he already had four nominations, including one for album of the year. (ABBA is affiliated with Universal, Nas with Sony Music.) Record of the Year saw the addition of ABBA’s first single in nearly 40 years, “I Still Have Faith in You.” While the group is one of the top-selling acts of all time, they have never received a Grammy and frankly it does not appear to be a glaring item on whatever career bucket list they might still have. It is more challenging to find controversy in the other categories receiving adds.
Doja Cat already had seven nominations, including Album and Record of the Year, and recent Grammy darling Brandi Carlile already had four, including Record of the Year. Song of the Year brings forth a similar take. (They are affiliated with Sony and Warner Music, respectively.)

In the end, the rule was that everyone who stepped into the space and therefore on set had to be vaccinated, from the crew members to the audience to the handlers. (A few cutouts returned as seat-fillers, Miller notes.) Miller says there were almost eight months of meetings taking place between environmental health and safety people to work out logistics as guidelines shifted throughout the year. The 2021 show welcomed back a live audience, but only at 75% capacity. This means that "The National Dog Show Jr." could only feature kids ages 12 and older as the junior handlers, due to the age restrictions on the vaccine at the time of prepping the show.
After just a few nights of having the therapy dogs back interacting with our families, we are seeing the smiles on their faces. "During COVID, we had to be mindful of keeping our patients safe, which caused us to suspend a lot of our volunteer programs. "As 'The National Dog Show' evolves, we want the Ronald McDonald House to evolve with it," says Susan Campbell, CEO, Philadelphia Ronald McDonald House. Just this fall, we began reintroducing our therapy dog program. The therapy dog program is so important and being able to align with 'The National Dog Show reinforces that." Being able to sit one-on-one with the therapy dogs is invaluable.
This is something "The National Dog Show" has leaned into in its commentary from hosts David Frei and John O'Hurley, as well as Mary Carillo, who reports from backstage with the handlers. Educating the audience about dogs could not come at a more important time, as the ASPCA reported 23 million homes acquired a pet (many of them canines) during the COVID-19 pandemic and now that the world is reopening, these animals will have to adjust to being separated from their human counterparts for longer periods of time.
Additionally, the Ronald McDonald House, which supports families with sick children, is back as a beneficiary of the event.
The show, which counts Purina as a sponsor, is also leaning into the importance of discussing canine health and how important dogs have been for families during the pandemic, something they scratched the surface of last year.
"Our job here really is to showcase and bring the dog show home; our goal is to entertain and educate." "We let the Kennel Club of Philadelphia dictate those kinds of things and they do it in conjunction with the American Kennel Club," Miller says of adding a new breed, which has happened 50 times in the 20-year history of the show.
25 at 12 p.m. 25 on Peacock.” /> in all time zones on NBC and simulcast on Peacock. "The National Dog Show" will air Nov. "The National Dog Show Jr." will stream Nov.
He died in June, which made this a "tough event" for the rest of the team, including his wife Kathy, Miller says. "We'll take a moment in the broadcast on Thanksgiving Day to recognize and honor him." This year, "The National Dog Show" won't just be celebrating four-legged friends, though: The two-hour broadcast will also feature a tribute to Paul Carson, who was one of the founders of the event.
In order to produce the show safely then, fewer breeders and trainers flew in, limiting the canine competitors to approximately 600, which is more than two-thirds fewer than the usual 2,000 entrants. It was a feat that "The National Dog Show" could still go on in 2020 when families were kept from traveling to see each other. One calendar year later, with the pandemic still ongoing, "The National Dog Show" soared back to full capacity for its canines, including one additional breed: The Biewer Terrier, part of the toy group, is being introduced this year, bringing the total number of recognized breeds in the show to 209. The show ensured all handlers and crew members wore masks, but it skipped the live audience altogether.
"We have become part and parcel with the Macy's Thanksgiving Day Parade. One great thing about this show is that it shows all different breeds, and you'll learn about every single one." "This has become 20 years of unbelievably successful family holiday tradition," says Jon Miller, creator of the National Dog Show and president of programming at NBC Sports Group. Families will get together and watch the show as a family with their dogs, or if they are interested in getting a dog, this is a great place to watch and learn about all these different breeds.
"We want to do even more, but just because we're so cognizant of COVID rules and stuff like that, we didn't we didn't push the envelope too much," Miller says of the changes and additions around "The National Dog Show."
