Film

Since it first premiered in 1926, F.W. Murnau’s “Faust” has been lauded as one of the greatest silent films ever made. And in the century that’s followed, striking a deal with the devil has been one of cinema’s most enduring tropes.

“Him,” the Jordan Peele-produced horror film reaching theaters Friday, is the latest testament to the fact that, in Hollywood at least, the devil’s offer never goes out of style.

It tells the story of an aspiring professional football player, Cameron Cade (Tyriq Withers), who gets invited to train at a secluded compound under famed quarterback Isaiah White (Marlon Wayans). But Cade eventually realizes what is meant by the question he keeps getting asked: “What are you willing to sacrifice?”

“People are so fixated with the whole selling your soul to the devil and they really think that it’s a man in a suit who’s like, ‘Sign the dotted line,’” said Julia Fox, who plays White’s wife. “I think that selling your soul to the devil is a metaphor for selling out and doing things that you don’t want to do, compromising your morals and values for a paycheck.”

Like “Him,” Faustian stories in cinema are often billed as horror. Much like the literary and artistic retellings of the German fable, from Marlowe and Goethe to the song “The Devil Went Down to Georgia,” film adaptations span place, decade and genre — from the cult Keanu Reeves’ DC Comics adaptation, “Constantine,” to Brendan Fraser’s 2000 rom-com “Bedazzled,” a remake of the 1967 film of the same name that starred Raquel Welch.

The devil can promise money — as in “The Devil and Daniel Webster,” the 1941 post-Great Depression takedown of greed — or fame, a la Jack Black’s 2006 musical comedy, “Tenacious D in The Pick of Destiny.”

“It’s pretty much everywhere once you start looking,” said Kirsten Thompson, a professor of film studies at Seattle University. “We all want to have eternal life or youth or power or status. And the various iterations of the myth sometimes emphasize different things.”

“Him” isn’t even the first Faustian film set against the backdrop of sports. “Damn Yankees,” the 1958 adaptation of the Bob Fosse-choreographed Broadway show, tells the story of a diehard baseball fan who makes a devilish pact to help his team.

Murnau’s ‘Faust’ legacy

Although the 1926 “Faust” isn’t the oldest cinematic retelling of the legend — French filmmaker Georges Méliès made a handful of adaptations beginning in the 1890s — Murnau’s movie has the greatest legacy.

“The film has these very striking set pieces that are, visually, enormously iconographic and influential on subsequent silent cinema, including American cinema,” Thompson said.

Speaking with the Associated Press last year to promote his adaptation of “Nosferatu” (the original vampire tale was also made by Murnau, in 1922), Robert Eggers testified to the ways in which “Faust” has influenced him as a director.

“Filmmaking — it didn’t really get better than that,” he said.

Murnau’s “Faust” follows its titular protagonist, a faithful alchemist who despairs over a deadly, seemingly unstoppable plague. He eventually meets the demon Mephisto — legend often refers to him as Mephistopheles — who convinces Faust to do a trial-run pact to renounce God in exchange for the power to help the infirm village.

But Faust’s demonic deal is found out when a crowd realizes he cannot look upon a cross. Despondent, Faust plans to kill himself, but is stopped by Mephisto, who comes back with another offer: The demon will give the elderly alchemist back his youth.

Origins of the devil’s offer

It’s unclear when exactly the idea that humans could strike a deal with the demonic materialized, according to Joseph Laycock, a professor of religion who studies Satanism and demonic belief at Texas State University.

The idea that a powerful supernatural being could grant wishes or help humans exists in pre-Islamic Arabic traditions, but most Western depictions of this kind of myth borrow from Christian theology.

“Humans and demons each have something the other wants. We want this power. We want control over the natural world. The demons have it and we don’t. But the demons want our souls,” Laycock said. “The Faust legend is kind of ready to be told as soon as this Christian demonology emerges.”

One clue into the origins of a Satanic bargain lies within the “Malleus Maleficarum,” often translated as the “Hammer of Witches,” a 15th century German Catholic theological text on demonology.

In it, God has limited Satan’s power, Laycock explained. But, “there’s this loophole. And the loophole is, if a demon makes a pact with a human, the demon gets to do all the stuff it couldn’t normally do.”

This period around the Reformation was a “golden age” for possession, exorcism and witch-hunting in Europe, Laycock said, which sets the stage for the Faust legend to materialize.

In the 1800s, Johann Wolfgang von Goethe adapted the Faust story into a two-part tragic play, converting the German legend into a literary giant that would have tremendous influence on the Western world, Thompson argues.

She compares Goethe’s cinematic influence to works from Shakespeare and stories like “Sherlock Holmes,” which have also been repeatedly retold. “Canonical works of literature in different languages are adapted over and over again,” she said.

Fauria writes for the Associated Press. Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc.

Just three months after rock ’n’ roll legend Ozzy Osbourne died at age 76, a new documentary will shed light on his final days.

Paramount+ released a trailer Wednesday for a new documentary film following the life of Osbourne, who died from a heart attack July 22. The film, “Ozzy: No Escape From Now,” was initially announced in February on his official site.

“The last six years have been full of some of the worst times I’ve been through. There’s been times when I thought my number was up,” Osbourne previously said of his career. “But making music and making two albums saved me. I’d have gone nuts without music.”

The press release describes the film as a “warm and deeply personal portrait” of Osbourne and how his world “shuddered to a halt” six years ago upon receiving his Parkinson’s diagnosis in 2019. Notably, it is said to depict the lead-up to the 76-year-old’s final farewell show, “Back to the Beginning,” at Villa Park on July 5.

Directed by BAFTA winner Tania Alexander and produced by Echo Velvet, the film also includes commentary from an array of Osbourne’s closest family and friends.

“Ozzy’s one regret is that he never really got to say goodbye to his fans,” his wife Sharon Osbourne says in the trailer.

Later, she poses a question to her husband: “What do you think of a big farewell show?”

“If I’m gonna go up there, I wanna be up there the old Ozzy singing,” he replies.

The film is not the only tribute to Osbourne, as a special performance at the 2025 VMAs was dedicated to the Black Sabbath frontman.

The farewell saw Aerosmith’s Steven Tyler come out of retirement to perform alongside bandmate Joe Perry, singer Yungblud, and Extreme guitarist Nuno Bettencourt. It featured a medley of hits, including “Crazy Train,” “Changes” and “Mama, I’m Coming Home.”

“Ozzy forever, man!” Yungblud yelled out at the end, before embracing Tyler.

Robert Redford looked like he walked out of the sea to become a Hollywood god. He was physically flawless. Pacific blue eyes, salt-bleached hair, a friendly surfer-boy squint. Born in Santa Monica to a milkman and a housewife, his first memory was of sliding off his mother’s lap at the Aero Theatre as a toddler and running toward the light, causing such a ruckus that the projectionist had to stop the film.

He definitely grew up to grab the movies’ attention. He wasn’t just telegenic but talented, although that wasn’t a requirement for stardom when he emerged in the late ’50s when the industry was scooping up hunks like him by the bucket for television and B-movies. All a male ingenue needed to do was smile and kiss the girl. It would have been so easy to do that a couple times and wind up doing it forever. You can understand why so many forgotten actors made that deal, without realizing that forever can lead to a fast retirement.

But if Redford had sensed at 2 years old that he was meant to be onscreen, by his 20s, he insisted he’d only do it on his own terms. At 27, with nearly zero name recognition, he horrified his then-agent by turning down a $10,000-a-week TV gig as a strait-laced psychiatrist to do a Mike Nichols theater production for just $110. His rejection of the easy money was an unusual choice, particularly for a cash-strapped father of two.

To appreciate Redford fully, we have to applaud not only the work he did but the simple, feel-good roles he rejected. He could have become a celebrity without breaking a sweat as the war hero, the jock, the husband, the cowboy, the American ideal made incarnate. Yet, he had the rare ability to sidestep what audiences thought we wanted from him to instead give us something we didn’t know we needed: selfish victors (“Downhill Racer”), self-destructive veterans (“The Great Waldo Pepper”) and tragic men who did everything right and still failed (2013’s “All Is Lost”).

In spirit, Redford never strayed far from the teen rebel he’d been — a truant who’d skipped school, stole booze and crashed race cars — and the radical artist he hurled himself into becoming by quitting everything traditional (the football team, his fraternity, college altogether) to move to Paris where he took up oil painting and marched against the Soviets. He might have excelled at the sleazy roles that made Dustin Hoffman and Al Pacino famous. On the outside, he knew they didn’t fit, either.

Sometimes Redford said no even when I wish he’d have said yes. Imagine if he’d agreed to face off against Elizabeth Taylor and Richard Burton in “Who’s Afraid of Virginia Woolf?” Instead, he told Nichols he’d rather tangle with Anne Bancroft in “The Graduate,” only to be rejected as too handsome for the role. “Can you honestly imagine a guy like you having difficulty seducing a woman?” Nichols told him.

