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Oct152025 by cineverseNo Comments

FilmSharks Secures Rights to Political Action Thriller Project ‘Insurrección,’ Teams With ‘El Capo”s Marlon Moreno (EXCLUSIVE)

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By Emiliano De Pablos According To The variety Guido Rud‘s Buenos Aires-based FilmSharks has secured all rights — including derivative IP — to “Insurrección,” a provocative and politically charged action-thriller film project, teaming with acclaimed Colombian actor-producer Marlon Moreno (“El Capo,” “Dog Eat Dog”). Written by Colombian screenwriter Mauricio Marulanda González, “Insurrección” is in development with plans for dual Spanish and English-language versions. Envisioned as “Public Enemy” meets “The Bourne Identity” (meets “Nuevo Orden”), the project seeks to fuse high-octane genre storytelling with a sharp sociopolitical pulse. For the Spanish-language version, Marlon Moreno – of Disney+ TV series “El Capo,” Sundance hit “Dog Eat Dog,” Netflix top ranke...

Oct152025 by cineverseNo Comments

Oscars: U.K. Submits ‘My Father’s Shadow’ for International Feature Race (EXCLUSIVE)

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By Alex Ritman According To The variety “My Father’s Shadow” has been selected as the U.K.’s official Oscar submission for best international feature at the 98th Academy Awards. The feature debut of Akinola Davies Jr. and from Mubi, Element Pictures and Fatherland Productions, “My Father’s Shadow” — a Yoruba, Naija-Pidgin and English-language film — premiered earlier this year in Cannes’ Un Certain Regard competition, where it became Nigeria’s first title in the festival’s official selection and earned Davies Jr. a Special Mention from the jury. It was chosen to represent the U.K. by a special BAFTA selection committee. Starring Ṣọpẹ́ Dìrísù (“Slow Horses,” “Gangs Of London”) and introducing Godwin Egbo and Chibuike Marvellous Egbo, the film spans one day in th...

Oct132025 by cineverseNo Comments

Spamflix to Revive Brazil’s Cult ‘Cinema of Desire’ (EXCLUSIVE)

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By Lise Pedersen According To The variety Cult film outfit Spamflix will launch the Cinema of Desire at the Marché International du Film Classique (MIFC) in Lyon, an ambitious restoration project in collaboration with the Cinemateca Brasileira that reclaims a missing piece of Brazilian film history. The Lisbon-based platform is presenting the 4K restoration of “The Magic Eye of Love” (“O Olho Mágico do Amor,” 1982), the first in a trilogy by Ícaro Martins and José Antonio Garcia, within the MIFC’s Re>Birth program – a showcase for heritage titles seeking restoration and distribution partners. “This is the first market where we are showing the project, and it’s very special,” Spamflix co-founder Julia Duarte told Variety. “These films were part of a mo...

Oct132025 by cineverseNo Comments

Chloé Zhao on Why Hollywood Is ‘Not Very Good at Preserving the Language of Ambiguity’ and How Neurodivergence Is Her ‘Superpower’ in Filmmaking

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By Ellise Shafer According To The variety During a conversation at London Film Festival on Sunday, Oscar-winning director Chloé Zhao got candid about Hollywood, the difficulty of financing films, how neurodivergence has impacted her storytelling and more. Zhao’s devastating historical drama “Hamnet” — about the personal tragedy that led to the creation of William Shakespeare’s “Hamlet,” starring Paul Mescal and Jessie Buckley — held its European premiere at the festival on Saturday night, where it was welcomed with plenty of emotion (and a surprise appearance from producer Steven Spielberg). Speaking about making the film, Zhao said that the experience made her “very passionate about rediscovering and remembering some older ways of storytelling that have been forgotten...

Oct122025 by cineverseNo Comments

Box Office: ‘Tron: Ares’ Hits the Grid With $14.3 Million Opening Day, Channing Tatum’s ‘Roofman’ Raises $3.2 Million in Second

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By J. Kim Murphy According To The variety Disney’s “Tron: Ares” will light up the top of the box office in its debut, though the sci-fi entry is coming in dimmer than its projections. Meanwhile, the Channing Tatum caper “Roofman” looks headed for a second place bow. The “Tron” threequel earned $14.3 million across Friday and previews from 4,000 venues (that includes early access screenings on Wednesday ahead of the wider traditional Thursday rollout.) Pre-weekend tracking had forecast a debut north of $45 million — a range that’s now likely well out of reach. It’s also pacing behind the prior series entry “Tron: Legacy,” which nabbed a $17.5 million opening day in 2010 on its way to a $44 million first frame. Reviews have been mediocre for “Ares,” while audiences were slightly more p...

Oct122025 by cineverseNo Comments

Yorgos Lanthimos Reveals the One Thing He Does to Annoy Emma Stone on Set and Jokes He Should Make an AI Avatar to Do Interviews

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By Alex Ritman According To The variety Despite having become a hugely successful filmmaker over the last decade and being a regular face on the awards circuit, Yorgos Lanthimos admits he still has very mixed feelings about the promotional aspect that comes with the job. Speaking on Saturday at a special BFI London Film Festival talk with “Succession” creator Jesse Armstrong, the director was asked how he felt about commercial success. “I want it to happen, but I don’t it to happen the way it happens,” he said with a smile. “I want people to make their money back. I want people to watch the film. But I don’t want to be going around like a freak, parading around the world, having to explain the film.” Lanthimos noted that after spending six months shooting a ...

Oct112025 by cineverseNo Comments

Vicious’ Review: Dakota Fanning Screams Her Way Through a Horror Endurance Test That Wears Itself Out

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By J. Kim Murphy According To The variety After launching a home-invasion franchise with the simple premise of three masked figures terrorizing a couple on the rocks, “The Strangers” creator Bryan Bertino has maintained his sensibility as a writer-director, spinning other original horror chamber pieces unmoored by sympathy. Now, the horror helmer’s latest effort shows characteristic daring in its detachment. Generically titled “Vicious,” the film offers a spare setup — a depressed young woman is wracked by hallucinations — with little definition of what is afflicting her or why. The writer-director doesn’t solicit sympathy for Polly (played by Dakota Fanning) or impose meaning on her suffering. It’s a very naked approach to horror, entirely propped up on formal executi...