sydney sweeney

ADOLESCENCE star Owen Cooper has earned a major honor as the youngest male winner ever at the 77th Primetime Emmy Awards.

The actor nabbed the award for Outstanding Supporting Actor in a Limited or Anthology Series or Movie.

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This was also the first nomination for the 15-year-old.

Owen tearfully hugged his parents and colleagues before approaching the stage where actress Sydney Sweeney presented him with the gold trophy.

He then delivered a heartfelt speech, acknowledging all those who had worked on the project.

His words touched host Nate Bargatze, who appeared to stop the countdown he’d set during his opening monologue, penalizing those who went over the allotted 45-second acceptance speeches.

The comedian jokingly threatened to take away money from his $100,000 donation to the Boys and Girls Club for every second an Emmy winner extended their speech.

Owen, however, didn’t have those same rules, despite it being an ongoing bit throughout the show.

Nate addressed the change in rules afterward, revealing that he hadn’t penalized the teenager, although his speech had exceeded the time limit.

Owen was up against some heavy hitters in the category, including his co-star Ashley Walters, Presumed Innocent’s Bill Camp and Peter Sarsgaard, Javier Bardem in Monsters: The Lyle and Erik Menendez Story, and Rob Delaney for Dying for Sex.

Before Owen, the youngest actor to win the award was then-23-year-old Michael A. Goorjian, for his portrayal in 1994’s David’s Mother.

Adolescence premiered on Netflix in March 2025 and also stars Stephen Graham, Erin Doherty, and Faye Marsay.

The psychological drama had gained recognition not only for its intense storyline but also for its impressive filming.

All four episodes of the series were shot in one continuous take, with no cuts.

Owen played Jaime, a 13-year-old boy accused of murdering his classmate in Northern England.

Ahead of the star-studded awards ceremony, the young star spoke with People about making his acting debut on the project.

2025 EMMYS NOMINEE’S GIFT BAG

The Emmy Awards Giving Suite will provide an exclusive backstage experience for presenters, nominees, and winners with a generous swag bag worth a fortune. The gifting suite will be open on Emmys rehearsal days as well as during the live telecast on Sept. 14. Among some of the items the stars will get to take home include:

Miage Skincare set – $200 

Alma hair restoration treatment – $3,900 

Hasbro game pack – $150

Krovblit Fine Art – ranges from $100 to $10,000

Peta x Miomojo vegan leather bag – $400 

Beboe marijuana basket – $300

Brightharbor disaster relief for LA fire victims still struggling – Up to $1m in relief 

DESUAR day spa experience – $400

Helight Sleep device – $140  

Johnnie Walker Blue Label Blended Scotch Whisky – $230

LifeRegen skincare bundle – $200

Senorita THC-infused drinks – $100

SKANDINAVISK candles – $150 

Training Loft personalized training, coaching, nutrition & wellness services for one month – $1,000

“It’s my first role — it’ll be the best role of my life,” Owen gushed to the outlet.

“It was the best summer of my life to film, and I just can’t wait to be there on the night of the Emmys. I can’t wait.”

The U.S. Sun exclusively revealed in March that the streamer is exploring options to extend the series after its rave reviews.

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Movie fans come to Toronto to get an early peek at the year’s awards heavyweights. I didn’t see a knockout punch, but I saw some strong contenders — and in a couple cases, I just got bludgeoned.

Directors Benny Safdie (“Uncut Gems”) and David Michôd (“Animal Kingdom”) faced off with competing docudramas about the sufferings of two professional brawlers whose careers peaked in the ’90s — i.e., new “Raging Bulls” for today’s nostalgists. “The Smashing Machine” is a solo effort from the younger Safdie brother after making a string of energetic cult hits with his sibling, Josh. It stars Dwayne “The Rock” Johnson as MMA fighter Mark Kerr, who could beat almost anyone inside the octagon but struggled to conquer his own demons at home with his then-wife, Dawn (Emily Blunt).