Instead, Redford used his all-American good looks to make us question our flattering image of ourselves. In the 1974 adaptation of “The Great Gatsby,” he was the first person you’d think of to play the title role because he fully understood the point of F. Scott Fitzgerald’s book — how it felt to represent our country’s whole image of success while knowing it’s a phony put-on. I imagine him making a devil’s bargain with his face, vowing that he won’t hide behind goofy accents and stunt wigs the way other too-handsome oddballs do, if he’s allowed to use his appeal like a Trojan horse.

If there’s one thing that unites his roles, from 1966’s “The Chase” to “Lions for Lambs,” it’s his willingness to give the screen his full charisma — to let audiences stare at him for the whole running time of a movie — as long as we’ll agree to ask what’s lurking in his underbelly. Most often, we’ll find frustrated idealism just at the moment it starts to sour.

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The films of the 1960s and ’70s that made Redford an icon mostly cleave into two categories: scamps and truth-seekers. (The latter can overlap with suckers and stooges.) His antihero crooks in “Butch Cassidy and the Sundance Kid” and “The Sting” captured something in our national id, our not-so-secret belief that it’s OK to break a few rules to get ahead — that we can forgive a sin if we like the sinner. I like how those movies give you a guilty little tingle about rooting for Redford even when it means scratching off a couple of the Ten Commandments. (Thou shalt not steal unless you’re Robert Redford, who got away with it all the way through 2018’s “The Old Man and the Gun.”)

Lately, the Redford roles I’ve been thinking about are the ones where his all-American appeal makes us examine all of America, good and bad. The two that instantly jump to mind are his pair of political thrillers: “Three Days of the Condor,” in which he plays a CIA agent on the run from his own co-workers, and “All the President’s Men,” in which he doggedly uncovers the Watergate scandal. Both films believe in the power of getting the truth out to the press; neither is so naive as to think the truth alone will save the day.

But let’s not overlook “The Candidate,” a movie that has Redford as underqualified political scion Bill McKay, pressed to run for governor of California. “He’s not going to get his ass kicked — he’s cute,” his father (Melvyn Douglas) says. Meanwhile, his own campaign team cares more about the length of his sideburns than ideas in his head. Released in 1972, five years into former actor Ronald Reagan’s own governorship, the movie hammers home that superficiality might be democracy’s downfall — and the stakes are bigger than who is Hollywood‘s latest heartthrob.

Vice President Dan Quayle once said “The Candidate” inspired him, triggering its screenwriter Jeremy Larner to dash this off in an op-ed: “Mr. Quayle, this was not a how-to movie, it was a watch-out movie. And you are what we should be watching out for!”

In his later years, Redford became a filmmaker himself and I can picture him pulling Brad Pitt aside on the set of “A River Runs Through It” to whisper: You don’t have to stay in that pretty–boy box. Feel free to get weird. As an actor and director, Redford continued to create characters who uncovered our our hidden rot, whether in our purported national pastime, baseball (“The Natural”), or in our actual one, watching television (“Quiz Show”). His turn in “Indecent Proposal” as the wealthy man who offers to rent his employee’s wife lives on as shorthand for tycoons who assume they can buy whatever, and whoever, they want. When he eventually signed on for a superhero film, it was, fittingly, alongside Captain America, that upright paragon of virtue — and Redford played the villain.

What Quayle missed about “The Candidate” is that when it comes to a Robert Redford movie, truth is never as plain as what your eyes can see. There’s always a deeper level and there’s no guarantee that justice would win. In fact, I’d argue in Redford’s films, it rarely does.

Mario is headed to outer space for his next cinematic adventure.

Nintendo held a supersized livestream of announcements Friday commemorating the 40th anniversary of “Super Mario Bros.”: The first game in the popular franchise was released in Japan in September 1985. Among the news items shared by the company’s video game maestro Shigeru Miyamoto is that the sequel to “The Super Mario Bros. Movie” is officially titled “The Super Mario Galaxy Movie.” The follow-up to the 2023 blockbuster is slated to hit theaters in April.

“What kinds of adventures do you think Mario and his friends will have in space?” Miyamoto, who created Nintendo’s iconic mustachioed hero, said during Nintendo Direct after sharing a brief teaser for the film. “This movie will be the main event of the ‘Super Mario Bros.’ 40th anniversary.”

“The Super Mario Galaxy Movie” is another collaboration between Nintendo and the animation studio Illumination. During the livestreamed announcement, producer and Illumination chief executive Chris Meledandri shared that “while the ‘Super Mario Galaxy’ games are the core inspiration for our story, this next film holds surprises for fans of every Mario era.”

“The Super Mario Bros. Movie” directors Michael Jelenic and Aaron Horvath are once again at the helm for “The Super Mario Galaxy Movie.” Also returning are cast members Chris Pratt (Mario), Anya Taylor-Joy (Princess Peach), Charlie Day (Luigi), Jack Black (Bowser), Keegan-Michael Key (Toad) and Kevin Michael Richardson (Kamek), as well as composer Brian Tyler.

The announcement did not mention whether Lumalee — the cheerfully nihilistic star-shaped blue being that Luigi meets during “The Super Mario Bros. Movie” — will return for the sequel, but the teaser did include a glimpse of a yellow Luma. So it’s impossible not to hope that the character will have some sort of role in “The Super Mario Galaxy Movie,” since the star-shaped creatures appear in both the 2007 video game “Super Mario Galaxy” and its 2010 sequel. While the character in the movie had memorable one-liners about “the sweet relief of death” and how “hope is an illusion,” in the games these blue Lumas are more helpful merchants of life.

New characters likely to debut in the sequel include Rosalina, a sort of guardian of the cosmos and caretaker of the Lumas who first appeared in the “Super Mario Galaxy” game, as well as Yoshi, the dinosaur-like character who can grab faraway objects — and foes — with his tongue. Yoshi was teased in “The Super Mario Bros. Movie’s” post-credits scene.

The success of films like “The Super Mario Bros. Movie,” which grossed more than $1.3 billion worldwide, is among the reasons Hollywood has recently pivoted to more video-game inspired fare. The “Super Mario” movie sequel was first announced in 2024.

Journalist Seymour Hersh in 1975, as seen in the documentary “Cover-Up.”

(The New York Times)

When real-life political anxieties (or worse) infuse the atmosphere of a film festival, it’s hard to pretend that celebrating art is ever enough. “Cover-Up” was, for me, the antidote: a furious, hard-nosed profile of legendary investigative journalist Seymour Hersh, the man who broke the My Lai massacre in 1969, then went on to an impressive run of stories that included revelations about Watergate, the CIA and Abu Ghraib. Oscar-winning documentarian Laura Poitras (“Citizenfour”), co-directing with Mark Obenhaus, mainly tries to stay out of the way of Hersh’s ferocious forward momentum, capturing the writer’s method with a minimum of wasted words. “I’ve got every right to be here, buddy,” Hersh bats back to a displeased listener and you thrill to an era when breaking the news wasn’t chilled by caution. — Joshua Rothkopf

Paramount on Friday sharply denounced a proposed boycott of Israeli film institutions by a group that calls itself Film Workers for Palestine and is supported by dozens of Hollywood luminaries.

Earlier this week, the group launched an open letter pledging to withhold support for Israeli film festivals, production companies and other organizations that the group said were involved in “genocide and apartheid against the Palestinian people.”

The letter has been signed by hundreds of individuals, including filmmakers Jonathan Glazer, Ava DuVernay, Yorgos Lanthimos, Emma Stone, Joaquin Phoenix, Rooney Mara, Olivia Colman and Mark Ruffalo.

“As filmmakers, actors, film industry workers, and institutions, we recognize the power of cinema to shape perceptions,” the group wrote. “In this urgent moment of crisis, where many of our governments are enabling the carnage in Gaza, we must do everything we can to address complicity in that unrelenting horror.”

The group pledged “not to screen films, appear at or otherwise work with Israeli film institutions — including festivals, cinemas, broadcasters and production companies,” which have been “implicated” in attacks on Palestinians. The group described its effort as being inspired by filmmakers joining the South African boycott over apartheid, a global campaign decades ago that proved influential in helping overturn the nation’s government.

Paramount, which was acquired last month by the Larry Ellison family and private equity firm RedBird Capital Partners, made clear its opposition to the filmmakers’ campaign.

“We believe in the power of storytelling to connect and inspire people, promote mutual understanding, and preserve the moments, ideas, and events that shape the world we share,” said an emailed statement attributed to the company. “We do not agree with recent efforts to boycott Israeli filmmakers. Silencing individual creative artists based on their nationality does not promote better understanding or advance the cause of peace.”

Paramount is the first studio to state a position on the divisive issue. An insider who was not authorized to speak about the internal debate said Paramount Chief Executive David Ellison and the company’s leadership team felt strongly about the need to speak out in opposition, believing that individuals should not be boycotted based on their nationality.

“The global entertainment industry should be encouraging artists to tell their stories and share their ideas with audiences throughout the world,” Paramount said. “We need more engagement and communication — not less.”

