Sunday, October 4, 2026

Florence Pugh on How Zoe Kazan ‘East of Eden’ Collaboration Helped Boost Her Confidence

When Zoe Kazan started working on turning *East of Eden* into a seven-episode Netflix limited series, she had only one person in mind for the main role of Cathy Ames: Florence Pugh.

Kazan once told Netflix that she didn’t have any other actress she thought could match Pugh’s talent.
“She is the exact right person to play Cathy,” she said.

She explained that Pugh perfectly captured how John Steinbeck described Cathy in the book.


“Cathy Ames is described in the book as kind of doll-like but with something icy or strong inside,” Kazan told The Hollywood Reporter at the New York premiere of *East of Eden*.
“And I felt in Florence this mix of a very feminine look with, in a Jungian sense—not in a gender way—of masculinity in her soul.She had a lot of raw emotion, strength, and action, which is very Cathy to me.”

Kazan was also impressed by Pugh’s performance in *Midsommar* from 2019.


“I feel like that performance showed a new kind of talent,” Kazan said.
“I think she’s a genius.Even though that character is very different from Cathy, if she can do that kind of performance, she can do this.”

Kazan aimed to focus on Cathy’s point of view and better understand the complex antihero’s motivations.
Pugh also took on an executive producer role in *East of Eden*, playing a central part in the series’ creation since she joined in 2020.

Pugh said she felt “very honored” when Kazan asked her to be in the project.


“I couldn’t believe that she wanted to cast me,” Pugh told THR on the premiere red carpet.


Being involved in the production as an executive producer helped her feel more confident.


“She really wanted me to be part of the process; she wanted to create it with me.
And that was huge,” Pugh said.“At that time in my career and life, I was given an opportunity that was a big moment for me to step up and lead in a different way.Those moments in people’s careers are the beginning of feeling truly confident about yourself.This project has meant a lot to me.”

Pugh also shared her journey with *East of Eden* on Instagram, saying of Kazan, “Zoe Kazan has poured her heart and soul into this project.
I wouldn’t have been able to do any of this without her.She was my protector, my work wife, my cheerleader, my confidence.She created something so epic we all wanted to work on it.”

*East of Eden* has received excellent reviews (it has an 85% freshness rating on Rotten Tomatoes), and Pugh’s performance is especially praised.


In a review for THR, chief TV critic Dan Fienberg writes that Pugh “tears into one of fiction’s great and confusing antagonists, a woman so determined and wicked that she makes Becky Sharp from *Vanity Fair* look like a Girl Scout.” He adds that having Pugh play a character who is reluctant to reveal her truth is a smart choice, putting the focus on others who don’t realize what’s obvious to viewers.
“Cathy is scary when she lies, but she’s scarier when she tells the truth,” Fienberg writes, “with an honest honesty that is purely Pugh-ian.She’s so good that even in the second half of the series, when Cathy ages past the point where Pugh is convincing, it still works.”

Esquire calls Pugh’s performance a “career best,” and USA Today says she makes the show a “must see.”

Paul Rudd Says He Stopped Bringing His Phone to Film Sets Because He’s ‘Addicted Like Everybody Else’: ‘They’re Facilitating Our Own Destruction’

Paul Rudd stars as the host of the first-ever gathering focused on tackling America's climate problem in the movie "A Statement," directed by Tom McCarthy, who has won an Oscar.The film is set in a Florida beach resort in 1980 and follows 20 experts who spend a weekend in a conference room, much like the movie "12 Angry Men," discussing how to write a statement for Congress about the impact of carbon emissions on the climate.

Rudd said he felt more connected with the large group of actors, including Paul Giamatti, Tatiana Maslany, and John Turturro, because he left his smartphone in his trailer.
He said he has been doing this for a while now.

"I don't bring my phone to set.
I haven't done that for a while," he told Variety during the film's world premiere at the New York Film Festival."It's important to put it down.Anytime.They're terrible things.I'm addicted to them like everyone else.They're helping destroy us."

Rudd explained that McCarthy had a strict no-phone rule on the set of "A Statement," which helped the cast bond more and made filming feel more like a play.

"The world has changed since cell phones came around.
We don't look at each other or talk to each other the same way anymore," Rudd said."Now, with the phone ban, we were forced to really spend time with each other and talk.Working on a movie set in 1980, we were dressed a certain way.It felt like, 'Oh yeah.I remember this.This feels like it used to feel when people sat around and spoke to one another.'"

Amy Ryan, whose character gives a serious warning to the group at the film's end, encouraged other filmmakers to follow McCarthy's example.
She said the lack of notifications and endless scrolling definitely made the work richer.