Based on the names and talent involved, I was expecting anything other than what I got: a conventional biopic. Its one bit of flair is a commitment to looking as though it was filmed on VHS. But projected in Imax, it just looked dreary (as did Johnson’s hairpiece). I’ll go another round with it in a more apropos ring.

Michôd’s “Christy” shares several of the same touchstones — the bloodrush of victory, a bruising domestic life, a distracting wig — but gender-flipped. Sydney Sweeney throws a convincing jab as Christy Martin, the first female boxer to make the cover of “Sports Illustrated.” A lesbian from a conservative West Virginia family, she was pressured to hide her sexuality by wearing pastel pink in the ring and marrying her much older, emotionally abusive male coach, Jim Martin (Ben Foster). The script only has a few ideas under its belt, but they’re effective, particularly our dawning recognition that while Christy thinks she’s fighting to prove her worth, she’s really fighting for the patriarchy.

Sweeney is good, even when the leaden dialogue does her a disservice. It’s her first substantial, serious part since 2023’s underseen “Reality” and she seizes the opportunity to be talked about as something other than the internet’s most polarizing ingenue. (Social media is forever singling out one young actress to be damned now and redeemed later, sigh.) As for Foster, who first snagged my attention as the pathetic loon in “Alpha Dog,” he knows how to play a hiss-worthy heel. You spend “Christy” aching to see him get socked in the face. If you need him to take more punishment, he’s just as vile in another TIFF title, “Motor City.”

Tessa Thompson in the movie “Hedda.”

(Prime Video)

At this year’s festival, ladies in corsets did more damage than gals in padded gloves. My favorite mean girl — perhaps even my favorite film of the festival — was Nia DaCosta’s “Hedda,” a devilish and dynamic adaptation of Henrik Ibsen’s “Hedda Gabler,” in which the lead character (played by a fantastic Tessa Thompson) starts firing off her daddy’s old pistols as soon as the opening credits. DaCosta, who also adapted the play into a script, restages the action so that the chaos all takes place during a giant, drunken bacchanal at a rented mansion Hedda can’t afford. Thompson’s scheming newlywed manipulates the other characters with the confidence of a queen who controls all the pieces on the board, but every so often she simply has to flip the table over. The spirit is faithful; the subtext is fresh.

“Mārama,” a striking feature debut by Taratoa Stappard, bills itself as a Māori gothic and the combination works. In 1859 England, a white-passing woman from New Zealand named Mary (Ariāna Osborne) has sailed halfway around the world seeking information about her parents. The globe-trotting lord Sir Cole (Toby Stephens) strong-arms her into becoming his niece’s governess, calling the Māori a “magnificent people” while amusing his guests with parlor room reenactments of whale-hunting expeditions done with massive puppets. “Mārama” doesn’t reinvent the wheel, but it’s a good ride with first-rate cinematography and production design and a story with one or two more surprises than we expect.

Similarly, “Honey Bunch,” co-directed by Madeleine Sims-Fewer and Dusty Mancinelli, is another manor-bound thriller that toys with familiar tropes. An amnesiac bride (Grace Glowicki, a go-for-broke oddball who always gets my attention) arrives at an isolated and secretive trauma center where everyone seems to be screwing with her memories, including her shady husband (Ben Petrie). Straightaway, we have our suspicions about how this is going to go. The first half of the film doesn’t deviate from the formula — it’s a little dull — but the second half is a superb right hook.

Guillermo del Toro’s grisly, occasionally great “Frankenstein,” shot in Toronto and the U.K., hews more faithfully to Mary Shelley’s novel than the 1931 Boris Karloff classic, scrapping the mob of pitchfork-wielding villagers and salvaging the wraparound story of an ambitious explorer marooned in the the Arctic ice. But it’s still very much Del Toro’s own monster. One of his smartest adjustments is retooling the romantic heroine, Elizabeth (Mia Goth), from the ideal childhood sweetheart to a science-loving pacifist with limited patience for egomaniacs like Oscar Isaac’s Victor Frankenstein. Costume designer Kate Hawley makes Goth look like an exotic beetle with antenna-ish plumes sticking out of her hair.