Published on
12/09/2025 – 9:49 GMT+2

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Shares in Warner Bros Discovery surged nearly 30% in New York on Thursday after the Wall Street Journal reported that Paramount Skydance was preparing to buy its rival.

Paramount Skydance’s stock also rose around 16% in daily trading.

The majority cash bid is reportedly for the entire company, including its movie studio and cable networks like HBO and CNN. Warner said late last year that it planned to split into two operating divisions: one focused on cable TV and the other on streaming and studios.

Paramount’s offer is allegedly backed by Oracle’s Larry Ellison, who briefly became the world’s richest person this week, overtaking tech tycoon Elon Musk. The billionaire’s son, David Ellison, runs Paramount Skydance.

The WSJ noted that a bid hasn’t yet been submitted and that plans could still fall apart.

Paramount Skydance’s market value was $19 billion (€16bn) as of Thursday’s close, while that of Warner Bros Discovery was roughly $40bn (€34bn).

Paramount and Warner Bros did not immediately respond to requests for comment regarding reports of the acquisition.

If approved, a merger between the two firms would mark the biggest consolidation in Hollywood since Walt Disney bought the entertainment division of Fox Corp. in 2019.

Scale would allow the new company to compete with the likes of streaming giants Netflix and Disney as the industry is redefined by changes in traditional viewing habits.

Paramount Skydance merger

The report comes just weeks after the finalisation of a $8bn (€7bn) merger between movie giant Paramount and independent film studio Skydance Media.

This acquisition became particularly controversial after it was linked to a legal dispute over a CBS News interview.

In July, Paramount paid $16 million (€14mn) to settle a defamation case against US President Donald Trump. The Republican leader claimed that Paramount’s CBS News in November edited a “60 Minutes” news programme with then-vice president Kamala Harris in a way that was deliberately deceptive.

Paramount said in a statement that the settlement with Trump was “completely separate from, and unrelated to, the Skydance transaction and the FCC approval process”. 

Even so, critics of the settlement lambasted it as a veiled bribe to appease Trump and allow the merger to go ahead.

Despite the payout, Paramount’s settlement did not include a statement of apology or regret.

Skydance did, however, declare it would end Paramount’s diversity programmes and appoint an ombudsman to review complaints of bias. Paramount also cancelled the left-leaning Late Show with Stephen Colbert ahead of the merger approval.

Critics viewed the moves as further attempts to win over President Trump, although Paramount denied that the Colbert show was cancelled for political motives.

TORONTO — In introducing the Saturday night TIFF world premiere of “Good Fortune,” his feature debut as a writer-director, comedian Aziz Ansari told the audience the three words that are scary in Hollywood right now: original theatrical comedy. But the one word that is never scary is Keanu.

Speaking from the stage of the festival’s Roy Thomson Hall, Ansari recalled that his star Keanu Reeves broke his kneecap early in production.

“I found out he broke his kneecap and I didn’t know what was going to happen,” Ansari continued, Reeves himself standing onstage just a few feet away. “It was like, ‘Oh, my God, what is Keanu going to say? Is he going to need some time off? Is he going to drop out of the movie?’”

“And you know what Keanu said?” Ansari added. “Nothing. He just kept showing up to work and never complained, not once,” Ansari said. “He worked through what surely must have been excruciating pain and delivered a hilarious, touching performance, and he is the soul of this movie.”

The film opens with Reeves standing atop L.A.’s iconic Griffith Observatory with a small pair of angel wings on his back. Reeves, in a change of pace from his recent action work in the “John Wick” movies, plays Gabriel, a low-level angel given the task of stopping people from texting and driving. That is until he sees Arj (Ansari), who is struggling to make ends meet while working both at a big-box hardware store and as a food delivery driver.

Hoping to show him the grass isn’t always greener, Gabriel switches Arj’s life with that of Jeff (Seth Rogen), an ultrarich tech investor whose days seem to largely consist of going back and forth between his sauna and his cold plunge.

Perhaps not surprisingly, Arj much prefers Jeff’s life to his own and is reluctant to switch back. The situation becomes more complicated for Gabriel as he loses his job as an angel and must learn the tribulations and joys of being human, while still trying to fix the problem with Arj and Jeff.

For all the film’s gentle humor and quietly humanist spirit, “Good Fortune” is also rife with a palpable anger at the income inequality that motivates its story, the reality that robots are replacing the work of humans and that the excesses of the few seem predicated on the deprivation of many.

Aziz Ansari, left, and Keanu Reeves in the movie “Good Fortune.”

(Eddy Chen / Lionsgate)

The day after the film’s premiere, 42-year-old Ansari is upbeat and dapper in a gray plaid coat, black turtleneck and black slacks as he sat down for an interview in Toronto to discuss the movie and all that led up to it. After the end of his Emmy-winning series “Master of None” in 2021, Ansari had begun shooting a feature called “Being Mortal” that was shut down in 2022 a few weeks into production over allegations of misconduct by its star Bill Murray. Then production of “Good Fortune,” Ansari’s pivot away from “Being Mortal,” was delayed by the Hollywood labor strikes of 2023. Seemingly at long last, Ansari’s debut opens Oct. 17.

When “Being Mortal” got shut down, did you feel like, “Am I ever going to get to make a movie?”

I didn’t feel that way. Steven Spielberg has this story of — what’s the movie he did? “1941.” That didn’t do well and he was like, just immediately throw yourself in another thing. And I really thought about that, and that’s what I did. I just immediately went into “Good Fortune.” I mean, I had a couple of days where I was like,“Oh, no” and it was also so shocking. I think your mind doesn’t process it because it’s not really sinking in that this is what’s really happening. It probably still a piece of me [in which] it hasn’t really sunk in. It was definitely disappointing, but part of me is like, this is what needed to happen. This is the movie that should be out first.

“Being Mortal,” it’s funny, but it’s heavy. The Atul Gawande book, it’s about end-of-life issues. So it’s like, “Oh, OK. It’s another heavy drama thing.” People may have just gotten pissed, like, “What’s this guy doing?” So “Good Fortune” is definitely, to me, if you like those first two seasons of “Master of None,” I feel like what you’d hope I’d do is kind of evolve that style into a feature film and raise the level of it by having Seth and Keanu and Keke [Palmer] and Sandra [Oh], and as a feature film rather than a show.

As sweet and funny as the movie is, there also is a real righteous anger behind it. Where does that come from?

I think I got it from when I was interviewing all these people about the subject matter in the film, when I was doing research to write the Arj character. That attitude seeps in there.

“It was definitely disappointing, but part of me is like, this is what needed to happen,” Ansari says of “Being Mortal,” his first attempt at directing a feature, one that ran into production troubles with its star, Bill Murray,

(Christina House / Los Angeles Times)

During the opening credits of the movie, you say the line “The American Dream is dead.”

But that’s a frustration a lot of people like that guy Arj feel.

But then, you are a very successful entertainer —

Oh, yeah. Me and Seth are Jeff, no question.

How do you reconcile that? Are you concerned some people might dismiss the movie out of hand for that simple reason?

If you’re writing, you have to be able to write outside your own experience — for someone who’s like Arj, who doesn’t have the platform to tell these stories. When I did “Master of None,” we did an episode called “New York, I Love You.” And there was a segment about taxi drivers, a segment about a doorman and a segment about a woman who’s deaf. And doing that episode taught me a process of interviewing people and figuring out how to get these stories right when they’re not your experience. We did an episode in Season 3 about a woman going through IVF. I’d never done that or anything, and it had never been a part of my life. But I talked to all these people, and from the feedback I got, we got it right. And that’s what I did with this.

I don’t want to spoil anything, but for a movie coming out from a Hollywood studio, Seth gives a speech at the end that is politically radical, about how rich people can’t expect to have so much without others getting angry.

It’s kind of nuts. Some of the stuff that’s in there, I’m like, “Whoa, we really got away with something here.” Some of the stuff that’s in there, and the trailer kind of hides a little bit of that stuff, I think there are people that’d be like, “Oh, s—.”

At the premiere, there was big applause for the line, “F— AI.” Is that your feeling as well?

I’d rather say that I’m pro-human. I’m pro-people.

Keanu Reeves, left, Seth Rogen and Aziz Ansari in the movie “Good Fortune.”

(Eddy Chen / Lionsgate)

The movie is very ambitious in combining the character stories and the attention to the notion of income inequality. Was it hard for you in balancing the characters and that theme? Was the work of that more when you were writing it or when you were editing what you’d shot?

It was both. And that’s the difference between a TV show and a movie. You have a different canvas. But it was a tough thing to do. And it was my first time doing it. I remember writing a second one while I was editing, and it was such a great help because you kind of see a few moves ahead. You’re like, “Oh, wait a second, I should get to this faster.” You kind of can see your mistakes a little bit in an earlier stage because you have more experience. This is another reason I really want to get into it again and start working on the next thing because I feel like I learned a lot from it.