"What happens is there's a five-minute break and people are connected.
'Hey, what are you doing?How's your morning?What do you think of this scene?'" Ryan explained."I equate it to when you quit sugar.In three days, it's out of your system.You don't miss it!And hopefully, it becomes like a toy you're gonna get sick of."

A Statement’ Review: Just What We Need Right Now — Another Movie About Climate Change! But Tom McCarthy’s Historically Based Talkfest Reveals How Much We Knew in 1980

If you see just one movie this year about a group of smart people — scientists, teachers, lawyers, activists, and government workers — who meet in a hotel in St.Petersburg, Florida, in 1980 to talk about climate change, then make sure it's "A Statement" (until something better comes along).This meeting actually happened.It was organized by the U.S.Congress.Back then, people were starting to worry about global warming.The group met for three days in Florida, and their job was to write a plan that would look at the dangers of climate change and suggest what should be done about it.

"A Statement" was directed and written by Tom McCarthy, who also made "Spotlight" and "Stillwater." The movie stars some great actors, like Paul Rudd, who plays the calm leader of the meeting, Paul Giamatti as a tough government official, John Turturro as a funny professor, and Amy Ryan as a quiet person who becomes the group's moral guide.

The movie doesn't have any action scenes, car chases, or big stunts.
It’s all about the meeting — 20 people talking, arguing, and trying to figure things out.The whole movie is about how people talk to each other.I really like movies that focus on conversations — like "12 Angry Men" or "Before Sunrise." I think talk can be action, and I enjoy seeing smart people argue about important issues.That's why I think "A Statement" is right up my alley.

But I also had mixed feelings about it.
On paper, it sounds interesting, but the movie is both talky and slow, intense but boring at times.It wants to be a powerful documentary-style film, but I'm not sure who would want to watch it.I think it's more like a very long article made into a movie, and I don't think many people will be interested.

McCarthy and his writing team, Thomas Bidegain and Noé Debré, didn't make up any of the dialogue.
They used the real conversations from the meeting, word for word.That's a bold choice, and McCarthy is a good director who knows how to capture the feel of a meeting.He shows how meetings can be full of talking, back-and-forth arguments, and people trying to get their point across, even if they don't really agree.

For people who have ever been in such a meeting — which is almost everyone — this might feel a bit like a mixed blessing.
These meetings can be useful, but they can also be frustrating.People keep talking, trying to one-up each other, and eventually everything gets settled with a compromise that doesn't really matter.That's the kind of feeling you get in "A Statement."

It's interesting to watch these conversations from 1980, especially because you might think they'd sound out of touch.
But the surprising thing is that they don't.There's no "back then they didn’t know what they didn’t know" feeling.The people back then were already thinking about climate change, and they were taking it seriously.

The movie is partly based on the 2019 book "Losing Earth: The Decade We Could Have Stopped Climate Change" by Nathaniel Rich, which talks about the 1980s.
The main idea of the book is that back then, people already knew a lot about the problem — at least the experts did.

Early in the movie, the character played by Turturro, Dr.
David Rose, uses an overhead projector to show five slides.These slides show graphs that explain how carbon dioxide levels are rising and what damage this will cause to the environment.The facts presented are clear, even though there are some small disagreements about them.The slides show dangers like the thinning of the ozone layer, the serious risks of using fossil fuels, and the timeline showing how things are moving towards a dangerous future.

Most of us didn't really start learning about global warming until later in the 1980s, like when Bill McKibben wrote a big article in the New York Review of Books in 1988 asking if the world was getting hotter.It's surprising that people in this group were already thinking about it so much.So, what are the people in the room actually arguing about?I wish they would argue more.There's a lot of fine-tuning and back-and-forth, and since climate change is all about trying to predict the future, there's a big disagreement on how they should think about the threat.Should they say, “This is what will happen” or “This is what could happen”?That's a good question to have.

Some people in the group are more worried about their own positions and don't want to upset people in power.
One person, Jason Clarke, is described as a loud and full-of-himself person.But even with all the arguing, the main ideas people are talking about don't really differ that much.

Two of the most noticeable characters are a professor played by Turturro and Rafe Pomerance, who is the leader of Friends of the Earth.
Pomerance was one of the first environmental activists to talk about climate change.He's played by Evan Peters, with a beard and long hair, looking like a passionate, angry hippie.He waits for the right moment to speak, but he believes it's too late to wait any longer.He wants the group to tell Congress the truth, no matter how bad it sounds.