Jacob Elordi as the Creature in the movie “Frankenstein.”

(Ken Woroner / Netflix)

Jacob Elordi’s creature amps up the pathos a tad too much for my taste, but there’s no denying how much he’s invested in the role, or how well Del Toro’s critiques about narcissistic inventors suit the present day. Still, Del Toro knows there’s a time and place to boast: At the film’s Toronto premiere at the Princess of Wales Theatre, he playfully accused his local below-the-line crew of being too humble and made them stand up for applause. “Stop being so Canadian,” he teased.

Del Toro told the audience that when he first saw Karloff’s creation as a boy, he thought to himself, “That’s my messiah, that’s the guy I’m going to follow like Jesus.” But the prize for the most idol-worshipping film in the festival belongs to Baz Luhrmann’s “EPiC,” which stands for “Elvis Presley in Concert.” Constructed from hours of previously unseen live footage from Presley’s stint in Las Vegas, its rapturous showing felt like attending the church of Elvis.

Luhrmann insists that “EPiC” is neither a concert film nor a documentary. I don’t see the issue with calling it either, but it’s also fair to consider it a companion piece to Luhrmann’s 2022 “Elvis.” It certainly shows that Austin Butler’s Oscar-nominated portrayal of the King wasn’t one rhinestone over the top. Here, the real Presley is charismatic as hell, and looks great beaded in sanctified sweat. Whenever he throws a damp scarf into the audience, the women go so crazy you’d think it was the Shroud of Turin.

Luhrmann continues to be outraged that Col. Tom Parker constricted Presley’s artistic growth by parking him in the city of buffet tables rather than letting him tour the world. Presley only did one week of international concerts during his entire career: five shows in Canada, two of them just a 10-minute drive from my theater. You can hear Presley’s resentment toward the better-traveled (and at the time, better-respected) artists stealing his spot on the charts. “It’s so dry in here, I feel like I’ve got Bob Dylan in my mouth,” he jokes. Later, he slings a guitar around his neck to strum “Little Sister,” and then speeds up the tempo and starts belting the Beatles’ “Get Back,” a subtle dig that the boys from Britain weren’t always that original.

A scene from the movie “A Useful Ghost.”

(TIFF)

Speaking of, I can’t wrap up my final dispatch from this year’s Toronto International Film Festival without mentioning the most creative Oscar contender I saw all week: “A Useful Ghost,” which won the Grand Prix of Critics’ Week at Cannes and will be Thailand’s entry for an Academy Award. Ratchapoom Boonbunchachoke’s arch hybrid of horror, comedy, romance and political thriller starts when a self-described “academic ladyboy” (Wisarut Homhuan) discovers that his new vacuum cleaner is possessed. From there, the movie defies prediction at every turn.

I ducked into “A Useful Ghost” on a whim, wondering how it would pair with TIFF’s world premiere of “Dust Bunny,” a nice and nasty Roald Dahl-esque adventure in which a little girl hires Mads Mikkelsen to battle a man-eating monster under her bed. I came out of the theater abuzz with energy. Even though some of this season’s noisiest awards hopefuls are rooted in classic genres, there are still directors making movies that feel entirely new — and still audiences delighted to cheer for a big swing.

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.

Our photo gallery’s latest includes Angelina Jolie, Dustin Hoffman, Ethan Hawke, Richard Linklater and more.

But click through for our video interviews, including Mark Olsen’s sit-down with Sydney Sweeney and the crew of her boxing movie “Christy,” which required a total transformation.

Sydney Sweeney in “Christy,” a portrait of boxing champ Christy Martin, having its world premiere at the 2025 Toronto International Film Festival.

(Allie Fredericks / TIFF)

Here’s a taste of their exchange:

Sydney, people are already really talking about the physical transformation you make in the movie, the training that you did. What was it about the role that made it seem like you wanted to make that kind of commitment?