That’s the thing that’s so interesting about doing stand-up and doing filmmaking. Stand-up, it’s so easy to “get to the gym,” right? If I really wanted to go to do stand-up tonight, I could do it. I could go find a club in Toronto and jump on a show. But If I wanted to go direct, that’s a big journey to get to the gym. So you have fewer opportunities to kind of get the reps in.

Shooting a movie is in L.A. has become such an economic and political issue for the city. Was that a consideration in making the movie in Los Angeles?

I wanted it to be in L.A., I felt like this movie had to be set in L.A. Jeff’s not going to be living in whatever place that gives you the tax credit. And L.A. really is the perfect backdrop for the story to me. And it was challenging, but you also get the benefit of working with some of the greatest technicians in the world in L.A. And I also just love being a part of the lineage of films that are set in L.A. I watched that documentary, “Los Angeles Plays itself,” and that was so fun to watch that and just see how every movie has its own L.A., whether it’s “Heat” or “Tangerine” or “Chinatown.”

And I feel like “Good Fortune” has its L.A., and it’s exciting to show some of these neighborhoods, to see people responding to seeing Eagle Rock or Los Feliz. Whenever I was writing the movie, I always thought about that taco place in Hollywood — it’s across the street from Jitlada. I always thought about that place. I thought there was something so cinematic, and it was a hard location to clear. And our guy [location manager] Jay Traynor, he made it happen. And finding Jeff’s house was so hard. But it all came together, and I loved showing Koreatown and that Gabriel works at a Korean barbecue restaurant. Just showing all these parts of L.A.

I want to be sure to ask you about working with Keanu. People are really responding to this role. And I’m having a hard time putting my finger on what that is about.

No, I’m feeling this. Even since [the premiere], I’m feeling it. I knew people would like him, but it’s hitting on another level.

Why do you think that is? What is the alchemy of Keanu in that role?

I was thinking about this when I was eating lunch. If you look at the roles he’s done that are comedic, whether it’s in “Bill & Ted” or in “Parenthood,” there’s this innocence, this sweetness and this kindness that’s in there. And then Gabriel, to me, is the progression of that. And it’s also that you have Keanu at 61, where when I first met him, I was like, “Hey, there’s something about you that people are responding to and who you are as a real person that I don’t think I’ve seen onscreen. And I think you can show some of that with Gabriel.”

It also has all of his comedy superpowers just dialed to the max. And we were just having so much fun. It just became playtime. We were coming up with bits all the time: Oh, he’s never used the internet before. Let’s just write a quick scene where he’s using the internet for the first time. What’s he gonna do? He’s gonna look at photos of baby elephants. It became such a fun joke bag. You could just make him do anything. And it was funny, the guy’s never done anything — if he takes a bite of a taco goes, “Wow!” It’s really the funniest character I’ve ever written for.

Nearly two decades after the fact, Anna Wintour is finally giving her review of “The Devil Wears Prada,” the 2006 Anne Hathaway comedy built around the onetime Vogue editor in chief’s notorious style of leadership.

And although Wintour is more than fashionably late, she’s showing up in time for the sequel.

The film “had a lot of humor to it, it had a lot of wit, it had Meryl Streep,” Wintour said recently on the New Yorker Radio Hour. “[The cast] were all amazing. And in the end, I thought it was a fair shot.”

The famed editor, who stepped down from the Vogue gig this summer, said she went into the premiere of the original film wearing Prada but not knowing what the movie was about. Wintour said people in the fashion industry had expressed concerns about the Miranda Priestly character, worrying she would be played as a caricature of Wintour. But those fears were unfounded.

“First of all, it was Meryl Streep, [who is] fantastic.”

“The Devil Wears Prada” is based on the 2003 bestselling novel of the same name by Lauren Weisberger, who worked as a personal assistant to Wintour. The film follows a writer played by Hathaway who gets a job at a fashion magazine managed by a highly demanding boss, played by Streep.

The actor who played the no-nonsense editor in chief earned an Academy Award nomination for her performance.

Wintour announced in June that she would step down as editor in chief of the magazine after 37 years at the helm. She will continue to oversee Condé Nast, the global media company that publishes Vogue among other publications including the New Yorker, GQ, Vanity Fair and Wired.

“The Devil Wears Prada 2” is in production with a release date set for May 2026. Streep, Hathaway, Emily Blunt and Stanley Tucci will all reprise their roles; Adrian Grenier, who played Hathaway’s boyfriend in the original film, will not appear. New cast members include Kenneth Branagh, Justin Theroux and Lucy Liu.

Downton Abbey: The Grand Finale is being released this week and despite the subtitle of the film, it’s already been teased that the story may not be over for fans just yet

Downton Abbey: The Grand Finale fans are expecting to bid farewell to characters from the beloved franchise when it’s released on Friday. The third film in the series, it follows on from Downton Abbey (2019) and A New Era (2022).

Focusing on the Crawley family and their staff as they navigate how to lead Downton Abbey into the future, the film sees the story enter the 1930s. It’s previously been teased that it will “close off” the stories that began on the ITV show, which ran for six seasons from 2010 to 2015.

Despite being billed as the “grand finale,” it’s been suggested that fans may not have to say goodbye just yet. There’s been hints about potential spin-offs already and it’s now teased that a prequel series could be underway in the future.

READ MORE: Downton Abbey Mrs Patmore star Lesley Nicol admits cast divide as she gushes over one bondREAD MORE: Downton Abbey’s final film features unexpected cameos from relatives of iconic star

Allen Leech, known for his role as former chauffeur Tom Branson, has teased that the story may not be over despite the marketing of the film. He’s suggested that a future prequel could delve into the backstory of Violet Crawley, played by the late Dame Maggie Smith.

Violet, the Dowager Countess of Grantham, was a matriarchal figure in the franchise but was killed off in the second film, released three years ago. Cast member Maggie then herself died, aged 89, just last year.

Allen, 44, said on Virgin Radio this week that Violet’s history could be explored in a prequel project. He shared that it could be in the pipeline moving forward, following rumours last year of a spin-off about Violet’s younger years.

Speaking on the Ryan Tubridy Show, he said: “I was chatting to the director, yesterday, Simon [Curtis], over lunch and he was saying there is a great poignancy about this movie, not just for Downton fans but for anyone. It’s about letting go and it’s about moving on.”

Asked about the potential for more stories, he said: “From what I hear, the plan is if they’re ever gonna do anything with it, they’re either gonna go back in time and [do a] prequel [about Violet] in her younger years, which would be very interesting.”

Allen added that a project set in the 1970s at the property could be on the cards instead. He said: “Or they’re gonna go seventies [and] all the debauched madness that happened in the house then. I think it’d be kind of interesting.”

The upcoming film has previously been described as a “last tributing” to Maggie. Speaking on the radio station last year, her on-screen son Hugh Bonneville, 61, said about the latest film: “It’s very much set in the house and saying goodbye to all these characters and we obviously say goodbye to Dame Maggie, which was very poignant on screen and now in real life. She’ll be sorely missed. But the final film will obviously be a great lasting tribute to her.”

Maggie had been among the cast when Downton Abbey first aired in the UK in 2010. It later proved popular in the US and its six seasons have been followed by the film continuations. As well as receiving critical acclaim, the show is said to have boosted tourism to villages like Bampton in Oxfordshire and Highclere Castle in Hampshire.

Speaking ahead of the third film’s release, creator Julian Fellowes, 76, told the Writing Studio: “It feels quite complete. I’m not saying we’ll never see Downton Abbey in any other form – one should never say never, but I think it feels natural and right that we have made the journey with the original concept and the original cast, so I’m rather pleased about that.”

He has however suggested that several characters could be worthy of spin-offs. Discussing the prospect of one centred on Thomas Barrow, played by Rob James-Collier, Julian told RadioTimes: “I think you could make a case for many of them.”

Fans eager for more Downton Abbey don’t have long to wait as ITV will also be releasing a special about the franchise on the day of the film’s release. It’s teased that the doors to the iconic property will be “opening one last time” for Downton Abbey Celebrates The Grand Finale as the cast reunite to share memories and secrets from the last 15 years.

Downton Abbey: The Grand Finale is released on Friday in the UK. Downton Abbey Celebrates The Grand Finale will be available on ITVX then too and the special will later air on ITV3 on Saturday at 9pm.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

One of the greatest films of the decade is apparently now on Netflix after a TikTok reviewer shed light on the movie in a recent post – and it’s just over 90 minutes long

A movie fan has named one of the “greatest films” of the decade – and it’s on Netflix. In recent weeks, we’ve seen a number of shows go viral, including the ‘most addictive’ Netflix series that people are raving on about.

Now we all know TikTok is the best place for advice on pretty much everything so how about you check this film out? EccyReviews, who boasts 350,300 followers, recently named “one of the greatest films of the decade” in a clip which garnered 1,300 likes. He used his platform to urge fans to watch the drama movie Hard Truths.

