Abbott Elementary, “Back to School” Hacks, “A Slippery Slope” The Rehearsal, “Pilot’s Code” Somebody Somewhere, “AGG” WINNER: The Studio, “The Promotion” What We Do in the Shadows, “The Finale”
OUTSTANDING WRITING FOR A LIMITED SERIES OR TV MOVIE
WINNER: Adolescence Black Mirror, “Common People” Dying for Sex, “Good Value Diet Soda” The Penguin, “A Great or Little Thing” Say Nothing, “The People in the Dirt”
OUTSTANDING SUPPORTING ACTOR IN A LIMITED SERIES OR TV MOVIE
Javier Bardem, Monsters: The Lyle and Erik Menendez Story Bill Camp, Presumed Innocent WINNER: Owen Cooper, Adolescence Rob Delaney, Dying for Sex Peter Sarsgaard, Presumed Innocent Ashley Walters, Adolescence
OUTSTANDING WRITING FOR A DRAMA SERIES
WINNER: Andor, “Welcome to the Rebellion” The Pitt, “2:00 P.M.” The Pitt, “7:00 A.M.” Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Full-Moon Party”
OUTSTANDING SCRIPTED VARIETY SERIES
WINNER: Last Week Tonight With John Oliver Saturday Night Live
OUTSTANDING DIRECTING FOR A DRAMA SERIES
Andor, “Who Are You?” The Pitt, “6:00 P.M.” The Pitt, “7:00 A.M.” Severance, “Chikhai Bardo” Severance, “Cold Harbor” WINNER: Slow Horses, “Hello Goodbye” The White Lotus, “Amor Fati”
OUTSTANDING DIRECTING FOR A LIMITED SERIES OR TV MOVIE
WINNER: Adolescence Dying for Sex, “It’s Not That Serious” The Penguin, “Cent’anni” The Penguin, “A Great or Little Thing” Sirens, “Exile” Zero Day
OUTSTANDING DIRECTING FOR A COMEDY SERIES
The Bear, “Napkins” Hacks, “A Slippery Slope” Mid-Century Modern, “Here’s to You, Mrs. Schneiderman” The Rehearsal, ”Pilot’s Code” WINNER: The Studio, “The Oner”
OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
Ike Barinholtz, The Studio Colman Domingo, The Four Seasons Harrison Ford, Shrinking WINNER: Jeff Hiller, Somebody Somewhere Ebon Moss-Bachrach, The Bear Michael Urie, Shrinking Bowen Yang, Saturday Night Live
OUTSTANDING REALITY COMPETITION PROGRAM
The Amazing Race RuPaul’s Drag Race Survivor Top Chef WINNER: The Traitors
OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES
Liza Colón-Zayas, The Bear WINNER: Hannah Einbinder, Hacks Kathryn Hahn, The Studio Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary Jessica Williams, Shrinking
OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES
Kathy Bates, Matlock Sharon Horgan, Bad Sisters WINNER: Britt Lower, Severance Bella Ramsey, The Last of Us Keri Russell, The Diplomat
OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES
Zach Cherry, Severance Walton Goggins, The White Lotus Jason Isaacs, The White Lotus James Marsden, Paradise Sam Rockwell, The White Lotus WINNER: Tramell Tillman, Severance John Turturro, Severance
OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
Patricia Arquette, Severance Carrie Coon, The White Lotus WINNER: Katherine LaNasa, The Pitt Julianne Nicholson, Paradise Parker Posey, The White Lotus Natasha Rothwell, The White Lotus Aimee Lou Wood, The White Lotus
OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES
Uzo Aduba, The Residence Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear WINNER: Jean Smart, Hacks
OUTSTANDING LEAD ACTOR IN A COMEDY SERIES
Adam Brody, Nobody Wants This WINNER: Seth Rogen, The Studio Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear
Before the 77th Primetime Emmy Awards kicked off at the Peacock Theater in Downtown Los Angeles on Sunday, the Emmys 2025 red carpet captured what’s proving to be a very exciting time in fashion. Following a series of new appointments to some of fashion’s biggest houses, viewers were treated to a variety of looks on the red carpet – so it’s no wonder a series of award-worthy looks stole the show before the ceremony even began.
So hit rewind on the Emmys 2025 red carpet and revisit who made Vanity Fair’s best-dressed list. And for more from the Emmys 2025, revisit our gallery of all the looks from the Emmys 2025 red carpet and stay up to date with Vanity Fair’s live blog.