After having to scale down the number of canine participants and limit its audience to cardboard cutouts last year, "The National Dog Show" is back in full force — even going so far as to introduce a new breed this, as well as an extended secondary show. And the timing couldn't better as the holiday event marks its 20th year.
"We've got so many people who know the business and know the breeds," Miller says of the team.

They also recommend the equitable distribution of federal tax credits, which are a large source of funding for the Canadian film and TV industry, pointing out that these cannot be distributed equitably without accurate quantitative data.
As part of the recommendations, REMC has also urged the Canadian federal government to implement a bill that would "Formalize race-based data collection, set targets, demand accountability and ensure the community is reflected in leadership and policy design."
– Consulting with BIPOC communities to create standards, targets and quotas.
Instead, REMC turned their eye to reporting practices, identifying the barriers to collecting accurate data – such as prohibiting self-reporting and interpretations of Canada's Privacy Act – and establishing a set of recommendations to encourage better reporting.
Check out the full report here: re-mc.org/research” />
After asking Nordicity to generate the report, the REMC were told there was not enough data to compile a quantitative analysis of the industry because of inadequate reporting practices within the organizations. The genesis for the recommendations was the commissioning of a report looking at data from government, funders, unions, broadcasters.
These include:
– A data system to store and manage data
– Making data accessible to BIPOC communities
The Racial Equality Media Collective (REMC), a Canadian non-profit representing BIPOC creators in the film, television and digital media industries, has issued recommendations on collecting accurate race-based data to aid diversity and inclusion initiatives.
"The promise of equity in Canada’s screen sector has only begun," the REMC conclude. Our aim will be to publish these findings and more at the end of 2023." The REMC will continue to consult with BIPOC communities about the implementation of these recommendations and best practices. Further consultation is also required with francophone communities as well as digital and interactive producers. "The creation of a data collection system will be a multi-year process that the REMC is committed to.

Mucciante “began to question the story that the movie was based on earlier this year, after he noticed discrepancies between the memoir and the script," according to The New York Times. Mucciante, who was an executive producer on "Lucky" and was meant to provide the film's financing via his banner Red Badge Films, played a crucial role in getting Broadwater's conviction re-examined.
On Wednesday, a New York Times article detailed how executive producer Timothy Mucciante raised concerns about the events in the book and left the project. In "Lucky," Sebold depicts being viciously beaten and raped by a stranger during her freshman year at Syracuse University in 1981, and explores how this trauma shaped the rest of her life.
"Lucky," the film project adapted from Alice Sebold's 1999 memoir toplined by "You" star Victoria Pedretti, has been abandoned, Variety has learned.
Pat Saperstein and Angelique Jackson contributed to this story.” />
Variety has reached out to Brown and Sebold's literary agent for comment. Mucciante had no further comment.
24 in New York State Supreme Court. Anthony Broadwater, the man who is portrayed in her novel (under the fictional name of Gregory Madison) and was convicted with first-degree rape and five other charges in this case, was exonerated on Nov.
Since then, he has continued claiming his innocence while facing decades of stigma, isolation and missed job opportunities as a registered sex offender. Broadwater spent 16 years in prison and was released in 1998.
Sebold that Mr. Sebold had initially identified a different man as her attacker in a police lineup but later pointed to Broadwater in court after the "prosecutor falsely told Ms. Broadwater's defense lawyers argued that the case had relied solely on a method of microscopic hair analysis that has now been discredited, and on Sebold's identification of Broadwater in court. Broadwater and the man next to him were friends who had purposely appeared in the lineup together to trick her," the New York Times reports.
She went on to write the 2002 novel "The Lovely Bones," which sold 10 million copies and was adapted into Peter Jackson's Oscar-nominated film of the same name. "Lucky," which sold over 1 million copies, kicked off her career as an author. Sebold has not commented on the overturned conviction but ignored questions from a Daily Mail journalist near her San Francisco home, as seen in photos and a video released by the U.K. publication.
The result of the private investigation was then taken up by Broadwater's legal team. Mucciante left the project in June and hired a private investigator to examine the evidence against Broadwater.
“I started having some doubts, not about the story that Alice told about her assault, which was tragic, but the second part of her book about the trial, which didn’t hang together," Mucciante told the Times.
Jonathan Bronfman of JoBro Productions was executive producer on the film, but Variety has confirmed that he is no longer attached to the project. Karen Moncreiff (“13 Reasons Why”) was set to write and direct "Lucky," with James Brown (“Still Alice”) producing.
The movie was dropped after losing its financing months ago, according to a source close to the production. Pedretti is also no longer involved.