The 2024 drama was written and directed by Mike Leigh with a cast which includes Marianne Jean-Baptiste, Michele Austin, and David Webber. Set in London, its plot follows the story of a depressed woman and the relationship with her sister.

It was named one of the top 10 independent films of 2024 by the National Board of Review, meanwhile Jean-Baptiste received Best Actress nominations at the Critics’ Choice Awards, BAFTA Film Awards and the Gotham Awards.

As for IMDB, the 12A film has a rating of 7.2/10.

And recently the TikTok video revealed why it was the greatest film to watch right now.

The user said: “So Netflix has just dropped one of the greatest films of the decade and you need to go and check it out immediately.

“It’s raw, it’s emotional and it’s one of the most human films you will ever see.

“The film is called Hard Truths, this film is just over 90 minutes long, it’s set in London, tells a raw and emotional story of grief and depression.

“It’s such a gripping film if you’ve ever grieved for anyone in your life, you will resonate with this film so much, it’s such a passionate and beautiful story which more people need to see.”

Speaking about the performances, the reviewer claimed they were “truly unbelievable” and not “spoken about enough”.

“It will make you laugh, it will make you cry,” he continued.

“It’s genuinely a film that will stay with you for a very long time.”

The reviewer concluded: “Please get this film on your watch list, get it watched and make sure you tag your friends so they can check out this hidden gem.”

Since the recommendation was shared on TikTok earlier this week, it racked up a lot of attention from viewers eager to give it a go.

One said: “Thank you for giving news about films going to watch now. Hard Truths.” Another added: “I watched this last night, was captivating.”

A third commented: “Loved it. Sad, but funny and so truthful.” While a fourth admitted: “Cheers, on it now.”

JAMES McAvoy was allegedly punched by a stranger at a Toronto bar while in town for the premiere of his directorial debut, California Schemin’.

The 46-year-old Scottish Hollywood star was enjoying a quiet night out with his wife, Lisa Liberati, when things reportedly turned sour at around 11.55pm on Monday.

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“James was having a casual get-together with the producers of his movie and, as he later learned when speaking with the staff, there was a man who drank too much who was getting escorted out,” a source told People.

“James’ back was to him and the man just punched him.” 

McAvoy apparently tried to defuse the tense situation.

Despite taking a blow, he stayed at the bar and even laughed off it with others, the source added.

The alleged assault happened at Toronto bar Charlotte’s Room.

It’s unclear whether the stranger knew he was punching the X-Men star – or if McAvoy was simply in the wrong place at the wrong time.

The Scotsman is believed to have escaped injury.

He had been in the Canadian capital for the premiere of California Schemin’ – his directorial debut – at the Toronto International Film Festival on Saturday.

The movie tells the wild true story of two Scots – Gavin Bain and Billy Boyd – who tricked music label bosses into singing them a record deal by posing as Eminem protégés from the US.

Performing as Silibil N’ Brains, the duo partied with Madonna, appeared on MTV and toured with rap legends.

The cast includes Séamus McLean Ross as Gavin, Samuel Bottomley as Billy, Lucy Halliday as Mary Boyd and Rebekah Murrell as their manager, Tessa.

The film is based on Bain’s memoir California Schemin’, which was later reprinted as Straight Outta Scotland.

McAvoy, who grew up in the Drumchapel area, said that coming from a council estate in Glasgow himself, he wanted to tell stories about people from similar backgrounds.

Speaking last year at Glasgow’s Barrowland Ballroom, he said: “I was interested in telling a story not just solely set in Scotland, but about people from backgrounds where they have fewer opportunities, whether that’s council estates or whatever.”

The star added that he was passionate about “telling a story that was entertaining and aspirational, and not just dwelling on the grime and dirt, which is part of that sort of lower economic background, definitely”.

McAvoy rose to global fame as Mr. Tumnus in the 2005 fantasy film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and as an assassin in the 2008 action blockbuster Wanted.

He won the BAFTA Rising Star Award in 2006 and went on to earn BAFTA Award nominations for the period dramas The Last King of Scotland and Atonement during that time.

In 2011, he took on the role of Charles Xavier in the superhero film X-Men: First Class, reprising it in the later X-Men films.

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TORONTO — Welcome to a special daily edition of the Envelope at TIFF, a newsletter collecting the latest developments out of Canada’s annual film showcase. Sign up here to get it in your inbox.

Christina House, our staff photojournalist, continues to kill it with her portraits out of the Toronto International Film Festival. In the last day alone, she’s seen Angelina Jolie, Jacob Elordi and the cast of “Frankenstein,” Jodie Foster and more.

Or maybe you’d rather watch a video interview with Angelina Jolie and the cast and director of the inspiring fashion film “Couture?” Follow us on Instagram for all of our daily posts.

‘Blood will be shed. Possibly even a tear’: Our critic on Rian Johnson’s new ‘Knives Out’ mystery

Josh O’Connor, left, and Daniel Craig in Rian Johnson’s “Wake Up Dead Man: A Knives Out Mystery.”

(Netflix)

Amy Nicholson had fun with “Wake Up Dead Man: A Knives Out Mystery.”

She’s also noticing a fair amount of Canadian pride at her screenings. It’s been an unusually loaded moment for foreign relations with our neighbors to the north.

Amy weighs in on the scene from the first four days, her favorite (and less-than-favorite) movies at TIFF and a few surprises.

The day’s buzziest premieres

‘The Smashing Machine’

Emily Blunt and Dwayne Johnson in the movie “The Smashing Machine.”

(Ken Hirama / A24)

Sunday saw the TIFF schedule loosen up its restrictions regarding films that premiered at other festivals and audiences started to see more major titles from competing fests.

Take for example the Monday night premiere of “The Smashing Machine,” which just won the directing prize at Venice for Benny Safdie.

Making his solo debut apart from brother Josh — their most recent collaboration was “Uncut Gems” — Benny turns in a surprisingly heartfelt sports story based on mixed marital arts fighter Mark Kerr.

Taking the leading role is none other than wrestler-turned-actor Dwayne Johnson, in a part seemingly tailor-made to play off his own career arc and give him a prestige boost he has never had before.

Add Emily Blunt to the mix, as Kerr’s supportive partner, along with boutique studio A24 and the film seems like it should land the right combinations. — Mark Olsen

‘Exit 8’

A scene from the movie “Exit 8.”

(TIFF)

Ever fear that you’re racing around but going nowhere — that you’re in such a rush to make your way through the world that you’re barely seeing it?

Japan turned that feeling into a best-selling video game in which commuters are condemned to roam an underground subway station until they learn to pay attention to their surroundings.

Now Genki Kawamura has transformed that game into a movie. In Kawamura’s emboldened adaptation, our main player, the Lost Man (Kazunari Ninomiya of the pop band Arashi) is an aimless young slacker who is stuck both physically and emotionally.

If he ever wises up and escapes, he’s got to make better choices.

I’ve got a few quibbles with the film’s mechanics, but “Exit 8” is a moving metaphor for the art of giving things a close, appreciative watch. On day five of a film festival, we could all use a reminder to look sharp. — Amy Nicholson

It’s the year for horror and “The Conjuring: Last Rites” was no exception. Its opening weekend tipped the genre over $1 billion in earnings for this year’s domestic box office.

The horror sequel raked in $83 million domestically in 3,802 theaters, making it the third-highest domestic opening for a horror movie, behind “It” and “It: Chapter Two.” It’s now the largest horror opening internationally, with $104 million in earnings outside of North American theaters.

The film also broke records for the “Conjuring” universe, securing the biggest opening weekend in the franchise. The movie’s performance is a testament to the franchise’s success in producing classic horror movies since the first film released in 2013, said Paul Dergarabedian, senior media analyst for the data firm Comscore.

“Audiences know when they go in to see ‘The Conjuring,’ the minute this scary, ominous music comes up with the Warner’s logo, you know you’re in for a wild ride,” Dergarabedian said.

The film has received mixed reviews from critics, carrying a 55% on Rotten Tomatoes and a “B” CinemaScore.

Patrick Wilson and Vera Farmiga return to the big screen in the ninth installment of “The Conjuring” as the paranormal investigators Ed and Lorraine Warren, who attempt to vanquish a demon from a family’s home.

“Last Rites” also handed Warner Bros. Pictures yet another opening weekend box office win, becoming the distributor’s eighth No. 1 debut win this year and the studio’s seventh film in a row to debut with more than $40 million domestically.

The movie’s opening weekend numbers are nearly double that of other successful horror movies this year, including Zach Cregger’s August sleeper hit “Weapons,” “Final Destination: Bloodlines” and “Sinners” — all of which are Warner Bros. releases.

“It just shows how arguably more than any other genre, horror has stood the test of time,” Dergarabedian said. “That’s because there’s nothing quite like seeing a horror movie in a darkened room full of strangers.”

The horror genre last crossed the $1-billion mark in 2023. Meeting that threshold this early in the year is unprecedented, Dergarabedian said, “because usually you need a full year of horror movie box office to bank that much cash.”