Sydney Sweeney: I mean, I couldn’t let Christy down, and I also love transforming for characters. That’s the whole reason of being an actor, is to be something different from yourself and to challenge ourselves.

So I had like two months of training. I built gyms in my house and I had a boxing trainer, I had a weight trainer, I had a nutritionist and would work out and train every single day.

And it was amazing. I loved it. Being able to completely lose yourself for somebody else and then have that person there next to your side. It was transformative.

Katy O’Brian, co-star: It was exhausting watching her do it.

Ben Foster, co-star: And in tribute to Syd, we’d shoot a 12-hour day that was dense, we’ll say, that would be a gentle word. She would then go train and choreograph the fights that she would do back-to-back after, one after another.

Sweeney: I’d be put in the middle of a ring and I’d have like nine girls and they would just drill me with all the different fights, one after the other for like two hours after we would wrap.

Because I really wanted the choreography to match the exact fights that she had in real life. So we would watch all the footage from her fights and memorize all the combinations and then implement those into the fight.

So everything you see were her actual fights. And so I’d wrap, I would do that for two hours, and then I would weight train.

David, there is something very unflinching about the movie. Why was it that you wanted to tell Christy’s story in a way that wasn’t afraid to explore these really dark and disturbing moments in her life?

David Michôd, director: In a way, the dark and disturbing was what made me want to make the movie. I had a clear sense that in this really wild and colorful story of a ’90s boxing pioneer was actually, underneath, it was a very important story to tell about how these coercive control relationships function.

And trying to wrap my brain around what keeps them functioning over, in this case, 20 years. And I knew that where Christy’s story went, it was harrowing.

And what the challenge for me then as a filmmaker was just to go, how do I do this being very conscious of not wanting to step into a world of representations of violence against women and all that kind of stuff, but not shying away from the horror that is very much there and is very palpable.

I could see a big sprawling movie that would start almost as a kind of conventional underdog pioneering sports movie and then morph into something that was deeply moving and important.

Sydney, Ben, what was it like for the two of you performing some of those darker scenes in the film and how did you keep some sense of humanity between the two of you?

Sweeney: There were so many conversations around a lot of those moments, and both Ben and I, we don’t like to rehearse and we kind of just want to feel it. And I think we both became very connected to who we were portraying and —

Foster: Listening.

Sweeney: We just listened

Foster: And Dave created a space where we could do that. And we would block it, we did a lot of talk privately, and then we would come in and jam and nudge. But the truth is Dave is quality control and would fine-tune moments.

The day’s buzziest premieres

‘EPiC: Elvis Presley in Concert’

Elvis Presley performing live, as seen in Baz Luhrmann’s archival concert movie “EPiC: Elvis Presley in Concert.”

(TIFF)

How deep did Baz Lurhmann go researching his 2022 movie “Elvis”? Forty stories. That’s the depth of the Kansas salt mine where Warner Bros. had stored 59 hours of unseen recordings from Elvis Presley’s seven-year stint in Las Vegas.

Lurhmann studied it for his Oscar-nominated biopic, which mourned Presley as an artist in a cage and wondered who the curious, music-loving boy from Tupelo might have become if Col. Parker had let him, say, visit an ashram with the Beatles.

This time, the “Moulin Rouge!” director has said that he wants to use found footage to “let Elvis sing and tell his story” — as in, Lurhmann’s own spectacular sensibilities will cede center stage to Presley himself, who can still wow a crowd even during a late-career moment when his own fans feared he had more jumpsuits than ambition.

I’ll definitely be at the premiere to pay my respects to the King. — Amy Nicholson

‘Hamnet’

Jessie Buckley, center, in director Chloé Zhao’s “Hamnet.”

(Agata Grzybowska / Focus Features)

You’re going to be hearing a lot of Oscar buzz in the coming months about various movies, along with people insisting that — seriously — this is the one you need to see. “Hamnet” is, far and away, that film, for three specific reasons.