In shaping this exploration of a girl’s inner life, the filmmaker and her team pushed back against having too many period trappings and dropped several contemporary musical cues, even as they situated the narrative at a very specific historical moment.
A beloved stalwart of the French film industry, actor Sandrine Kiberlain marks her directorial debut with “A Radiant Girl.” After premiering at Cannes’ Critics Week sidebar this past July, the film will now screen at the Torino Film Festival ahead of a domestic release early next year.
“We know what happened, we know how things turned out, so it was enough to simply live in that period,” Kiberlain tells Variety. “We know what danger is coming, which meant that you can wring incredible tension from moments of great joy.”
Set during the fraught summer of 1942 and following a Jewish girl, Irene (Rebecca Marder), as she prepares for a conservatory entrance exam, the bittersweet film is most notable for what it elides – at no point does the ebullient lead speak the words “Vichy,” “Nazi,” or “Occupation.” And as the filmmaker explains, that was precisely the point.
The heroine had to be very contemporary, so that we could identify with her, so that young people could say to themselves ‘that could be me.’ That could be someone who goes to the Bataclan and doesn't come out.” I wanted the film to bring us back to the period we are living in. “I didn't want to ‘date’ the film,” she explains. “As I told the set and costume designers, while we couldn’t hide the film’s era, we had to bring it back to what frightens us today.
“I wanted people to be able to relate to her, so I thought of the film as pages from a diary that moves along with her. The character is young and impassioned and full of life; she doesn’t want to dwell on what’s breaking around here, so she pursues her passion for theater, until the bad news accumulates and she can't do anything else but bear it.” Bad news one day leads to romance the next. “I had to show the danger, that monster lurking in the shadows, without stopping my heroine from moving forward,” she says.
Striking that right balance – using moments of levity and youthful abandon as elements of negative space – presented a particular challenge, the filmmaker grants.
Though she has no plan to slow her busy acting schedule, she'll approach future directorial outings on a more deliberate timeline. As it happens, Kiberlain will co-star in an upcoming police thriller about those Paris attacks – which is just one of five projects she has coming down the pike.
“This is the last time I’ll have made a first film, so I’m very attached. “My future is to accompany this film,” Kiberlain says. I’ll need to think about what story I want to tell because it has to be vital, it has to be necessary, I’ll have to be with it 100%.”” /> I would love to direct again, but I'll never be a director who finds one idea after another. It's all I can think about!
“Once I landed on the idea of a strong and wilful 19-year-old girl, I realized that by treating her strength of spirit, I could evoke to an even greater degree the horrors of what was to come by showing all that she would lose.” “I wanted to approach a period of history that has always haunted me without turning it into another war film,” Kiberlain continues.

14, 2022. "The Tragedy of Macbeth" is scheduled to have a limited release in theaters on Dec. 25 before streaming on Apple TV Plus on Jan.
Opposite two-time Oscar-winner Washington and four-time winner Frances McDormand, the 33-year-old Hawkins takes on the moral figure with a fury of passion and technique, managing to carve out multiple standout moments along with other featured players Moses Ingram and Kathryn Hunter.
Listen to the full interview with actor Corey Hawkins in the latest edition of Variety's Awards Circuit Podcast below!
Hawkins is already starting to rack up accolades, including two SAG Award nominations for being part of the ensembles of "Straight Outta Compton" and "BlacKkKlansman." He also has a Tony nomination for best actor in a play, for his role as Paul in the 2017 stage production of "Six Degrees of Separation." In addition, Hawkins has had a robust cinematic year that included his performance as Benny in the big-screen adaptation of the Tony-winning musical "In the Heights" from Jon M. Chu.
Variety's Awards Circuit podcast is hosted by Clayton Davis, Michael Schneider, Jazz Tangcay and Jenelle Riley and is your one-stop listen for lively conversations about the best in movies. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts. Michael Schneider is the producer and Drew Griffith edits. Each week, "Awards Circuit" features interviews with top talent and creatives; discussions and debates about awards races and industry headlines; and much, much more. New episodes post every week.” />
And the Awards Circuit Roundtable on “Licorice Pizza,” “Don’t Look Up,” and what we’re most thankful for this year.
When a group, led by a man called Ketchum (Stephen Dorff) comes for the money, Henry must decide whom to trust. Also on this episode, we talk to “Old Henry” star Tim Blake Nelson. Potsy Ponciroli writes and directs. “Old Henry" stars Nelson as Henry, a farmer who takes in an injured man (Scott Haze) with a satchel of cash.