Upcoming horror films like “Black Phone 2” and “Five Nights at Freddy’s 2” are likely to boost that number, Dergarabedian said.

“Last Rites” blew past other titles at the box office this weekend. Disney’s filmed version of “Hamilton” landed in second place with $10 million domestically. The film was “perfect counterprogramming” to “Last Rights,” Dergarabedian said.

The rest of the top spots were taken by several holdover titles. “Weapons” secured third place during its fifth weekend, bringing in $5.4 million in earnings in North American theaters. The movie’s debut partner, “Freakier Friday,” took fourth place with $3.8 million.

The crime caper “Caught Stealing,” which debuted last weekend, rounded out the top five with $3.2 million in domestic earnings.

Luna writes for the Associated Press.

TORONTO — The smile is beatific, blissed out, even at an ungodly hour on our Zoom call from France. A week later, when I finally meet 43-year old filmmaker Oliver Laxe in person at a private Toronto celebration for his new movie “Sirât,” he radiates serenity. He’s the happiest (and maybe the tallest) person in the room.

“One of the first ideas that I had for this film was a sentence from Nietzsche,” he says. “I won’t believe in a God who doesn’t dance.”

Laxe goes to raves — “free parties,” he clarifies, indicating the ones you need to hear about via word of mouth. He’s thought deeply about what they mean and what they do to him. “We still have a memory in our bodies of these ceremonies that we were doing for thousands of years, when we were making a kind of catharsis with our bodies.”

It’s almost the opposite of what you expect to hear on the fall festival circuit, when directors with big ideas make their cases for the significance of the art form. But the body, the return to something purely sensorial, is Laxe’s big idea.

Steadily, “Sirât” has become, since its debut at Cannes in May, a growing favorite: not merely a critic’s darling but an obsession among those who’ve seen it. (The film will have an awards-qualifying run in Los Angeles beginning Nov. 14.) A dance party in the desert set at some vaguely hinted-at moment of apocalypse, the movie is something you feel, not solve. Its pounding EDM beats rattle pleasurably in your chest (provided the theater’s speakers are up to snuff). And the explosions on the horizon shake your heartbeat.

“I really trust in the capacity of images to penetrate into the metabolism of the spectator,” Laxe says. “I’m like a masseuse. When you watch my films, sometimes you’ll want to kill me or you’ll feel the pain in your body, like: Wow, what a treat. But after, you can feel the result.”

An image from the movie “Sirât,” directed by Oliver Laxe.

(Festival de Cannes)

Laxe can speak about his influences: cosmic epics by the Russian master Andrei Tarkovsky or existential road movies like “Zabriskie Point” and “Two-Lane Blacktop.” But he is not a product of a typical grad-school trajectory. Rather, it’s his escape from that path after growing up in northern Spanish Galicia and studying in Barcelona (he tried London for a while) that’s fascinating.

“I was not good,” he recalls. “I didn’t find I had a place in the industry or in Europe. I was not interested. I had bought a camera, a 16-millimeter Bolex, and I knew I was accepting that my role was to be a kind of sniper that was working in the trenches but making really small films.”

At age 24, Laxe moved to Tangier, Morocco, where he would live for 12 years at a monastic remove from the glamour of the movies, collaborating with local children on his films. The experience would grow into his first feature, 2010’s “You Are All Captains,” which eventually took him all the way to the prize-winning podium at Cannes, as did his second and third films, all of which came before “Sirât,” his fourth.

“Slowly, the things we were making were opening doors,” he says. “In a way, life was deciding, telling me: This is your path.”

Path is what “Sirât” means in Arabic, often with a religious connotation, and his new movie takes a unique journey, traversing from the loose-limbed dancing of its early scenes to a train’s tracks stretching fixedly to the end of the line. There’s also a quest that gets us into the film: a father and son searching among the ravers for a missing daughter, potentially a nod to “The Searchers” or Paul Schrader’s “Hardcore,” but not a plot point that Laxe feels especially interested in expounding on.

“Obviously I have a spiritual path and this path is about celebrating crisis,” he says. “My path was through crisis. It’s the only time when you connect with your essence. I just want to grow. So that’s why I jump into the abyss.”

“My path was through crisis,” says director Oliver Laxe of his steady rise. “It’s the only time when you connect with your essence. I just want to grow.”

(Christina House / Los Angeles Times)

Laxe tells me he didn’t spend years perfecting a script or sharpening dialogue. Rather, he took the images that stuck with him — trucks speeding into the dusty desert, fueled by the rumble of their own speaker systems — and brought them to the free parties, where his cast coalesced on the dance floor.

“We were telling them that we were making ‘Mad Max Zero,’ ” he recalls, but also something “more metaphysical, more spiritual. A few of them, I already knew. There are videos of us explaining the film in the middle of the dance floor with all the people dancing around. I mean it was quite crazy. It’s something I would like to show to film schools.”

Shot on grungy Super 16, the production drove deep into craggy, sandblasted wastelands, both in Morocco and mountainous Spain, where the crew would make hairpin turns along winding cliff roads that would give even fans of William Friedkin’s legendary 1977 misadventure “Sorcerer” anxiety.

“It was my least dangerous film,” Laxe counters, reminding me of his “Fire Will Come,” the 2019 arson thriller for which he cast actual firefighters. “We were making the film in the middle of the flames, so I don’t know. I’m a junkie of images and I need this drug.”

There is a Herzogian streak to the bearded Laxe, a prophet-in-the-wilderness boldness that inspires his collaborators, notably longtime writing partner Santiago Fillol and the techno composer Kangding Ray, to make the leap of faith with him. But there also seems to come a point when talking about “Sirât” feels insufficient, as opposed to simply submitting to its pounding soundscapes, found-family camaraderie and (fair warning) churning moments of sudden loss that have shaken even the most hardy of audiences.

“The film evokes this community of wounded people,” he says. “I’m not a sadistic guy that wants to make a spectator suffer. I have a lot of hope. I trust in human beings, even with their contradictions and weaknesses.”

For those who wish to find a political reading in the movie, it’s there for them, a parable about migration and fascism but also the euphoria of a headlong rush into the unknown. “Sirât” is giving odd comfort in a cultural moment of uncertainty, a rare outcome for a low-budget art film.

Its visionary maker knows exactly where he is going next.

“I got the message in Cannes,” Laxe says. “People want to feel the freedom of the filmmaker or the auteur. What they appreciate is that we were jumping from a fifth floor to make this film. So for the next one —”

Our connection cuts out and it’s almost too perfect: a Laxian cliffhanger moment in which ideas are yanked back by a rush of feeling. After several hours of me hoping this was intentional on his part, the director does indeed get back to me, apologetically. But until then, he is well served by the mystery.

Toronto, Ontario, Canada, September 5, 2025 — Elle Fanning from the film “SENTIMENTAL VALUE,” photographed in the Los Angeles Times Studios at RBC House, during the Toronto International Film Festival, (TIFF) in Toronto, Ontario, Canada on Friday, Sept. 5, 2025. (Christina House/Los Angeles Times)  (Christina House/Los Angeles Times)

Gran Canaria exceeded my expectations, but it was my stay at a five-star resort that really took my breath away and reminded me of my favourite Disney movie. But one thing shocked me

Gran Canaria is one of the underrated gems of the Canary Islands – often overshadowed by its sister island and party hotspot Tenerife – but now that I’m on the lookout for a trip with a slower pace, mentions of Gran Canaria being a slice of luxury and less than four hours away finally swayed me.

The island is the third-largest of the Canaries and boasts a rural and mountainous terrain. My hotel for the four-day trip was nestled high in the mountains, with a view of the sea and a rooftop pool, meaning I could sunbathe from sunrise to sunset with uninterrupted rays (I was, of course, wearing a high level of SPF and made sure to top this up regularly).

The Salobre Hotel Resort & Serenity, a five-star hotel, served as my residence during my time in the south of Gran Canaria and proved to be a perfect base, roughly 10 minutes from the beach via shuttle and half an hour away from the picturesque Puerto de Mogán.

READ MORE: Hydrangeas will be ‘stronger’ after winter if one ‘easy task’ is done in SeptemberREAD MORE: Blood Moon lunar eclipse over UK this weekend – when and where you can see it

The drive up to the hotel delivers breathtaking views of Gran Canaria’s landscape, the lone drive feels like a trip along the Route 66 and prepares you for a stay filled with rest, relaxation and peace. As I got closer to the hotel, scenes of vivacious green lawns and palm trees serve as the ideal golfing environment.

For fans of Disney’s critically acclaimed High School Musical trilogy, you’ll find yourself in a real-life version of Lava Springs, from High School Musical 2. I could’ve sworn Troy Bolton (Zac Efron) was belting Bet On It on the other side of the gold course.

For more stories like this subscribe to our weekly newsletter, The Weekly Gulp, for a curated roundup of trending stories, poignant interviews, and viral lifestyle picks from The Mirror’s Audience U35 team delivered straight to your inbox.