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Maggie Coughlan, Kia D. Goosby, Miles Pope, Nicole Chapoteau
The Emmys 2025 red carpet is must-see TV. Whether your Sunday nights are sacrosanct and reserved solely for appointment viewing, or you prefer to binge shows long after they’ve aired, eager to finally see what all the hype is about, the Emmys 2025 are where the best in American prime-time programming is celebrated.
Hours before the 77th Primetime Emmy Awards are broadcast from the Peacock Theater in Downtown Los Angeles, the fun starts on the Emmys 2025 red carpet. With stars from Severance,The Pitt, The Studio, Adolescence, The White Lotus, The Penguin, The Diplomat, Slow Horses, Paradise,The Last of Us, and Bad Sisters, among others, all nominated, the Emmys 2025 red carpet will be the place to strike a pose for a sea of photographers, reunite with fellow cast members, and stop for interviews—all while dressed to the nines.
As for what to expect once the ceremony begins? Here’s what you need to know: Comedian Nate Bargatze is slated to host. Severance, Apple TV+’s sci-fi psychological thriller, leads this year’s pack of nominees with 27 nominations (including nods for Creative Arts Emmys, which were awarded last week), with Adam Scott and Britt Lower nominated, respectively, for outstanding lead actor and lead actress in a drama series. Which leads one to wonder: Will their innies or their outies be in attendance? (It is job-related, after all.) Furthermore, what might they wear on the Emmys 2025 red carpet?
Just behind the dystopian series is The Penguin, HBO’s Batman spin-off, which earned 24 nominations (including nods for Cristin Milioti and Colin Farrell). The Studio,Seth Rogen and Evan Goldberg’s satirical series, racked up 23 nominations, as did the Mike White–directed White Lotus. Emmy nominees Walton Goggins, Jason Isaacs, Carrie Coon, Parker Posey, Natasha Rothwell, and Aimee Lou Wood might have checked out of the fictional resort, but will they take home an Emmy statuette as a souvenir?
Below, see all the fashion from the Emmys 2025 red carpet. For more from the Emmys 2025, stay up to date with Vanity Fair’s live blog.
It’s TV’s biggest night! The largest night on the entire TV calendar. The 77th Primetime Emmy Awards. Just an enormous, massive, titanic, gargantuan evening for television. Huge, even.
This year’s winners were largely clustered around a handful of shows. The Best Drama Series of the Year (and Best Actor and Best Supporting Actress) went to HBO Max’s The Pitt, a medical series about the lives of health care workers in Pittsburgh. The Best Comedy Series of the Year (and Best Actor, and many more — it became the most awarded show in history) was The Studio, Seth Rogen and Evan Goldberg’s Hollywood satire about desperate studio executives. And the Best Limited Series of the Year (and Best Actor in a Limited Series and several more prizes) went to Netflix’s much-discussed drama Adolescence.
Here’s the list of this year’s big Emmy winners.
Best Drama Series
Andor The Diplomat The Last of Us Paradise The Pitt – WINNER Severance Slow Horses The White Lotus
Best Comedy Series
Abbott Elementary The Bear Hacks Nobody Wants This Only Murders in the Building Shrinking The Studio – WINNER What We Do in the Shadows
Best Lead Actor in a Comedy Series
Adam Brody, Nobody Wants This Seth Rogen, The Studio – WINNER Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear
Best Lead Actor in a Drama Series
Sterling K. Brown, Paradise Gary Oldman, Slow Horses Pedro Pascal, The Last of Us Adam Scott, Severance Noah Wyle, The Pitt – WINNER
Uzo Aduba, The Residence Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Jean Smart, Hacks – WINNER
Best Lead Actress in a Drama Series
Kathy Bates, Matlock Sharon Horgan, Bad Sisters Britt Lower, Severance – WINNER Bella Ramsey, The Last of Us Keri Russell, The Diplomat
Best Limited or Anthology Series
Adolescence – WINNER Black Mirror Dying for Sex Monsters: The Lyle and Erik Menendez Story The Penguin
Best Lead Actor in a Limited/Anthology Series or Movie
Colin Farrell, The Penguin Stephen Graham, Adolescence – WINNER Jake Gyllenhaal, Presumed Innocent Brian Tyree Henry, Dope Thief Cooper Koch, Monsters: The Lyle and Erik Menendez Story
Best Lead Actress in a Limited/Anthology Series or Movie
Cate Blanchett, Disclaimer Meghann Fahy, Sirens Rashida Jones, Black Mirror Cristin Milioti, The Penguin – WINNER Michelle Williams, Dying for Sex
Best Talk Series
The Daily Show The Late Show With Stephen Colbert – WINNER Jimmy Kimmel Live!
