Coherent: Last News

Fremantle kicked off its presence at the Venice Film Festival with a bang this year with the announcement of its new €150M ($162.7M) Scripted Fund forged in partnership with Israel-based IBI Investment House. 

Dennis Harvey Film Critic “Based on a true story” has become one of the most overused (and misleading) labels of our time. Still, its application to “Nandor Fodor and the Talking Mongoose” is duly warranted — and no less ridiculous for being so. The “true events” drawn on here remain dumbfounding: In the 1930s, a family living in a farmhouse on the Isle of Main claimed they played frequent host to an octogenarian mongoose from New Delhi whose mysterious powers were hardly limited to human speech.

Holly Jones Argentine director Martín Turnes, whose feature “Pichuco” snagged the Argentine Film Critic Association’s Silver Condor Award for best documentary in 2015, is bringing his first full-length fiction title, “El Agrónomo,” to Sanfic Industria’s Works In Progress. Filmed in Marcos Paz, Argentina with the support of Marcos Paz Film TV, the project is produced by Fernando Romanazzo of Buenos Aires-based Aqueronte alongside Zebra Films (“Manifesto”) and Haz Cooperativa Audiovisual.

Christopher Vourlias Berlin Golden Bear winner Radu Jude, whose latest feature, “Do Not Expect Too Much From the End of the World,” premieres Aug. 4 in competition at the Locarno Film Festival, is in post-production on his next film, Variety can reveal.

Owen Gleiberman Chief Film Critic Christopher Nolan is a filmmaker with a gigantic talent and an even larger mystique. He can be a visionary storyteller — to see that, look no further than “Oppenheimer.” But if you’re a Nolan cultist-believer, the sort of Nolan-is-God devotee who thinks you’re only starting to “get” “The Prestige” when you’ve seen it four times, then his movies, with their spectacular convolutions and plots that loop around themselves, may exist for you in a realm that’s almost beyond story, a kind of rarefied Nolan Land of spellbinding cinematic purity.

Matt Damon opened up about how his wife Luciana Barroso helped him when he "fell into a depression" on the set of a movie. During an interview on "Jake's Takes," the 52-year-old actor was asked about the best professional advice that he had ever received from a significant other.

Todd Spangler NY Digital Editor The FTC is looking into whether OpenAI, the developer of the artificial-intelligence chatbot ChatGPT, “engaged in unfair or deceptive privacy or data security practices or engaged in unfair or deceptive practices relating to risks of harm to consumers, including reputational harm,” according to a letter the regulatory body sent to the company. The agency’s probe into OpenAI was first reported by the Washington Post, which shared a redacted copy of the letter to the company (at this link). The time period for the FTC’s information requests to San Francisco-based OpenAI date from June 1, 2020, “until the date of full and complete compliance” with the investigation, which is technically called a “civil investigative demand” (CID).

Zack Sharf Digital News Director Matt Damon revealed on “Jake’s Takes” while promoting “Oppenheimer” that he once “fell into a depression” halfway through shooting a movie that wasn’t panning out how he hoped it would when he accepted the gig. “Without naming any particular movies…sometimes you find yourself in a movie that you know, perhaps, might not be what you had hoped it would be, and you’re still making it,” Damon said. “And I remember halfway through production and you’ve still got months to go and you’ve taken your family somewhere, you know, and you’ve inconvenienced them, and I remember my wife pulling me up because I fell into a depression about like, what have I done?”

A further delay to Scotland's long-awaited Deposit Return Scheme means more uncertainty for Falkirk Council residents.

Wendy Williams' son, Kevin Hunter Jr., is speaking out regarding his mother's health and well-being.The 22-year-old college student gave an interview to  in the U.S., and shared how he believes Wendy's team is taking advantage of her wealth amid her alleged battle with alcoholism, which he says does not allow her to make sound decisions. According to the article, Kevin was being financially supported by his mother, but lost that support in large part when her financial affairs were taken over by guardian Sabrina Morrissey in May 2022.«People have put other things in front of her actually healing and getting better, and unfortunately, unlike many other alcoholics, she is worth a lot more money,» he says.«I know there are all sorts of things happening that I know in her right mind she would never agree to. As hard as it is seeing her being taken advantage of, I know that if I'm making sure she, as a person, is OK, that is the important thing.»Her son adds, «Because eventually, she's going to realize the craziness that's been going on.»ET has reached out to Wendy's team for comment on her son's recent interview, including her manager, Will Selby, and Sabrina Morrissey. The ended in June 2022 after 13 seasons following a lengthy hiatus from the show's host.