First, Paul Mescal has now done three masterful turns, between this, “Aftersun” and “All of Us Strangers” confirming what a truly special talent he is. Mescal and the “Hamnet” crew came through our TIFF studio.

Clockwise from right: Paul Mescal, Noah Jupe, Jacobi Jupe, director Chloé Zhao, Jessie Buckley and Emily Watson, photographed in the Los Angeles Times Studios at RBC House during the Toronto International Film Festival.

(Christina House / Los Angeles Times)

Second, I needed director Chloé Zhao to rebound after the mess that was “Eternals” to the confidence she displayed on “Nomadland” — and she’s done exactly that. Read our Telluride interview with her.

Finally, Jessie Buckley has uncorked one of the year’s most impressive turns: a grief-stricken plunge that elevates her to the level of Casey Affleck in “Manchester by the Sea.” Do not be surprised if, like Affleck, she goes all the way. — Joshua Rothkopf

Ron Howard’s new film “Eden” is a true story about disenchanted Europeans, who, in the 1930s, escaped from their society and decamped on a lonely rock in the Galapagos, only to see their handmade utopia devolve into petty power struggles and murder. It’s also lurid proof that Charles Darwin missed out on the truly juicy survival-of-the-fittest action by about a hundred years.

This is certainly unusual material for a mainstream stalwart like Howard, who knows his way around heroic problem-solving narratives (“Apollo 13,” the Thai cave rescue movie “Thirteen Lives”). But in screenwriter Noah Pink’s melodramatic imagining of incidents both well-documented and mysterious, one can see this Hollywood veteran on a mission to loosen the shackles of his reputation and have some nasty, brutish fun. To wit: A perma-sneering Jude Law greets intruders naked; a wild-eyed Ana de Armas insults and tries to seduce everyone; Vanessa Kirby lets foreplay include the pulling of her diseased tooth; Sydney Sweeney gives birth alone while growling at a pack of wild dogs.

The result may not be terribly illuminating about the (sub)human condition, despite the shout-outs to Nietzsche and Schopenhauer. “Eden” is probably closer to an expensive reality show about mismatched survivalists. But as August fare goes, it’s a sticky, sweaty hoot, well cast and paced like a disreputable beach read, even if you might sporadically wish Werner Herzog had gotten first crack at this material. (It was also covered in a 2013 documentary.)

The first transplants to the uninhabited island of Floreana were German botanist Dr. Friedrich Ritter (Law) and his devoted, ailing partner, Dore (Kirby). Scolds who glorified suffering against the world’s wrong turns, the pair sought a radical reboot of society in rugged isolation, save the inconvenient fact that Ritter’s grandstanding philosophical missives back home were published in newspapers, turning them into eccentric folk heroes. Soon, their precious suffering took the form of new neighbors: idealistic war veteran Heinz Wittmer (Daniel Brühl) and his wide-eyed young wife Margret (Sweeney), who are looking for a new, self-sufficient way of life for their budding family.

It’s difficult to imagine a worse addition to this oil-and-water mix of high-minded nonconformist cranks and hard-toiling middle-class settlers than a capitalist sybarite. Enter the grandiose Baroness Eloise (De Armas), carried like Cleopatra onto the beach by her male lovers (Toby Wallace and Felix Klammerer), and ready to claim Floreana as the future site of an exclusive luxury resort called Hacienda Paradiso. Her first order of business, however, is pitting the scowling Ritter and bland, industrious Wittmers, who had managed a bearable distance so far, against each other.

The island, given an appropriately sickly, uninviting sheen by cinematographer Mathias Herndl, clearly wasn’t big enough for all of these new-world experimenters. But the movie’s two hours offer plenty of room for their portrayers. Howard’s generosity with his actors keeps this ensemble a charged group of clashing molecules. You wouldn’t mistake anybody’s turn for a full-throated or, conversely, subtle characterization — there’s a messiness to the cutting that prioritizes motion over stillness — but the broad strokes of personality are fun.