Best Supporting Actor in a Comedy Series
Ike Barinholtz, The Studio Colman Domingo, The Four Seasons Harrison Ford, Shrinking Jeff Hiller, Somebody Somewhere – WINNER Ebon Moss-Bachrach, The Bear Michael Urie, Shrinking Bowen Yang, Saturday Night Live
Best Supporting Actor in a Drama Series
Zach Cherry, Severance Walton Goggins, The White Lotus Jason Isaacs, The White Lotus James Marsden, Paradise Sam Rockwell, The White Lotus Tramell Tillman, Severance – WINNER John Turturro, Severance
Best Supporting Actor in a Limited Series or Anthology
Javier Bardem, Monsters: The Lyle and Erik Menendez Story Bill Camp, Presumed Innocent Owen Cooper, Adolescence – WINNER Rob Delaney, Dying for Sex Peter Sarsgaard, Presumed Innocent
Best Supporting Actress in a Comedy Series
Liza Colon-Zayas, The Bear Hannah Einbinder, Hacks – WINNER Kathryn Hahn, The Studio Janelle James, Abbott Elementary Catherine O’Hara, The Studio Sheryl Lee Ralph, Abbott Elementary Jessica Williams, Shrinking
Best Supporting Actress in a Drama Series
Patricia Arquette, Severance Carrie Coon, The White Lotus Katherine LaNasa, The Pitt – WINNER Julianne Nicholson, Sinatra Parker Posey, The White Lotus Natasha Rothwell, The White Lotus Aimee Lou Wood, The White Lotus
Best Supporting Actress in a Limited or Anthology Series
Erin Doherty, Adolescence – WINNER Ruth Negga, Presumed Innocent Deirdre O’Connell, The Penguin Chloe Sevigny, Monsters: The Lyle and Erik Menendez Story Jenny Slate, Dying for Sex Christine Tremarco, Adolescence
The 10 Weirdest Ways Actors Were Written Off of TV Shows
There has to be some reason for their character’s absence — usually a sudden death — and the more absurd, the better.
Hosted at the historic Chateau Marmont, the opulent cocktail party unfolded across the hotel’s cozy living room and lavish outdoor terrace, where about 180 guests from the network sipped on cocktails and nibbled on lobster rolls, wagyu sliders and fries. The Bear’sEbon Moss-Bachrach was the first guest to arrive with his wife, photographer Yelena Yemchuk. Last year, Moss-Bachrach won his second consecutive Emmy for best supporting actor in a comedy series for playing Richie, an abrasive friend of Carmy (Jeremy Allen White) who finds redemption after a period of personal loss and struggle. His winning streak at the Emmys may not have come to an end yet: Moss-Bachrach is nominated once again in the same category at Sunday’s ceremony, and is a top contender to win a third time.
“I never really dreamed or thought about winning awards. I was just trying to get jobs to pay my bills,” said Moss-Bachrach while taking a quick breather from mingling. “I feel very gratified that something I care so deeply about has been accepted and lauded by my community and the world. It feels really great. I know I’m lucky.”
Carmen Christopher, Enrico Colantoni, Brian Jordan Alvarez, Stephanie Koenig, and Sean Patton.
Photograph by Nick Riley Bentham.
Moss-Bachrach set the party’s lively tone, making the rounds and socializing with nearly everyone. He caught up with his Bear costars Abby Elliott, Lionel Boyce, Edwin Lee Gibson, Matty Matheson, and Molly Gordon, as well as his Brooklyn neighbors Keri Russell and Matthew Rhys (who famously fell in love while starring on FX’s The Americans). At one point, Moss-Bachrach even exchanged phone numbers with Jenny Slate, a nominee for her work in Dying For Sex. Later in the evening, he connected with Michael Chiklis, the 2002 best actor Emmy winner for the FX police drama series The Shield. The two laughed as a guest noted that had played The Thing in different versions of the Fantastic Four franchise.
