The Brutalist Report - culture

The A.V. Club

Vanity Fair

Riley Keough Dons A Stunning Cartier Necklace For The Venice Film Festival Red Carpet [3d]

The Points Guy

TMZ

Variety

Emma Stone Is Becoming Our Modern-Day Katharine Hepburn and ‘Bugonia’ Proves It [2d]
Emma Stone Finds ‘Terrifying’ Parallels Between ‘Bugonia’ and Alleged CEO Killer Luigi Mangione [2d]
‘Ice Age 6’ Titled ‘Ice Age: Boiling Point,’ Sets 2027 Release [2d]
Disney Unveils New Animated Film ‘Hexed,’ Sets 2026 Release Date [2d]
Oscar Isaac and Jacob Elordi Shed Tears as Guillermo del Toro’s ‘Frankenstein’ Brings Venice to Life With Monstrous 13-Minute Ovation [3d]
Julia Roberts Delivers Her Best Performance Since ‘Erin Brockovich’ in ‘After the Hunt’ [3d]
E. Jean Carroll Hopes Her Explosive Telluride Doc Will ‘Finish Off’ Donald Trump – and That Potential Buyers Won’t Fear President’s Wrath [3d]
Original Director Chris Columbus Says It’s ‘Impossible’ to Return to ‘Harry Potter’ Because ‘It’s Gotten So Complicated With All the Political Stuff’: ‘Never Going to Happen’ [3d]
‘Caught Stealing’: How Darren Aronofsky Pulled Off the Film’s Epic Car Chase Through Flushing Meadows [3d]
‘Hamlet’ Review: Riz Ahmed Can’t Save a London-Set Take on Shakespeare’s Tragedy With No Reason to Be [3d]
‘Run’ Star Marques Houston on His Character’s Sacrifice, Possible Sequel and What His New Thriller ‘Leave’ Will Uncover [3d]
Lady Gaga to Perform at MTV Video Music Awards 2025 [3d]
‘Frankenstein’ Review: Guillermo del Toro’s Dream Project Has Been Gestating So Long, the Master’s Creation Arrives Overstuffed and Unwieldy [3d]
Huge Gaza Protest Marches Toward Venice Film Festival as Thousands Attend Rally [3d]
‘Late Fame’ Review: Willem Dafoe Is a Lost Poet Who Gets Rediscovered in Kent Jones’s Enchanting Drama of Bohemia Then and Now [3d]
Mads Mikkelsen Delivers Another Wild Look in Anders Thomas Jensen’s Boundary-Pushing ‘The Last Viking’: ‘Part of Him Wants to Be Ugly’ [3d]
Box Office: ‘Caught Stealing’ Grounds Into $3.2 Million Opening Day, ‘Weapons’ Winning Yet Again [3d]
Variety’s Venice Digital Daily, Day 2: Julia Roberts Plays Defense at Press Conference [3d]
‘Below the Clouds’ Review: Nothing Erupts in Gianfranco Rosi’s Lyrical Vesuvius Portrait, But It Brims With Life and Contrast [3d]
‘Late Fame’ Director Kent Jones and Writer Samy Burch on Casting Willem Dafoe as a Forgotten Poet and Paying Homage to a Lost New York Art Scene: ‘It’s a World That Was There, and Then It Was Gone’ [3d]
Noomi Rapace’s Turn as Mother Teresa Lures International Buyers for Kinology (EXCLUSIVE) [3d]
Lee Corso Signs Off ESPN’s ‘College Game Day’ After 38 Years [3d]
Mohamed Hefzy, Valérie Garcia Team on French-Lebanese Dramedy Series ‘Nadine’ Set in Parisian Fashion World (EXCLUSIVE) [3d]
‘Hamnet’ Review: Jessie Buckley Delivers a Devastating Performance in Chloé Zhao’s Radically Feminine Take on Shakespeare’s Family Life [3d]
Guillermo del Toro Says ‘Frankenstein’ Isn’t a Metaphor for AI: ‘I’m Not Afraid of Artificial Intelligence. I’m Afraid of Natural Stupidity’ [3d]
‘Broken English’ Review: An Adoring Hybrid Ode to Marianne Faithfull That Gives Her the Last Salty Word [3d]
Gianfranco Rosi on His Naples-Set ‘Below the Clouds’: ‘There Is a Spirit of Civil Resistance’ [3d]
Imagine’s Film Chief Jeb Brody on Buzzy Venice Drama ‘After the Hunt’ and Why Making Movies That Resonate Has Never Been Harder [3d]
Venice’s Final Cut Boosts Emerging African, Arab Talents and Offers ‘Window’ Into Underrepresented Regions [3d]
How to Watch ‘College GameDay’ Live Online [3d]
‘Highway 99: A Double Album’ Review: Ethan Hawke Goes to the Tender, Conflicted Heart of Merle Haggard in the Rich Documentary He’s Deserved [3d]
‘Elvira Notari: Beyond Silence’ About Italy’s First Female Film Director Acquired by First Hand Films Ahead of Venice Premiere (EXCLUSIVE) [3d]
Kamila Andini’s Venice Gap-Financing Market Project ‘Four Seasons in Java’ Tackles Power, Trauma in Indonesia [3d]
‘Hamnet’ Sets the Oscar Bar High at Telluride With Jessie Buckley and Paul Mescal’s Heartbreaking Turns [3d]
How ’Motor City’ Helmer Ponciroli Found a Way to Wed Action, Music and an Almost Dialogue-Free Script: ‘I Think the Audience Is Smarter Than People Give Them Credit For.’ [3d]
Cai Shangjun on Returning to Venice With ‘The Sun Rises on Us All’ and Exploring Morality in Contemporary China [3d]
‘La Grazia’ Producer Annamaria Morelli Talks New Vision for Fremantle’s the Apartment (EXCLUSIVE) [3d]
Taiwan Makes Venice Splash With Shu Qi’s ‘Girl’ and Record XR Lineup [3d]
Shu Qi Opens Up About Her Directorial Debut ‘Girl’ and Confronting Childhood Trauma: ‘Those Dark Days Have Almost Become Invisible Scars’ (EXCLUSIVE) [3d]
‘Springsteen: Deliver Me From Nowhere’: Jeremy Allen White and The Boss Tug Telluride’s Heartstrings at World Premiere [3d]
‘Springsteen: Deliver Me From Nowhere’ Review: Who Wants to See a Downbeat Rock Star? Jeremy Allen White Navigates the Boss’s Spiritual Crisis [3d]
France’s Oscar Submission Dilemma: Why ‘Nouvelle Vague’ and ‘It Was Just an Accident’ Would Both Be Unprecedented Choices [3d]
Ethan Hawke’s Telluride Tribute and Previous Oscar Misses Boost His Best Actor Bid for ‘Blue Moon’ [3d]

The New Yorker

Heavy

Esquire

The DOJ Is a Snake Pit—and It’s Only Getting Worse [3d]

Mashable