At its most raw (or is it overcooked?), when de Armas’ loaded-gun vibe veers toward camp or Law peacocks his pomposity with a hint of desperation, the situation may remind you of some insane pre-Code potboiler like 1932 “The Most Dangerous Game,” when a tale of people at their worst seemed all the more fascinating for unfurling in an exotic locale. Just because this corrupting pity party doesn’t crescendo so much as peter out isn’t any more of a reason to dismiss “Eden.” A little time spent with the farcical maneuverings of isolated megalomaniacs means you can skip reading the news that day.

As “Madame Web” star Sydney Sweeney remains mum on allegations of promoting eugenics via her American Eagle advertisement, she has seemingly stirred up even more support from far-right figures after recently gaining the favor of President Trump.

A black-and-yellow banner covering a billboard on the 91 Freeway in Corona boldly states: “Proud Boys Love Sydney Sweeney,” according to a photo that one Corona resident shared with ABC7.

The banner, which uses the neo-fascist group‘s signature colors, also references the hot-button American Eagle ad. “She has the best blue genes,” the banner says. Note “genes,” not “jeans.” It’s worth remembering that President Trump during a 2020 presidential debate ordered the Proud Boys to “stand back and stand by” when pressed about condemning right-wing violent extremists.

It’s unclear who put up the banner bearing the far-right group’s name, according to ABC7.

A representative for Sweeney did not immediately respond to The Times’ request for comment on Friday.

Earlier this month, jeans retailer American Eagle dropped a string of commercials for its latest campaign featuring the “Euphoria” star. In one advertisement, the Emmy-nominated actor who is blond says, “Genes are passed down from parents to offspring, often determining traits like hair color, personality and even eye color. My jeans are blue,” she says.

Posters for the American Eagle campaign also featured the totally innovative, never-before-seen wordplay on “jeans” and genes.” A slogan reads, “Sydney Sweeney has great genes,” with the final word crossed out and replaced with “jeans.”

Sweeney, who seems to have a penchant for odd marketing opportunities, and the ads quickly faced criticism on social media, with users alleging the campaign leaned into the language of eugenics. Eugenics is a discredited practice that essentially touted the idea of improving the human race through selective breeding. It gained traction in the early 20th century and was used as a justification for Hitler’s Nazi Germany to wipe out millions of Jewish people, and U.S. authorities to forcibly sterilize more than 60,000 people in California and more than 30 other states.

In an attempt to quell the ire, American Eagle posted a statement stating that its campaign “is and always was about the jeans.”

Sweeney and the American Eagle campaign notably found support among the conservative crowd — it wasn’t the first time for the 27-year-old “Immaculate” actor. Days after the ad dropped, public records revealing her most recent voter registration history resurfaced, unveiling she registered as a Republican in June 2024. Trump found that irresistible to post about on his Truth Social platform.

“Sydney Sweeney, a registered Republican, has the ‘HOTTEST’ ad out there. It’s for American Eagle, and the jeans are ‘flying off the shelves.’ Go get ‘em Sydney!” he posted Monday. In an earlier version of his post, Trump misspelled the actor’s name as “Sidney Sweeney.”

He also used the post to diss brands he claimed used “woke” marketing, including Jaguar and Bud Light. Trump also couldn’t resist throwing shade at pop star Taylor Swift, who openly endorsed Vice President Kamala Harris during the 2024 presidential election.

Amid the fashion fracas and social media discourse, it seems neither Sweeney nor American Eagle had anything to lose.

Sweeney shrugged off her latest bout of controversy last week as she was spotted doing karaoke with some “Euphoria” co-stars in Santa Monica. She also hit the red carpet on Monday to promote her latest film, “Americana,” from writer-director Tony Tost.

American Eagle, on the other hand, saw its stock surge this week.

The program for the upcoming Toronto International Film Festival came into sharper view with Monday’s announcement of the majority of titles for the event’s galas and special presentations section. Along with TIFF’s news, some of the larger fall festival and awards season is also beginning to take shape.