The Salobre Hotel’s terracotta, limewash walls and modern-Mediterranean aesthetic oozed wellness and luxury. The entire place felt airy and tinged in sunset, providing the perfect backdrop for pictures.

Rooms for two come with more than enough space to help you feel at home and come fitted with a panoramic shower and bath room and 80 per cent cotton bedding and hypoallergenic feather pillows. Salobre understand the importance of sleeping well and with views of natural landscapes and the golf course just outside my balcony, it’s no surprise that I only had sweet dreams.

The food, served at the Sens restaurant and rotating between global cuisines from Italian to Chinese on a daily basis, and the Be Aloe Spa, which boasted an infinity pool, oxygen therapy booth and a Finnish sauna, were commendable to say the least.

The only thing that really caught me by surprise was the five-minute walk from the hotel lobby to my room, but I guess that highlights just how spacious the hotel is.

A highlight of my stay had to be an evening under the stars by the hotel’s Sunset bar. The area is purposefully low-lit, to ensure the best view of the stars above. If you’re over the loud, bold parties of the summer and need a place to settle and recenter, I highly recommend Gran Canaria’s Salobre Hotel Resort.

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When actor Cooper Hoffman pops up on a Zoom window for a joint interview, Andrew Barth Feldman practically bursts with joy.

“Oh my God,” Feldman exclaims. “Look at the buzz!”

The two friends, each in their own apartments in New York City, have not seen each other since Hoffman recently returned from Italy where he was shooting a role in Luca Guadagnino’s upcoming movie about the artificial intelligence company OpenAI, his hair styled in a severe, dark buzz cut.

The pair immediately launch into a spirited, rhythmic back-and-forth, playfully bouncing around ideas, making jokes and finishing each other’s sentences. It is similar to the nonstop banter between their duo in “Poetic License,” which has its world premiere at the Toronto International Film Festival tonight.

The first feature film directed by Maude Apatow, best known for her role on TV’s “Euphoria,” the film stars Apatow’s mother, Leslie Mann, as Liz, a woman who recently moved to a college town after her husband (Cliff “Method Man” Smith) joined the faculty there. Auditing a poetry class, Liz meets Ari (Hoffman) and Sam (Feldman), two awkward yet compellingly charming best friends who soon find themselves competing for her attention and affection.

Written by Raffi Donatich, the film is the first from Jewelbox Pictures, Apatow’s production company founded with her friend Olivia Rosenbloom, and comes into the festival still seeking distribution. (Keeping things in the family, the debuting director’s father, Judd Apatow, is a producer on the film as well.)

Via email, Maude Apatow spoke about the challenge of finding two actors who could not only play their individual roles, but also capture the speedy dynamic between them.

“A lot of the movie relies on the chemistry between Ari and Sam, so finding the perfect combo was massively important to me,” Apatow, 27, said. “After auditioning countless other boys, Andrew and Cooper were at the top of my list. … They were electric.”

Hoffman, 22, the son of late actor Philip Seymour Hoffman and director-producer Mimi O’Donnell, first burst to attention with his starring role in Paul Thomas Anderson’s 2021 “Licorice Pizza.” He can also be seen in the new Stephen King adaptation “The Long Walk,” which opens next week, and he has a role in Gregg Araki’s upcoming “I Want Your Sex.”

Feldman, 23, stepped into the title role of “Dear Evan Hansen” on Broadway at age 16, younger even than the adolescent title character. He also starred opposite Jennifer Lawrence in the 2023 comedy “No Hard Feelings,” in which his torchy showstopping performance of Hall & Oates’ bouncy ’80s “Maneater” has since racked up more than 18 million views on YouTube.

My conversation with the two actors took place on Labor Day. The following day Feldman began his nine-week run in the Tony-winning musical “Maybe Happy Ending.” Though playing the role of a robot, his casting, replacing the half-Filipino actor Darren Criss, sparked controversy and conversation around Asian representation on Broadway.

“It’s been the most vulnerable time of my whole entire life,” said Feldman of the response to his being cast in the show. “And I have much I want to say and for now the only place I really can is the show. I’m saying everything that I want to say, everything that I believe, I’m pouring my whole heart into the show itself. And I’m thankful that the conversation that’s been happening is happening. And I think this is my way of being part of it.”

“And one day we’ll have a much bigger conversation about it,” he adds, carefully. “But right now, I’m more excited to be talking about ‘Poetic License’ and anything would be reductive to the conversation to talk about it in this context. I don’t think it’s up to me to try to change any minds about it, only to do the best job I possibly can at uplifting this gorgeous, perfect story. Everything that I have to say for the time being is in the show. The show holds all of it.”

Feldman will miss three performances of the show over the weekend due to being in Toronto for the premiere of “Poetic License.”

Did the two of you meet making Jason Reitman’s “Saturday Night?”

Andrew Barth Feldman: Boy, did we.

Cooper Hoffman: We also got this job [“Poetic License”] on “Saturday Night.”

Feldman: So here’s the story. We’ve been preparing to tell it for so long. And this is what happened: We became really fast, really close friends on “Saturday Night” and that was a huge cast of a lot of people who are still huge parts of both of our lives. But we clicked really instantly.

And I was taping for this movie and Cooper was taping for this movie, and we both loved the script and, especially on that set, everyone was taping for all of the same things all of the time. So I got a call from my agent that they were asking me to chemistry-read with Cooper and since we were in the same place, might as well be convenient if we just do it in the same place on Zoom. Cooper was on his way to hanging out with me at Dylan O’Brien’s Airbnb. I was already there and Cooper’s on his way. So I called him, told him that this was happening. That’s how he found out that we were chemistry-reading together. And I think both of us said, “Oh, we got the job.” Like, that’s it. As soon as they see what we do when we’re alone together and how insane it is, we’ll have this job. And that’s how it happened.

Hoffman: It’s so true. We ended up running the lines with Dylan O’Brien playing — I don’t know why we keep using his full name — but Dylan playing Leslie Mann’s character. Dylan played Liz.

Feldman: He was really good. I was kind of hoping he would do it.

Andrew Barth Feldman, attending the London premiere of “No Hard Feelings” in 2023.

(John Phillips / Getty Images for Sony Pictures)

Why do you think the two of you just clicked like this?

Feldman: Why do you love who you love? I think there are a lot of real similarities to us. We both had losses of parents really early on in our lives. And that I think instantly brought us to a level of vulnerability with each other that we didn’t necessarily have with other people. But in terms of the candor and the rhythm that we have with each other, it’s just kind of feels like one of those universe once-in-a-lifetime things.

Hoffman: I would very much agree. It was one of those weird things where, as we had to play best friends, we were kind of figuring each other out. Andrew was always someone that I felt very comfortable talking to about things. We rarely would talk about the movie. It was much more about life and other things. And I feel very privileged to have shot this movie with Andrew, actually.

There is something really fresh about your dynamic. The best I can describe the movie is that it’s an adult coming of age rom-com of male friendship.

Hoffman: I would say that’s better than anything that we would say. To me, the thing is that I love a male friendship. I love a male friendship that almost feels like they’re dating, they’re one step away from being married. And what does that bring? What happens when you rely on someone so heavily?

Cooper Hoffman arrives at 2022’s Vanity Fair Oscar Party in Beverly Hills.

(Evan Agostini / Invision / AP)

Feldman: I feel like we both had relationships growing up that you’re basically zero degrees away from romance. It is a romantic relationship. And that is — or was, I guess? — formerly maybe more taboo. There are more expectations of masculinity around that. But I think especially in our generation and especially as people who have decided to do art with our lives, there’s really no taboo around it at all. And in fact, something to be really celebrated. It is kind of the healing factor for young men right now: male relationships that you can be really vulnerable in.

And besides being Sam and Ari’s relationship, it was — and is — Cooper’s and my relationship. We couldn’t shut up really. I mean, that’s important to note is that we never, ever stopped talking. We would be talking and talking and then somewhere during our conversation we would hear action be called and we would just keep talking until we found our way into the scene. Kind of the way we did the whole movie was just trying to tell as much truth as possible because we knew that our relationship was all that really needed to be there to make the relationship of the characters work.

Hoffman: I also just had a thought that this interview’s going to be so annoying to read because it’s literally just going to be me and Andrew complimenting each other for however long. You should have never put us on a call together.

Feldman: This is our first interview about this.

Cooper Hoffman in Paul Thomas Anderson’s 2021 movie “Licorice Pizza.”

(MGM/UA)

How did the two of you find working with Maude? On the one hand, this is her feature directing debut. On the other hand, she’s been on movie sets her whole life.

Feldman: She was really good. In all of those moments of improvisation and exploring, she was a massive collaborator in that. And was pushing both of us to places that I wouldn’t have gone initially, risky places in these scenes. Every time we would shoot something, we’d do it, go away and talk about it for 10 minutes and just be inventing and zip-zap-zopping across the three of us, and then just be like, OK, let’s go get another one. It was this really creative process that for me as a young person coming up in this industry, I haven’t really had permission to participate in up until working with somebody like Maude. She’s not too much older than us. We’re all coming at this as collaborators as opposed to hierarchically.