"To share space to sit down in his dressing room, and talk, pray, listen, talk sports, talk whatever – they say never to meet your heroes but to finally dispel that rumor because he is the greatest of all time." Actor Corey Hawkins is incredibly grateful to know Denzel Washington, his legendary co-star in "The Tragedy of Macbeth." "I love that I get to walk in his footsteps, but I know I can never fill that man's shoes," Hawkins tells Variety's Awards Circuit Podcast.
Next on the acting docket for Hawkins is taking on the character Harpo, in the musical adaptation of "The Color Purple" from director Blitz Bazawule. He has also lined up an unknown role in the "Last Voyage of the Demeter" from André Øvredal, based on a single chapter from Bram Stoker's 1897 novel "Dracula."
Even more poetic, the film had its World Premiere at the New York Film Festival in late September at the Alice Tully Hall Theater, the main performance venue for the Julliard School in New York City. After breakout performances over the years in films such as "Straight Outta Compton" and "BlacKkKlansman," Hawkins takes on the classic role as Macduff, the foil to the titular character in writer and director Joel Coen's new, monochrome adaptation of the William Shakespeare play. Hawkins attended Julliard, and says that returning to the old stomping grounds to unveil his most notable feature film yet was uncommonly cathartic.

Similarly, Turton says that she will make the trip less often due to environmental reasons, and when a trip is necessary, she’ll likely stay longer to maximize what can be accomplished.
The ban, introduced by the Donald Trump administration in March 2020, meant that passengers couldn’t fly directly from the U.K. to the U.S.
The end of the ban, Burstall says, marks “a major watershed.” While industry leaders acknowledged that virtual meetings via Zoom, Microsoft Teams or other platforms proved invaluable during the pandemic, enabling people to work remotely and even democratizing the pitching process to some extent, the lack of face-to-face contact has been palpable.
Unvaccinated travelers with valid exemptions can also make the trip but face additional requirements. 8., allowing fully vaccinated passengers with the appropriate documentation (such as a visa or a visa waiver) to fly directly from the U.K. without the need to quarantine on arrival — as long as they complete a PCR or antigen test up to 72 hours before boarding. After almost two years, the ban was finally lifted on Nov. to the U.S.
Her flight, she says, was full. 8 for two weeks. “We’ve all learned that there’s no substitute for that in-person session; that conversation is very different,” says Jane Turton, CEO of All3Media, who flew from London to Los Angeles on Nov.
“It is our responsibility to do as much as we possibly can to reduce our carbon footprints and reduce flying, and we’re never going to go back” to frequent transatlantic travel. Burstall says that while he welcomes the lifting of the ban, he’s cognizant of the detrimental effect air travel has on the environment. Yet working remotely over the past 18 months has inevitably had a lasting effect on the industry. “The climate emergency is very real for us, and we take it very, very seriously,” he says.
“But every so often, there’s just no substitute for the more informal, the more spontaneous, the more nuanced meeting one gets face to face. “The upside of almost two years of hiatus in terms of international travel is we’ve learned how to reduce the amount of in-person contact we need, [and] that’s definitely helpful,” Turton says.
(Passengers returning to England will also need to submit to a test within 48 hours of arriving; rules for Scotland, Wales and Northern Ireland vary slightly.)
In the future, Burstall says, he will “choose very carefully” the occasions that warrant making the 11-hour flight from London to Los Angeles.
Actor-turned-director Wendy Morgan was devastated when she was forced to miss the West Coast premiere of her directorial feature debut, “Mercy,” last month at the Awareness Festival in Los Angeles due to America’s ban on flights from the U.K.
While Britain is enjoying its own production boom, the U.S. continues to be a major hub for the British audiovisual industry, and the travel corridor remains essential to doing deals.
“We can’t get back to those days when we all traveled possibly too much,” she adds. “And I think there’s going to be, hopefully, a more aware and intelligent use of international travel.”” />
“We’ve always had an incredibly close link with the U.S.,” James Burstall, CEO of “Masked Singer U.K.” production powerhouse Argonon, tells Variety. “It’s actually been very painful to be cast asunder, if you like, for such a long period of time.”
“It’s been very, very, very worthwhile,” she says of her trip. 9, the day after the travel corridor reopened, Morgan boarded one of the first flights to the U.S. On Nov. to attend a Santa Monica screening of “Mercy.” She had lined up meetings with publicists and distributors.