Toronto, long known as a powerful showcase for launching awards-hungry and commercially ambitious fall titles, has been seen as losing some of its strength in recent years to festivals in Cannes, Venice and Telluride. This year’s TIFF program, which marks its 50th edition, will be closely watched for how its titles are received not only at the festival itself, but in the months ahead.

Among the notable world premieres in Monday’s announcement are Aziz Ansari’s feature directorial debut “Good Fortune,” a comedy of identity-swapping and self-discovery starring Ansari and Seth Rogen with Keanu Reeves as an inept angel, and James Vanderbilt’s “Nuremberg” starring Russell Crowe as imprisoned Nazi Hermann Göring, with Rami Malek as the psychiatrist tasked with interviewing him.

Maude Apatow will make her feature directorial debut with “Poetic License,” starring her mother Leslie Mann alongside Andrew Barth Feldman and Cooper Hoffman. “True Detective” creator Nic Pizzolatto will also make his feature directing bow with “Easy’s Waltz,” a drama of down-on-their-luck entertainers starring Vince Vaughn and Al Pacino.

TIFF will host the world premiere of Bobby Farrelly’s comedy “Driver’s Ed,” starring Kumail Nanjiani, Sam Nivola and Molly Shannon. Alex Winter directs and also appears in the comedy “Adulthood” alongside Josh Gad, Kaya Scodelario and Billie Lourd. David Mackenzie’s crime thriller “Fuze” stars Aaron Taylor-Johnson, Sam Worthington, Theo James and Gugu Mbatha-Raw.

Baz Luhrman will unveil “EPiC: Elvis Presley in Concert,” which utilizes previously unseen footage the director discovered while researching his 2022 film “Elvis.” The result is what Luhrman has described as “not specifically a documentary, nor a concert film.”

Saoirse Ronan stars in “Bad Apples,” which is premiering at the 2025 Toronto International Film Festival.

(Republic Pictures )

Other world premieres include Jonathan Etzler’s “Bad Apples,” starring Saoirse Ronan; David Michôd’s “Christy,” starring Sydney Sweeney as boxer Christy Martin; and Alice Winocour’s fashion world drama “Couture,” starring Angelina Jolie.

At this stage in the season, interpreting how a Toronto title is announced can give some clues as to where it may be popping up beforehand. “International Premiere” can mean a title is also first playing a week earlier at Telluride, while “North American Premiere” can mean something is playing first at Venice. “Canadian Premiere” means it is likely playing both Telluride and Venice (or already premiered at Cannes) before coming to Toronto.

The only title listed as an international premiere is Clint Bentley’s “Train Dreams,” which premiered earlier this year at the Sundance Film Festival.

North American premieres likely headed to Venice include Gus Van Sant’s “Dead Man’s Wire,” starring Bill Skarsgård and Colman Domingo; Guillermo del Toro’s “Frankenstein,” starring Oscar Isaac and Jacob Elordi; Mark Jenkin’s “Rose of Nevada,” starring Calum Turner and George MacKay; Mona Fastvold’s “The Testament of Ann Lee,” starring Amanda Seyfried; and Benny Safdie’s “The Smashing Machine,” starring Dwayne Johnson.

Canadian premieres include Edward Berger’s “Ballad of a Small Player” starring Colin Farrell; Jafar Panahi’s Cannes-winning “It Was Just an Accident”; Richard Linklater’s “Nouvelle Vague,” about the making of Jean-Luc Godard’s “Breathless”; Kleber Mendonça Filho’s “The Secret Agent,” which won best actor at Cannes for Wagner Moura; Daniel Roher’s “Tuner,” starring Leo Woodall and Dustin Hoffman; and Joachim Trier’s “Sentimental Value,” starring Stellan Skarsgård and Renate Reinsve.

Michaela Coel, left, and Ian McKellen star in “The Christophers,” which is premiering at the 2025 Toronto International Film Festival.