Mike White and season three of The White Lotus might be to blame for some of that, as it once again dominated the supporting-actor and supporting-actress categories. Carrie Coon, Parker Posey, Natasha Rothwell, Aimee Lou Wood, Walton Goggins, Jason Isaacs, and Sam Rockwell were all nominated, posing the eternal question: Who will be the Jennifer Coolidge of 2025? The jury’s still out, though the cast members with the best monologues—Coon and Rockwell—might have a running start.
The 2024 Emmys were rocked when Hacks surged ahead of The Bear, finally beating it for best comedy series. This time around, Hacks also got more total nominations than The Bear—14 to The Bear’s 13—and seems to have more steam, coming off its mostly acclaimed fourth season. But this time around, in the end, both might be steamrolled by The Studio, Seth Rogen’s very insidery and very industry-beloved Hollywood satire. A Rogen acceptance speech, or three—he’s up for directing and writing the show, as well as starring on it—would tie an appropriately meta bow on top of The Studio’s first season.
For now, there’s still time to analyze the Emmy Nominations 2025 list before the 77th annual Emmy Awards kicks off at 8 p.m. September 14 at the Peacock Theater in Los Angeles. Those watching from home can watch the ceremony, hosted by first-timer Nate Bargatze, via broadcast on CBS, and can stream it on Paramount+ Premium.
OUTSTANDING DRAMA SERIES
Andor The Diplomat The Last of Us Paradise The Pitt Severance Slow Horses The White Lotus
OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES
Kathy Bates, Matlock Sharon Horgan, Bad Sisters Britt Lower, Severance Bella Ramsey, The Last of Us Keri Russell, The Diplomat
OUTSTANDING LEAD ACTOR IN A DRAMA SERIES
Sterling K. Brown, Paradise Gary Oldman, Slow Horses Pedro Pascal, The Last of Us Adam Scott, Severance Noah Wyle, The Pitt
OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES
Zach Cherry, Severance Walton Goggins, The White Lotus Jason Isaacs, The White Lotus James Marsden, Paradise Sam Rockwell, The White Lotus Tramell Tillman, Severance John Turturro, Severance
OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
Patricia Arquette, Severance Carrie Coon, The White Lotus Katherine LaNasa, The Pitt Julianne Nicholson, Paradise Parker Posey, The White Lotus Natasha Rothwell, The White Lotus Aimee Lou Wood, The White Lotus
OUTSTANDING WRITING FOR A DRAMA SERIES
Andor, “Welcome to the Rebellion” The Pitt, “2:00 P.M.” The Pitt, “7:00 A.M.” Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Full-Moon Party”
OUTSTANDING DIRECTING FOR A DRAMA SERIES
Andor, “Who Are You?” The Pitt, “6:00 P.M.” The Pitt, “7:00 A.M.” Severance, “Chikhai Bardo” Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Amor Fati”
OUTSTANDING COMEDY SERIES
Abbott Elementary The Bear Hacks Nobody Wants This Only Murders in the Building Shrinking The Studio What We Do in the Shadows
OUTSTANDING LEAD ACTOR IN A COMEDY SERIES
Adam Brody, Nobody Wants This Seth Rogen, The Studio Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear
OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES
Uzo Aduba, The Residence Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Jean Smart, Hacks
OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
Ike Barinholtz, The Studio Colman Domingo, The Four Seasons Harrison Ford, Shrinking Jeff Hiller, Somebody Somewhere Ebon Moss-Bachrach, The Bear Michael Urie, Shrinking Bowen Yang, Saturday Night Live
OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES
Liza Colón-Zayas, The Bear Hannah Einbinder, Hacks Kathryn Hahn, The Studio Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary Jessica Williams, Shrinking
OUTSTANDING WRITING FOR A COMEDY SERIES
Abbott Elementary, “Back to School” Hacks, “A Slippery Slope” The Rehearsal, “Pilot’s Code” Somebody Somewhere, “AGG” The Studio, “The Promotion” What We Do in the Shadows, “The Finale”
OUTSTANDING DIRECTING FOR A COMEDY SERIES
The Bear, “Napkins” Hacks, “A Slippery Slope” Mid-Century Modern, “Here’s to You, Mrs. Schneiderman” The Rehearsal, ”Pilot’s Code” The Studio, “The Oner”
OUTSTANDING LIMITED SERIES