Brits wishing to enter the States instead had to spend two weeks in a third-party nation that wasn’t subject to a banning order, such as Mexico, before flying on to America — an option that simply wasn’t viable for most people.
“I couldn’t eat or sleep, even though I knew it was a very privileged problem.” for the premiere of her film about a factory-farmed pig. Despite applying for an exemption three times and even hiring a lawyer to assist with the process, Morgan was unable to get authorization to fly to the U.S. “I tried so hard to appeal the decision, and the stress of waiting and trying to fix meetings up with the uncertainty of waiting was crushing,” she tells Variety.
Argonon, which is composed of eight production companies, has offices in both New York and Los Angeles, and within days of the ban lifting, one of its subsidiaries got the greenlight for a show that’s set to be shot in the U.S. (Burstall was unable to give further details about the show or the broadcaster for confidentiality reasons.) “[Half] of what we do is produced in or out of the U.S.,” he explains.
“There’s nothing like the face to face,” he says. “It does make a difference.” Burstall concurs.

The 34th edition of IDFA has run as an in-person event. To date, it has received more than 100,000 cinema visits, and had approximately 3,000 guests in Amsterdam and online.
Fedotow’s film also scored the award for Best First Feature, with “Children of the Mist” getting special mention. It marked the first time the cross-section awards were presented at the fest, alongside Best Dutch Film (“Jason”), the FIPRESCI Award (“Makeup Artist”) and the Beeld en Geluid IDFA ReFrame Award for Best Creative Use of Archive ("Ultraviolette and the Blood-Spitters").
In the IDFA DocLab Competition for Immersive Non-Fiction, Sacha Wares and John Pring won with their project “Museum of Austerity,” while the Special Jury Award for Creative Technology went to Marcel van Brakel and Mark Meeuwenoord for “Symbiosis.”
In the same section, Pim Zwier was named Best Director for “O, Collecting Eggs Despite the Times,” while the Award for Outstanding Artistic Contribution went to Lindiwe Matshikiza for “One Take Grace.” Special mention was given to “Skin” by Marcos Pimentel.
The IDFA Award for Best Directing went to Hà Lệ Diễm for “Children of the Mist,” in which she explores the traditions of the Hmong ethnic minority in Vietnam, including the controversial practice of “bride kidnapping.” Finally, Belarusian director Ruslan Fedotow’s journey into the depths of the Moscow metro, “Where Are We Headed?,” was noticed for its cinematography.
“On every level of craft, the winning film represents a monumental achievement that fully explores the role one man, one nation, and one historical moment can play in the still-unfolding story of the global struggle for freedom and self-determination,” argued jurors Arne Birkenstock, Claire Diao, Elena Fortes, Jessica Kiang and Ryan Krivoshey, admitting that while it’s not easy to bring history to life, “it is even more difficult to make it thrilling, urgent and totally enriching.”
You can find the full list of winners here.” />
Sergei Loznitsa’s extensive documentary “Mr. Landsbergis,” clocking in at 246 minutes and depicting Lithuania’s “singing revolution” when the country finally broke away from the Soviet Union, has won the Best Film award in the International Competition section, as well as €15,000, at documentary film festival IDFA in Amsterdam.
Landsbergis” – awarded also for Danielius Kokanauskis’ editing – was produced by Uljana Kim for Studio Uljana Kim, Maria Choustova and Loznitsa himself for Atoms & Void, and Current Time TV. A co-production between Lithuania and the Netherlands, “Mr.
The latter film was also noticed at IDFA and granted the Beeld en Geluid IDFA ReFrame Award for Best Creative Use of Archive's special mention. Context” at Cannes Film Festival in July. It marks the second 2021 release for the prolific filmmaker, who has already shown “Babi Yar.
There are no answers presented, just the questions of life in the face of a disaster,” they added. “It was made with great respect towards the subject matter and it felt like a story told from the inside. The film was produced by Karim Kassem and Moustafa Kassem, with Elizabeth Potter handling the sales.
“When I used to live in Belarus, taking the metro wasn’t just about getting from one point to another. “It’s a public space, like a library, a whole different life happening underground.” I liked to observe people there,” Fedotow told Variety earlier this week.
In the Envision Competition, Karim Kassem’s “Octopus” (Lebanon, Qatar, United States) proved to be the winner, praised by jurors Andrea Arnold, Joe Bini, Charlotte Serrand and Akram Zaatari for its portrayal of the aftermath of the Port of Beirut explosion and its “language of mystery and loss.”