(Department M / Butler & Sklar Production)

Toronto’s previously announced titles include the opening night selection “John Candy: I Like Me,” a documentary on the beloved Canadian-born actor, directed by Colin Hanks and produced by Ryan Reynolds, as well as the world premiere of Rian Johnson’s third Benoit Blanc film starring Daniel Craig, “Wake Up Dead Man: A Knives Out Mystery.”

Other previously announced world premieres include Derek Cianfrance’s “Roofman,” starring Channing Tatum and Kirsten Dunst; Nicholas Hytner’s “The Choral,” starring Ralph Fiennes; Paul Greengrass’ “The Lost Bus,” starring Matthew McConaughey; Hikari’s “Rental Family,” starring Brendan Fraser; Nia DaCosta’s “Hedda,” starring Tessa Thompson; Steven Soderbergh’s “The Christophers,” starring Ian McKellen and Michaela Coel; and Agnieszka Holland’s “Franz,” a biopic of Franz Kafka.

Other titles already announced for TIFF that will be premiering elsewhere include the Canadian premiere of Chloé Zhao’s highly anticipated “Hamnet,” starring Paul Mescal and Jessie Buckley; and the North American premiere of Rebecca Zlotowski’s “A Private Life,” starring Jodie Foster, which premiered at Cannes.

More of the Toronto program will be announced in the coming days and weeks, including the Platform section for emerging voices and the popular Midnight Madness section. This year’s Toronto International Film Festival runs from Sept. 4 to 14.

OK, which focus group asked for soap made from Sydney Sweeney’s dirty bathwater? Because y’all are in trouble.

In announcing the limited-edition Sydney’s Bathwater Bliss product Thursday, boutique soap company Dr. Squatch said on social media that it exists because “y’all wouldn’t stop asking” for Soap á la Sweeney after the actor did a viral ad for the company last October. “And Sydney said, ‘Let’s do it.’”

So whoever “y’all” is should have to stay up late writing apologies to the rest of us. In cursive.

The soap is said to smell like Sweeney’s childhood homeland, the Pacific Northwest, so anyone who has a warm and innocent association with that area’s pine, Douglas fir and earthy moss essence is likely to have that completely ruined. Of course, if you associate those scents with the parfum de décolleté et de parties féminines — that’s some kind of French for the “scent of cleavage and lady parts” — this soap should make perfect sense.

“Nice humiliation ritual you’ve got going here,” X user @AzBeto1997 tweeted Friday about the soap, which the company swears includes bathwater that has actually touched Sweeney’s naked body. “Way to demean and diminish your customer base. If it were a joke it’d be funny.”

“Weird and gross. I’ve enjoyed the pine tar soap for several years now, but this is goodbye. Enjoy your bath water fetishist customers,” user @MarvinOMars wrote.

“I guarantee you most straight men find the Sydney Sweeney soap thing pretty gross,” @UnderstanderArt said. “She’s not appealing to all straight men with it, but a very particular group that I want nothing to do with.”

Over on Instagram, comments about the limited run of 5,000 bars of soap, on sale next week, seemed more charitable. One poster said the Dr. Squatch marketing department and Sweeney “need an award for this. Hilarious and awesome.”

“We’re not going to heaven, but this is close enough,” another wrote.

“Never will I be in a greater state of absolute bliss than whilst I use this holy concoction, in the form of a bar of soap, to rub across my body,” wrote a third.

Some comments invoked the infamous bathtub scene from “Saltburn.” Many alluded to masturbation. A lot of them were seriously hilarious. All of them suggested in their own quiet ways that the fall of Western civilization was imminent.

“This bar is bizarre, unexpected, and intended to get guys to think more deeply about the ingredients in the products they are putting on their bodies,” said John Ludeke, the Dr. Squatch executive who heads the company’s global marketing department.

So buy the soap, don’t buy the soap, we really don’t care. Remember, this is the same company that insured Nick Cannon’s testicles for $10 million.

Irish Spring, here we come.