Adolescence Black Mirror Dying for Sex Monsters: The Lyle and Erik Menendez Story The Penguin
OUTSTANDING LEAD ACTRESS IN A LIMITED SERIES OR TV MOVIE
Cate Blanchett, Disclaimer Meghann Fahy, Sirens Rashida Jones, Black Mirror Cristin Milioti, The Penguin Michelle Williams, Dying for Sex
OUTSTANDING LEAD ACTOR IN A LIMITED SERIES OR TV MOVIE
Colin Farrell, The Penguin Stephen Graham, Adolescence Jake Gyllenhaal, Presumed Innocent Brian Tyree Henry, Dope Thief Cooper Koch, Monsters: The Lyle and Erik Menendez Story
OUTSTANDING SUPPORTING ACTOR IN A LIMITED SERIES OR TV MOVIE
Javier Bardem, Monsters: The Lyle and Erik Menendez Story Bill Camp, Presumed Innocent Owen Cooper, Adolescence Rob Delaney, Dying for Sex Peter Sarsgaard, Presumed Innocent Ashley Walters, Adolescence
OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR TV MOVIE
Erin Doherty, Adolescence Ruth Negga, Presumed Innocent Deirdre O’Connell, The Penguin Chloë Sevigny, Monsters: The Lyle and Erik Menendez Story Jenny Slate, Dying for Sex Christine Tremarco, Adolescence
OUTSTANDING WRITING FOR A LIMITED SERIES OR TV MOVIE
Adolescence Black Mirror, “Common People” Dying for Sex, “Good Value Diet Soda” The Penguin, “A Great or Little Thing” Say Nothing, “The People in the Dirt”
OUTSTANDING DIRECTING FOR A LIMITED SERIES OR TV MOVIE
Adolescence Dying for Sex, “It’s Not That Serious” The Penguin, “Cent’anni” The Penguin, “A Great or Little Thing” Sirens, “Exile” Zero Day
OUTSTANDING REALITY COMPETITION PROGRAM
The Amazing Race RuPaul’s Drag Race Survivor Top Chef The Traitors
OUTSTANDING REALITY HOST
RuPaul Charles, RuPaul’s Drag Race Mark Cuban, Lori Greiner, Kevin O’Leary, Barbara Corcoran, Robert Herjavec, Daymond John, Daniel Lubetzky, Shark Tank Alan Cumming, The Traitors Kristen Kish, Top Chef Jeff Probst, Survivor
OUTSTANDING TALK SERIES
The Daily Show Jimmy Kimmel Live! The Late Show with Stephen Colbert
OUTSTANDING SCRIPTED VARIETY SERIES
Last Week Tonight With John Oliver Saturday Night Live
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Corey Hawkins is known for films like Straight Outta Compton, In the Heights, and The Color Purple, along with his Tony-nominated work in plays like Six Degrees of Separation and Topdog/Underdog. But Hawkins says his new film, The Man in My Basement, made him go deeper than he ever had before—and not just because he’s in almost every frame of the film.
The thriller, directed by Nadia Latif in her feature debut, is an adaptation of Walter Mosley’s novel, following a man (Hawkins) living in Sag Harbor who is put in a tricky situation when a white stranger (Willem Dafoe) asks to rent his basement for the summer. Hawkins plays Charles Blakey, who is grappling with the loss of his mother and fighting to keep their ancestral home.
Hawkins and Latif, an accomplished theater director, brought the film to the Toronto International Film Festival for its world premiere ahead of its release to select theaters on September 12 (and to Hulu later this fall). There, they talked to Vanity Fair about how it felt to see the film with an audience, what it was like to work with Dafoe, and why Hawkins decided to train for a marathon while also filming this marathon of a movie.
Vanity Fair: How did it feel to watch this film with an audience?
Nadia Latif: I’m a theater director by trade, and in my first ever professional show, I watched the opening night. The first sound cue fired three seconds late, and I sat through the whole show kind of weeping. I have never watched one of my opening nights since. That’s partly because in that moment, you realize you have to relinquish control of it, and you have to accept a certain level of chaos into your life. Loads of people asked me if I was nervous about the premiere, and I was like, “I have watched my work die on its ass in front of an audience too many times.”
The film is a finished thing; it’s now going to begin a conversation. I enjoyed it. I also sat between my family and the drunkest man who ever existed. He was there guzzling beers and eating popcorn.
That’s a pretty trippy movie to see drunk.
Latif: I think by the end he was really like, “This is not what I fucking signed up for.”
