Maggie Gyllenhaal: Last News

Great Expectations has cast its Miss Havisham. Oscar winner Olivia Colman will star as the wealthy, wedding dress-wearing spinster in the FX and BBC limited series adaptation of the Charles Dickens’ novel, which comes from Steven Knight.

Tim Gray Senior Vice PresidentAfter Oscar nominations were announced Feb. 8, the buzz seems equally centered on who was nominated and who wasn’t.There’s an impressive roster of work in both categories.

Men below.The movie is the latest from director Alex Garland (Ex Machina, Annihilation), also starring Rory Kinnear (No Time To Die) and Paapa Essiedu (I May Destroy You), and is due to arrive in UK cinemas on May 20.The official synopsis for Men reads: “In the aftermath of a personal tragedy, Harper (Buckley) retreats alone to the beautiful English countryside, hoping to have found a place to heal. But someone or something from the surrounding woods appears to be stalking her.“What begins as simmering dread becomes a fully-formed nightmare, inhabited by her darkest memories and fears in Garland’s feverish, shape-shifting new horror film.”In the trailer, Buckley’s character is scene walking through countryside, peering into tunnels, and repeatedly spotting an eerie figure in the distance.Watch the the trailer for Men below:The new trailer arrives the day after Buckley received her first Oscar nomination, making the Best Supporting Actress list for her performance in Maggie Gyllenhaal’s The Lost Daughter.Meanwhile, A’Ziah King, who wrote the 2015 Twitter thread that inspired A24’s 2020 film Zola, recently criticised the production company after being excluded from the film’s awards recognition.

Wilson Chapman editorOne day after nabbing her first Oscar nomination, Jessie Buckley’s full talents are on display in the first trailer for “Men,” a horror film from A24 and director Alex Garland (“Ex Machina,” “Annihilation”). It will premiere in theaters May 20.The official synopsis for “Men” reads: “In the aftermath of a personal tragedy, Harper (Buckley) retreats alone to the beautiful English countryside, hoping to have found a place to heal.

Dakota Johnson spoke about her own mom Melanie Griffith’s reaction to her movie “The Lost Daughter” in a new interview with Entertainment Weekly‘s “The Awardist” podcast.

Dakota Johnson stars in the new Netflix movie The Lost Daughter and while she isn’t a mother herself, she is opening up about the maternal women who surround her in real life.

Naman Ramachandran Jane Campion’s “The Power of the Dog” won four major awards at the 42nd annual London Critics’ Circle Film Awards on Sunday.“The Power of the Dog” won film of the year, Campion director of the year, and stars Benedict Cumberbatch and Kodi Smit-McPhee, actor and supporting actor of the year, respectively. This is Campion’s second film to take the Circle’s top honor, 28 years after “The Piano” won in 1994.Olivia Colman’s performance in Maggie Gyllenhaal’s “The Lost Daughter,” which was snubbed at the BAFTA nominations, earned her the actress of the year award.

Dakota Johnson is headed to the Spider-Verse!The actress is set to to become the first female-headlining hero in the Sony-Marvel cinematic universe, as multipleoutlets report she is in talks to play the titular character in the upcoming. S.J.

Madame Webb, a new Marvel Cinematic Universe entry at Sony.It would mark the first appearance of a female superhero in Sony’s MCU, and nods to the Spider-Man spin-off comics series.In the Marvel comics, Madame Web is an elderly woman with a condition called myasthenia gravis, forcing her to stay connected to a life support system that looks like a spider web.She never fought any villains in the original stories, which is why sources reportedly say the film could turn into another story, per Deadline.The Madame Web film is set to be directed by S.J. Clarkson, with Matt Sazama and Burk Sharpless writing the screenplay. No other cast members have been confirmed yet.Dakota Johnson most recently starred in Maggie Gyllenhaal’s The Lost Daughter, released on Netflix at the end of last year.

While this year’s BAFTA nominations offer up a more balanced split between streamers and traditional distributors and studios than in recent years, Netflix still remains the dominant streamer in the 2021 race.

Margaret Qualley (Maid, Once Upon a Time… In Hollywood) has signed on to exec produce and star in The End of Getting Lost, an Amazon Studios thriller from Mustang director Deniz Gamze Ergüven, which also has Paul Mescal (The Lost Daughter, Normal People) in talks to co-star, Deadline has confirmed.

Tim Gray Senior Vice PresidentHollywood has given us a wide range of mothers, including the hard-working and devoted (“Claudine”), the self-sacrificing (“Bambi”) and the monstrous (“The Manchurian Candidate”).It’s hard to come up with anything new on the subject, but first-time writer-director Maggie Gyllenhaal, adapting Elena Ferrante’s novel, constantly surprises us by depicting several mothers who are complex, original and have the ring of truth in “The Lost Daughter.”“The book and, I hope, the film articulate a lot of the experience about being a woman that we don’t often talk about,” Gyllenhaal tells Variety. “Not just in terms of mothering and how complicated it is — it brings you to your knees.

Best Picture Jane Campion’s “The Power of the Dog” seems to have taken pole position in the best picture race. Campion won a screenplay Oscar at the 1994 ceremony for “The Piano,” which was also nominated for best pic (it lost to “Schindler’s List.”). Early front-runner “Belfast” should also make the ballot.

The 32nd Annual Gotham Awards will take place on November 28, with the 2022 Gotham Week set for September 18-23, The Gotham Film & Media Institute announced today.

Nick Clement For the past 25 years, Variety editors and staff have compiled annual lists of industry talent to look out for, stretching various capacities, including directors, writers, producers, cinematographers, and comics. When looking back on the lists from each year, it’s striking to see how many impactful names have blossomed with hugely successful careers within Hollywood, and with some of the individuals taking a surprising route to stardom.

Spoiler Alert: The description below has spoilers about the Netflix movie The Lost Daughter

EXCLUSIVE: Dagmara Dominczyk (Succession) is set for a key recurring role opposite Billy Crudup in Apple TV+ original series Hello Tomorrow!, from MRC Television.

Zoe Hewitt Art is unlike other media in that it requires its creators to share parts of themselves as they’re likewise primed for the supremely subjective criticism that follows. After all, no dentist is asked to soliloquize about how a tooth extraction reflects life choices.

Clayton Davis The fight for women to be recognized for their directorial achievements stretches back for decades, but, too often, the screenwriters aren’t given that same spotlight. However, this year presents a unique situation where female filmmakers have also penned the top awards contenders for adapted screenplay.

A few years back, when Maggie Gyllenhaal was making The Kindergarten Teacher with Pie Films’ producing partners Talia Kleinhendler and Osnat Handelsman-Keren, the idea arose that Gyllenhaal herself should direct a project. Securing the rights to Elena Ferrante’s novel, The Lost Daughter, Gyllenhaal re-teamed with Pie Films, crafted her first feature script and cast Olivia Colman as Leda, a middle-aged woman whose past haunts her when she meets a young woman on vacation. Amid a Covid-driven location switch to Greece and quarantine with her film-family, Gyllenhaal crafted a feature filled with eviscerating but necessary truths about motherhood and all its complexity.

Courtney Howard An abundance of book-to-film and play-to-film adaptations this year have connected with audiences, many of which have women either writing and directing or turning in compelling performances. From period pieces that reflect pressing issues of race or toxic masculinity, to modern-set features showcasing deaf culture or the societal mores of motherhood, these ladies’ unwavering dedication to infuse their characters with an organic, captivating sense of realism makes these conversation-stirring pictures come alive in their capable hands.Rebecca Hall, the writer and director of “Passing,” wasn’t familiar with the history of the term, which describes covering one’s racial identity to assimilate into the majority.