Hoffman: The thing with Maude is there was a real level playing field in which we were all figuring out this thing together. And Maude just has inherently very good instincts as a director. She was grounded and she knew what she wanted, but she was much more open for us to go, “Hey, we don’t know what this is. Can we figure this thing out?” And it was debatably the most collaborative set I’ve been on. Which was really great that Maude allowed for that space to happen.

Cooper, do you see your character here as an extension of what you were doing in “Licorice Pizza”? It’s this guy who outwardly has a lot of game, but then inwardly is struggling. Did it feel that way to you as you were performing the role?

Hoffman: No. And here’s the reason for that, I’m not opposed to that convo but I think a real fear of an actor is that you’re doing the same thing every time. And so I think I’m inherently going to jump to being like, “No, this is a completely different person.” And the thing is, I don’t think Ari has game. I never wanted to play it like that. I think he’s extremely confident, but, not to bring up Dylan O’Brien again but Dylan O’Brien used a very good metaphor, which is you’re like a duck. It’s calm on the surface, paddling vigorously underneath. And it does feel like that for Ari.

Andrew Barth Feldman with Jennifer Lawrence in a scene from “No Hard Feelings.”

(Macall Polay / Sony Pictures)

Andrew, you have your own background in musical theater, but you also had your rendition of “Maneater” in “No Hard Feelings.” Do people now always want you to do a number in a movie? Was there any discussion of you doing a number in this one?

Feldman: There was very briefly a discussion of me doing a number in this movie. I think I was talking to Raffi early on and she was like, “Oh my God, I had this idea, what if you actually sing this thing?” And I was like, I can’t do another one. Not right now. It’s too soon after “Maneater” and “Maneater” is still a really huge part of my life. I want to give that moment its moment.

What do you mean, that “Maneater” is still a big part of your life?

Feldman: People ask me to sing it all the time.

Hoffman: What do you mean? It’s a masterpiece. I watched it on a plane the other day. I cried. I literally cried. I love that scene so much. I love that movie so much.

Guys, thank you for your time. I can’t even imagine how this would’ve worked if I’d interviewed you separately.

Feldman: We wouldn’t have done it.

Cooper: I would’ve just talked about Andrew the whole time. By the way, if you would’ve gotten us in the room together, this interview would’ve never ended. It would’ve been physical bits. It would’ve been a whole thing.

Feldman: We talked on set so much about these moments — that we would get to eventually do press together and talk about the movie because we really were, from the beginning, giving one performance of these two characters together.

DARTH Vader’s lightsaber has been sold for £2.7million — making it the most expensive Star Wars prop in history.

The fake weapon, made from an old flash camera attachment, beat pre-sale expectations by £100,000.

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It was famously used in 1980’s The Empire Strikes Back in the battle where baddie Vader chops off Luke Skywalker’s hand — then reveals that he is, in fact, his opponent’s father.

Brandon Alinger, of auction house Propstore in Los Angeles, said: “The result marks a landmark moment for the entire world of film collecting.”

“To see a Star Wars lightsaber – the symbol of one of cinema’s greatest sagas – become the highest-valued piece of the franchise ever sold at auction is incredibly special.”

He added: “It speaks to the enduring cultural power of Star Wars and the passion of fans and collectors who see these artifacts as touchstones of modern mythology.”

The 1ft (32cm) green lightsaber was used in scenes by Darth Vader actor David Prowse and stunt performer Bob Anderson.

In the pre-auction process it was described as “one of the most significant cinema artefacts ever.”

Other items sold on Thursday night included the Spider-Man suit worn by Tobey Maguire in the 2002 superhero film, which went for $289,800 (£214,000).

Harrison Ford‘s eight-foot bullwhip, belt and whip holster from Indiana Jones And The Last Crusade (1989) beat its pre-sale estimate to sell for $485,100 (£360,000).

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After 52 episodes and three movies, the world of “Downton Abbey” is coming to a heartwarming conclusion — for now, at least. The series and the previous two films, 2019’s “Downton Abbey” and 2022’s “Downton Abbey: A New Era,” have followed several characters over an 18-year period, both from the upstairs and downstairs of the grand house. While viewers already said goodbye to the imperious Violet Crawley, Dowager Countess of Grantham (Maggie Smith), in the last film when she tragically died onscreen surrounded by her family, there are still many more farewells to come. Here is where we left some of the key characters as “Downton Abbey: The Grand Finale” arrives in theaters Sept. 12.

Mary Crawley (Michelle Dockery)

Michelle Dockery in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

Lady Mary wasn’t always in line to take over Downton Abbey, but her ill-fated marriage to Matthew Crawley and the birth of their son George ensured that she could be at the helm of the estate, at least until George came of age. Mary eventually remarried toward the end of the series, to race car driver Henry Talbot, but “The Grand Finale” sees the couple divorced and Mary on the outs from society. Still, she has clever ideas about how to keep Downton Abbey afloat and to push it into the modern age as she finally takes the reins from her father. “From the start, she always had a strong personality,” creator Julian Fellowes told The Times in 2022. “And I think what we’ve watched over the years is how she has come to harness her strength, master it and use it to achieve what she wants.”

Edith Pelham (Laura Carmichael)

Laura Carmichael, right, and Elizabeth McGovern in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

For many years Lady Edith was the passed-over second daughter, but by the end of the series she was firmly ensconced as the formidable Marchioness of Hexham. She and her husband Herbert “Bertie” Pelham are happily raising two children and she has become a voice of reason for Mary, offering counsel to the sister who once overshadowed her. “The Grand Finale” even gives Edith a satisfying moment of fortitude when she stands up for the family. “By the time we leave her, Edith is a strong woman and capable of big decisions,” Fellowes says.

Robert and Cora Crawley (Hugh Bonneville and Elizabeth McGovern)

Elizabeth McGovern and Hugh Bonneville in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

The Crawley clan’s patriarch and matriarch have gone through a lot since “Downton Abbey” premiered, including the loss of their daughter Sybil and multiple financial challenges. Cora dealt with a health scare in “A New Era” while both grieved the death of Violet, whose presence still looms in “The Grand Finale.” Although he technically left Mary in charge of Downton Abbey at the end of “A New Era,” Robert is struggling to settle into the next chapter of his life. It’s up to Cora, his always-steady companion, to help him move forward.

Tom Branson (Allen Leech)

Allen Leech in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

After heroically saving the day in the first “Downton Abbey” film, the widowed Tom married Lucy Smith (Tuppence Middleton) in “Downtown Abbey: A New Era,” giving his daughter Sybbie a mother once again. By the end of the second film, Tom and Lucy have a baby of their own and are living away from Downton. The character already got his much-deserved happily ever after and now shows up to dole out sage advice and support for the family. “I felt Tom Branson was the only one we hadn’t really settled in the series,” Leech told me in 2019. Now, he is.

Daisy Mason (Sophie McShera) and Andrew Parker (Michael Fox)

Sophie McShera, second from left, in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features )

Daisy began her journey at Downton Abbey as a belabored kitchen maid, but eventually the estate’s revered cook Mrs. Patmore took her under her wing. She married the dying William Mason during the series and later settled down with Andrew Parker, a footman in the house who has now taken over for Mr. Carson. In the spirit of the younger generation stepping forward, Daisy takes over the kitchen in “The Grand Finale,” an important moment of growth for the character.

Isobel Crawley (Penelope Wilton)

From left, Penelope Wilton, Allen Leech, Michelle Dockery and Paul Giamatti in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

It took some time for Isobel to establish herself at Downton Abbey, but her friendship with the Dowager Countess and her relationship to the family became invaluable throughout the series. She married Richard Grey after her son Matthew’s death and continued her good work with the community’s hospital throughout the episodes. Following Violet’s passing, Isobel has taken up the mantle to organize the county fair — a job that comes with some challenges.

Anna Bates (Joanne Froggatt) and John Bates (Brendan Coyle)

Joanne Froggatt in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

Anna Bates has always been one of Downton Abbey’s most loyal servants and a thoughtful friend to Lady Mary. She married valet John Bates at the beginning of Season 3 and the couple went through numerous ups and downs in the years that followed, including several miscarriages. They got a much-deserved happy end in the series finale when Anna gave birth to their first child. The films haven’t shaken their contentment and “The Grand Finale” brings another uplifting arrival for the pair.

Joseph Molesley (Kevin Doyle)

Kevin Doyle, left, and Michael Fox in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

Mr. Molesley endeared audiences with his hapless but well-meaning misadventures in the series, eventually transitioning from footman to local schoolteacher. He got his due in “A New Era” when he proved himself to be a skilled screenwriter and charmed Phyllis Baxter. In “The Grand Finale,” the couple are married and Mr. Molesley is endeavoring to boost his film career, although he hasn’t left his time at Downtown Abbey in the past.