Corey Hawkins: My first opening night on Broadway, someone went to the hospital because they were on the wrong side of the stage, and we had to finish the show. [Laughs] I also just feel sometimes, like you said, once the film is finished, if I’ve seen it and I’ve been able to enjoy everybody’s work already, sometimes it’s a bit of torture to sit through. So I just listened to it last night.
This seems like a film where you can feel the audience members tensing up as they watch.
From Ricky Martin to Mariah Carey, Sunday’s annual music awards show made a case for the network’s pivotal role in the 20th century—and less of a case for its relevance in the 21st.
Yes, the line to get into the party was long. But the process was efficient, and once inside, the venue was spacious enough to allow schmoozing with relative ease. At the party, Sydney Sweeney told me that the Christy premiere on Friday was the most emotional of her career. She sat behind former professional boxer, Christy Martin, whom she plays in the film, and couldn’t help but cry as the credits rolled. Sweeney felt a deep connection to the whole cast as they made their way onto the stage for their Q&A. Whatever online drama she had experienced in the last couple of weeks seemed behind her as she looked forward to the release of this film—and its potential awards season campaign.
Richard E. Grant and John Slattery at the 2025 Road to the Golden Globes Party.
Penske Media/Getty Images
Nina Hoss, co-star of the Amazon film Hedda—based on the play Hedda Gabler, and set to premiere Sunday night—was excited to finally see the film with an audience. At the party, Hoss (who was spotted chatting with Hedda costar Tessa Thompson) said that when she read the script, she was excited by the idea the idea of changing the gender of her character; she was interested to see what audiences thought about the decision, made by director Nia DaCosta.
Nina Hoss, Nicholas Pinnock, Tessa Thompson at the 2025 Road to the Golden Globes Party.
The undeniably robust 82nd edition of the VeniceInternational Film Festival has come to a triumphant finish.
Heading into Saturday night’s awards ceremony, Tunisian director Kaouther Ben Hania’s The Voice of Hind Rajab was widely viewed as the movie to beat for this year’s Golden Lion. The powerful Gaza-set drama, which tells the story of a 6-year-old Palestinian girl’s desperate pleas for rescue after Israeli forces killed her relatives, received a thunderous 21-minute standing ovation at its world premiere, one of the longest in the Venice Film Festival‘s history.
But the film ended up going home with the festival’s Silver Lion for the Grand Jury prize, aka second place.
“I dedicate this award to the Palestinian Red Crescent and to all those who have risked everything to save lives in Gaza. They are real heroes,” Ben Hania said in her powerful acceptance speech. “The voice of Hind is the voice of Gaza itself, a cry for rescue the entire world could hear, yet no one answered. Her voice will continue. Her voice will continue to echo until accountability is real, until justice is served.”
Hollywood heavyweights Brad Pitt, Joaquin Phoenix, Alfonso Cuarón boosted the movie’s profile ahead of the festival by joining its team as executive producers, while critics on the Lido hailed it as an “intensely involving and resounding” indictment of Israel’s genocidal campaigns against the Palestinian population.
Jim Jarmusch‘s delicate triptych Father Mother Sister Brother, celebrated for its effortless poignancy, was the night’s dark horse champ, handing the American indie film icon his first Venice Golden Lion.
“Oh shit,” Jarmusch said as he accepted his trophy, before quickly adding, “All of us here who make films, we’re not motivated by competition, but I truly appreciate this unexpected honor.”
“Art does not have to address politics directly to be political,” Jarmusch went on. “It can engender empathy and a connection between us, which is really the first step for solving things and problems that we have. So I thank you for appreciating our quiet film.”
Father Mother Sister Brother is composed of three separate but thematically linked stories, each exploring adult siblings and their strained relationships with their parents. The film’s outstanding ensemble cast includes Tom Waits, Adam Driver, Mayim Bialik, Charlotte Rampling, Cate Blanchett, Vicky Krieps and Indya Moore, among others. The Hollywood Reporter‘s lead critic summed the film up as “a funny, tender, astutely observed jewel.”
Jim Jarmusch receives the Golden Lion for Best Film for “Father Mother Sister Brother” at the closing ceremony during the 82nd Venice International Film Festival.
Benny Safdie brought home the festival’s best director prize for his offbeat MMA biopic The Smashing Machine, his first feature as a solo director without his brother Josh Safdie, and Dwayne Johnson’s first movie as a serious dramatic actor.