It's clear to most of us that he's right.
They should be telling Congress just how serious the situation is, or even worse, what it will be if they don't act.But even if they do manage to tell Congress, the bigger question is, what should they actually do?

Early on, there's a moment that hints at the real debate.
When Rafe, the counterculture type, meets the professor and finds out he's a nuclear scientist, he jokes about calling him the "Big Bad Wolf." The professor laughs, but back then, saying the word "nuclear" could make people very uncomfortable.However, the professor really knows what he's talking about.He's way ahead of his time, pointing out that renewable energy, like solar, isn't enough to replace fossil fuels.And, surprise, that's still true today.The only energy source that could actually replace fossil fuels right now is nuclear energy.The professor says this out loud.(If you're not sure, check out the documentary "Pandora's Promise" or "Nuclear Now" by Oliver Stone.)

But the professor is ignored, not just by Rafe, but also by a strict lawyer played by Tatiana Maslany who doesn't like the word "nuclear." I found it interesting that the movie brings up this topic, but it's quickly dropped.
This makes me wonder: what is the movie really trying to say?By the end, the movie seems to suggest that we're like Hamlet—able to talk about climate change, but unable to take action.That's an important point.

In a way, "A Statement" is a perfect example of this problem.
It's a low-budget indie movie, similar to "Digger," and it feels like it's mostly just showing that some Hollywood people care about climate change.But if they really cared, why don't they do something bigger, something really different?"A Statement" shows a moment in time and gives a glimpse of what was known back then.

As a drama, the film is kind of like greenhouse gases.
It keeps you stuck in a place that isn't brave enough to think of ways to fix things.

Saturday, October 3, 2026

New York’s Inaugural Muslim Film Festival Aims to Move Past Counter-Narratives, Unveils Lineup, Jury

New York Muslim Film Festival

A festival starting on October 11 at Manhattan’s SVA Theatre is aiming to change the way Muslims are portrayed in Western media, which often shows a single, flat image.
The New York Muslim Film Festival (NYMFF), which claims to be the first in the city for Muslim filmmakers, wants these filmmakers to share their own stories.

Hassan Babar, the festival’s artistic director, said these stories should not just contradict common stereotypes.
“They should be the main model,” Babar said.

The one-day event will show 12 short films from seven different countries.
The films include documentaries, dramas, comedies, animations, and experimental works.Most of the directors are women.

“this festival exists because those stories deserve a platform in this city, not on the edges of someone else’s,” said Nawal Mubin, the festival’s co-founder and director.

The day will start with a reception for filmmakers and industry guests.
Two blocks of six films each will be shown, with each film lasting about an hour.These will be followed by the awards and the announcement of the jury’s decision.

Emmy winner Aasif Mandvi, a long-time correspondent on “The Daily Show” and a star of the Paramount+ series “Evil,” is part of the six-member jury.
He is joined by Arab-American writer-director Darine Hotait, founder of Cinephilia Productions, whose short films have been on HBO, AMC, SundanceTV, and the BBC; Munir Atalla, head of production and acquisitions at Watermelon Pictures and a former Netflix creative executive; and producer Abubakar Khan, whose work includes “The Glassworker,” Pakistan’s entry for the 2024 Oscars, and SXSW 2023 audience award winner “Mustache.”

The panel also includes Lebanese-American filmmaker Sarah Mokh, a Sundance Feature Film Fellow who recently finished her first feature, “The Alchemy of Being Okay,” which Khan is producing, and Egyptian-American actor Abubakr Ali.
Ali has upcoming roles in Bassam Tariq’s “Your Mother Your Mother Your Mother,” opposite Mahershala Ali, and Sean Durkin’s A24 film “Deep Cuts,” and recently appeared in Kathryn Bigelow’s “A House of Dynamite.”

Streamer Watermelon+ is behind the festival’s Watermelon+ Discovery Award.
The winner, whether a filmmaker or rights holder, will get an exclusive license to show their film on the platform for a limited time.The Islamic Scholarship Fund, New York production and post house Lost in Space, and Aneesa Talks, a group founded by filmmaker Aneesa Khan to support South Asian and Muslim creatives, have also joined as partners.

The films cover a wide range of themes and tones.
Justin Mashouf’s documentary “$17.74” follows a former gang member, who has been in prison since the 1980s, whose support for Gaza from inside prison sparked a wave of viral solidarity.In Karim Emara’s Qatar-U.S.dramedy “Baba Is Melting,” a son calls his father, who is waiting in the car before Friday prayer in Doha, to challenge him over a hidden second marriage.