Dennis Harvey Film Critic You might think Shia LaBeouf portraying a 20th-century Italian saint under the direction of perpetual bad-boy expat Abel Ferrara is a pretty strange prospect. But that’s just the iceberg tip of the oddities in “Padre Pio,” which, despite the American star’s casting in the title role, often appears uninterested in its own venerated ostensible subject.  Instead, much of this awkward English-language period piece focuses on peasants’ struggle to overthrow padrone control just after the First World War. Depicting that conflict often feels beyond the modest production’s scale — and, in any case, is never meaningfully connected to the angsty histrionics of LaBeouf, who seems to be in his own separate, indulgent, semi-improvised movie. Though coherent relative to Ferrara’s last narrative feature, the impenetrable espionage tale “Zeroes and Ones,” this eccentric misfire will likely puzzle fans of his past cult favorites, while flummoxing Catholic viewers who expect straightforward religious uplift. Gravitas Ventures is releasing to 50+ U.S. markets. 

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Erik ten Hag has warned Manchester United must have a coherent strategy as they await the outcome of a possible takeover process.

Nick Vivarelli International Correspondent Revered Italian auteur Marco Bellocchio is returning to Cannes with “Kidnapped,” a drama that reconstructs the true tale of Edgardo Mortara, a young Jewish boy who was kidnapped and forcibly raised as a Christian in 19th century Italy. It’s a story that Steven Spielberg had his eye on, having announced in 2016 that he would make a drama about Mortara for which he began scouting locations in Italy. Last year, Bellocchio was in Cannes with another kidnapping drama, the limited TV series “Exterior Night,” about the abduction and assassination of former Italian premier Aldo Moro by Red Brigades terrorists. The veteran auteur’s first foray in TV has had the rare distinction of playing well in Italian cinemas — in two installments — before airing on RAI and selling globally. Earlier this month it also scored a slew of statuettes, including best director, at Italy’s David Awards, the country’s top film prizes.

Rebecca Rubin Film and Media Reporter “Fast X,” the 10th installment in Universal’s high-octane franchise, is revving up to lead global box office charts. The movie is projected to open to $60 million or more in North America and at least $220 million at the international box office. Based on those estimates, “Fast X” is looking to capture $280 million worldwide in its first weekend of release. In terms of domestic box office projections, a soft start around $60 million is below the latest entry, 2021’s “F9: The Fast Saga,” which kicked off to $70 million and ended its theatrical run with $173 million in North America. And that was at a time when COVID era restrictions meant only 80% of theaters were open and attendance hadn’t yet rebounded. It also lags way behind pre-pandemic “Fast” installments, including 2017’s “The Fate of the Furious” ($98 million debut), 2015’s “Furious 7” (a series-high $148 million debut) and 2013’s “Fast and Furious 6” ($97 million debut).

Manchester United and Erik ten Hag are in confident mood heading into the summer.

Children who breathe through their mouth, snore, fiddle with their ears and have worse hearing during a cold are more likely to be autistic, according to a new study.

Shayne Jansen is signing off amid the drama.

Fans are growing worried about Love Is Blind alum, Shayne Jansen…

Plans for a block of eight flats in Renfrew have been drawn up by architects and submitted to Renfrewshire Council.

Naveen Kumar The addition of “bad” to the title of Andrew Lloyd Webber’s latest maximalist spectacle, formerly known simply as “Cinderella” when it premiered for a short-lived run on the West End in 2021, would seem like a cleverly self-conscious move. Was it preemptive self-defense against Broadway reviews like this one, that would apply aesthetic judgment to the musical’s gauche bonanza of too-muchness? Would its version of Cinderella be — you know, a bad girl, but in a sexually liberated (and feminist!) way? Or was it a rare bit of truth in advertising? To clear up the obvious question, “Bad Cinderella,” which opened at the Imperial Theater Thursday night, isn’t good. Composed by Webber and with lyrics by David Zippel, it is a muddled and momentum-less retooling of the familiar fairy tale in search of a coherent point of view as if it were a glass-slippered foot. The book, originally written by Emerald Fennell, the Oscar winning screenwriter of “Promising Young Woman,” and adapted for Broadway by the playwright Alexis Scheer, is an illogical head-scratcher, despite being based on a story most everyone knows. “Bad Cinderella,” directed here by Laurence Connor (“School of Rock”), even manages to gleefully reinforce the chronic social fixations — on beauty, vanity and wealth — that it purports to deem toxic.