Zaid Ahmed Hassan’s “Ghusl” focuses on a son whose dying father asks him to learn Islamic burial rites, while Basma Khalifa’s U.K.
experimental piece “Henna” follows the henna plant’s life cycle along with women from 16 African and SWANA countries.Sima Naseem’s Canada-Pakistan animation “My Friend in the Jingle Truck” uses stop-motion and 2D animation to tell the story of a Karachi girl who meets a magical bird.

In Alex Aljouni’s “Bukra,” a young Syrian refugee whose sweepstakes prize is a soccer ball rushes to collect it in time for one last match with her best friend before he is gone for good.
One bold move reopens old rifts among three generations of Afghan women in Negine Jasmine Sekandari and Ayda Rojhantalab’s comedy “Haram Salami,” as they struggle with who they are, what tradition demands, and what they want.

Maram Taibah’s Saudi fantasy “Malika” explores the bond between a girl and her grandmother, as well as the tension between wildness and the obedience expected of girls, through a magical-realist world imagined by a child’s mind.
In Bilal Shams Khan’s Pakistani drama “Sabr O Shukar,” 10-year-old Akram learns about patience and gratitude while chasing his dream of owning a bicycle.

Imran J.
Khan’s “The Boy With Dinosaur Head” tells the story of a troubled boy who believes he is a dinosaur, and the teacher who tries to bring him back to reality.Their short encounter leaves both of them changed.

Ilhan Abdullahi and Sherry Rashidan's Canadian comedy "Unqualified" follows Warsan, the only Muslim at her job, who is given the task of spiritually cleaning a lunchroom that is said to be haunted.
She must get rid of the spirits using her faith and a series of misunderstandings before she loses her job.

Lyna Tadount and Sofian Chouaib's French drama "Ya Hanouni" focuses on two parents who are trying to be the first to say their baby's first word.
Their friendly competition comes to an end when a sudden event changes everything for them.

Babar, an actor and producer based in Toronto, runs programming with Aneesa Khan, who also handles communications.
Mubin, a director and producer from New York, helped start the festival along with filmmaker and post-production expert Giuseppe de Matteis.Both of them work at Lost in Space.

Behemoth!’ Review: Director Tony Gilroy Forces Us to Face the Music In His Strikingly Original Love Letter to Movie Scores

Pedro Pascal in "Behemoth!" (Credit: Courtesy of Searchlight Pictures)

Tony Gilroy's film "Behemoth!" is a heartfelt tribute to film music and the passionate musicians who create it.
The film's unique structure and powerful sound are so central to the story that they form the core of the narrative, not just a background detail.Gilroy worked with nine composers, known as the "Behemoth!" Collective, to make the film where sound and image are so deeply connected that trying to watch it without one would feel like a loss.This isn't just a film you watch and hear, but something you fully experience.Even when the story may linger too long on sad or tense moments, the skill and ambition behind it are truly impressive.

The joy of watching "Behemoth!" lies in seeing how Gilroy moves from one scene to another.
The way the scenes are arranged and the quiet, careful way the camera moves make the film feel like it's taking us through different times.When we first meet Alex (Pedro Pascal), a well-known cellist who has moved from Chicago to Los Angeles to work on the score for a movie titled "Behemoth!", he barely has time to set up before being greeted by various musicians who are confused about his absence and how he's back.This flood of questions and voices is just the beginning of a much bigger challenge when Alex and the orchestra start working on the film's score.

At any moment, the film shifts back in time to show Alex's life in Boston and Chicago, where he begins to fall for his coworker, Nadia (Eva Victor).
The way the film moves between past and present, supported by the music, gives "Behemoth!" much of its thrilling structure.The storytelling isn't just non-linear—it's broken into fragments.As the audience, we never know what might trigger a memory, and the music offers no clues.This creates a fascinating twist on a traditional musical piece, showing how much life can be lived within a single note, and how memories can come together in ways we can't help but replay in our minds.What's especially striking is when the music shifts from being part of the film's world to being separate.You don't realize until later that the music from the film within the film and the music of the movie itself are the same.It's a clever way to show how fiction and real life are connected.

This is especially clear in a thrilling scene where Alex recalls a time when, after a rehearsal, his ex, Carol (Olivia Wilde), came looking for him.
As he tries to escape, the score he is currently working on for "Behemoth!" is played over his past self's escape.Suddenly, a simple walk through a hallway becomes intense and suspenseful.If the film had a different score in that moment, it would have changed the mood completely.By blending these elements, Gilroy and his team manage to bring excitement to the ordinary moments of life.

For a film of this size and sound ambition to work, it needs a performer like Pedro Pascal as its guiding light.
Pascal brings emotion and drama just by playing his cello or tapping his foot.We feel how much the music moves him, and the way the camera lingers on him shows the trust the director has in Pascal's ability to express a wide range of emotions.There are many moments where, as he listens to a piece of music from Nadia's daughter, Viviana, we simply watch him become deeply affected.

Pascal's choice to stay quiet and speak with very few words shows how powerful it is to express deep emotions through simplicity.
This helps sell the film's idea that music has the ability to change people in big ways.

As a character, Alex is more like a background figure, and while that's common, it can sometimes create tension when other characters appear.
These other characters don't always support Alex, but instead push past him.Take Wilde's Carol, who plays a lot like her other roles this year.She mixes the relationship worries of Angela from "The Invite" and the strong anger of Erika from "I Want Your Sex" into a show-stopping performance that is powerful because it's so short and intense.Victor isn't used much, but when she's with Pascal, she shows the same cleverness, self-awareness, and deep inner feelings that explain why anyone would be drawn to Nadia.Every character in "Behemoth!" tries to take the rough, emotional parts inside and make them into something they can live with.The beauty of the film comes from watching them try to put words to the big storms inside them.

One thing that makes "Behemoth!" really hit home is how music speaks a language of its own, and its beauty might just be in not needing words.One night, Alex goes to see Viviana, who is fifteen years old, performing a concert of her experimental, alternative EDM music.She plays a song called "Your God Is Sleeping," which was created by composer Lukas Frank.Alex gets really caught up in the song's strong beats, and he also sees how everyone else around him is completely moved by it, just like him.Through "Behemoth!," Gilroy shows that there are times in life when words just don't feel enough to express what we're feeling or going through.Sometimes the pain or regret we keep listening to is the only song we can hear.But even in the mess of life, there are little moments of grace, and maybe new music can come from all that chaos.

Friday, October 2, 2026

The Influencer Project Movie

The Influencer Project


2026 | R | 1h 35m

Genre: Horror

Director

Mike Nybroe

Writers

Anders Jon

Mike Nybroe

Lars Andreas Pedersen

Cast

Gemma Karlsen

Eos Karlsson

Chiara King

Producers

Gregg Hale

producer

Alex Hertzberg

producer

Mike Nybroe

producer

Eduardo Sánchez

producer

Ahmet Zappa

producer

Ryan D. Adams

executive producer

Søren Bjerre-Nielsen

executive producer

Jeff Gramm

executive producer

Henrik Klarup

executive producer

Avi Spodek

executive producer

Elsa Termansen

executive producer

Eric Termansen

executive producer

Lauri Termansen

executive producer

Kevin Weisberg

executive producer

Lauren Banda

co-producer

Henrik Berthelsen

line producer

Christian Buch Lorentzen

line producer

Michael Sandager

associate producer

Frederik Scholten

associate producer

Composer

DJ White Shadow

original score

Cinematographer

Daniel Parmo

director of photography

Editor

Anders Jon

editor

Casting

Saskia Fahlsten

casting director

Mille Fromm

casting director

Art Department

Christoffer Bomann

set designer

Aurora Lucia Erdal

art department

Anne Gry Skovdal

set designer

Caroline Lindeneg

art department

Anton Leunbach Østergaard

art department

Rikke Tvilum

set designer

Details

Release date

October 2, 2026 (United States)

Countries of origin

Denmark

United States

Language

English

Also known as

Инфлюенсер

Filming locations

Copenhagen, Denmark(filming location)

Production companies

Hades Films

Influence Franchise Films

Pont Neuf Pictures

The Scout Movie

The Scout

The Scout Movie 2026 poster

2025 | 1h 29m

Genre: Drama

Directed by

Paula González-Nasser

Written by

Paula González-Nasser

Produced by

Paula González-Nasser

Ryan Martin Brown

Matthew Romanski

Cast

Mimi Davila

Rutanya Alda

Max Rosen

Ikechukwu Ufomadu

Sarah Herrman

Otmara Marrero

Matt Barats

Cinematography Nicola Newton

Edited by

Ryan Martin Brown

Byron Leon

Music by Dan Arnés

Production

companies

5th Floor Pictures

Mongoose Picture House

Fair Oaks Entertainment

Alina Pictures

Distributed by

Greenwich Entertainment

Release dates

October 2, 2026 (United States)

June 5, 2025 (Tribeca)

September 25, 2026 (United States)

Running time

89 minutes

Country

United States

Language

English

Box office

$12,882