Safdie gave an emotional shoutout to his star as he accepted his trophy, saying, “Oh my God, Dwayne, my friend, my brother, my partner — ‘shoulder and shoulder,’ that’s what we called it. I just want to thank you for diving in headfirst with a blindfold and X-ray vision. You truly performed with no net, and we jumped off the cliff together. We grew together, learned together.”
Chinese actress Xin Zhilei took home the festival’s first major awards category earlier in the evening, winning the best actress prize for her heart-wrenching performance in Chinese director Cai Shangjun’s drama The Sun Rises on Us All. The trophy was handed to Xin by jury member and fellow Chinese arthouse star Zhao Tao (Ash Is the Purest White).
And as many on the Lido predicted over the past week, best actor honors landed in the hands of the great Italian theater actor turned film icon Toni Servillo for his humane and hilarious performance as the president of Italy in Paolo Sorrentino’s meditative drama La Grazia. Critics have praised the film as a return to form for the Italian director and his muse, sparking talk of a potential repeat of their awards season magic in 2013, when their breakthrough collaboration, The Great Beauty, won the Oscar in the best international film category.
French filmmaker Valérie Donzelli and her co-writer Gilles Marchand won the best screenplay prize for At Work, an adaptation of a novel of the same name by author Franck Courtès. The film is a drama about a successful photographer who gives up everything to pursue a dream of becoming a writer.
Speculation was especially heated heading into the awards ceremony thanks to the absurd number of must-see movies that festival boss Alberto Barbera had secured for the 2025 program. Netflix brought its strongest slate in years to Italy, including Noah Baumbach’s George Clooney star vehicle Jay Kelly, Kathryn Bigelow’s gripping geopolitical thriller A House of Dynamite and Guillermo del Toro’s dark reimagining of Frankenstein, starring Jacob Elordi as the creature. And scores of the world’s top auteurs came to compete with strong new titles — many of them instant Oscar contenders the moment the customary standing ovations wound down each night inside Venice’s Sala Grande cinema.
Venice’s takeaway after nearly two weeks of peerless moviegoing was resounding: The business model of theatrical film may be under relentless assault, but the art form remains as vital as ever.
Korean maestro Park Chan-wook’s wildly inventive black comedy No Other Choice was possibly the festival favorite with critics, while Yorgos Lanthimos’ bonkers Bugonia and Sorrentino’s aching La Grazia were also celebrated as exquisite returns to form. Show-stopping performances that went home empty-handed came in the form of Julia Roberts in Luca Guadagnino’s provocative #MeToo-themed thriller After the Hunt and Amanda Seyfried as the riveting lead of Mona Fastvold’s visionary period drama Ann Lee.
And there was much more: Jude Law as Vladimir Putin in Olivier Assayas’ The Wizard of the Kremlin, France’s François Ozon back in fine form with Albert Camus adaptation The Stranger, Willem Dafoe pulling double-duty with characteristic excellence in Late Fame and The Souffleur, Julian Schnabel’s must-see, Megalopolis-like misfire In the Hand of Dante (with a cast including Oscar Isaac, Gal Gadot, Gerard Butler, Al Pacino, John Malkovich, Martin Scorsese and Jason Momoa), and the one and only Werner Herzog receiving a Golden Lion for lifetime achievement at the start of the fest from none less than fellow uber-auteur Francis Ford Coppola.
Two-time Oscar-winning director Alexander Payne (The Holdovers, Sideways) chaired the panel of global film figures tasked with the difficult duty of selecting this year’s winners. Payne’s jury included Brazilian actress Fernanda Torres, Iranian auteur Mohammad Rasoulof, French director Stéphane Brizé, Italian filmmaker Maura Delpero (Vermiglio), Chinese actress Zhao and Palme d’Or winning Romanian director Cristian Mungiu.
Saturday’s ceremony included a tribute and prolonged standing ovation for the late, great Italian fashion designer Giorgio Armani, who died Thursday at the age of 91.
“Thank you, Giorgio Armani, for teaching us that creativity thrives in spaces where disciplines meet —fashion, cinema, art, new materials, architecture — just like they do every day here at the Venice Biennale,” said Carlo Ratti, curator of the 2025 Venice Architecture Biennale, which is currently underway alongside the film festival.
The 2025 Horizons section (Orizzonti) — which highlights the latest aesthetic trends in cinema with special attention to debut films — honored Mexican director David Pablos’ hauntingly original road movie En El Camino (On the Road) with its best film prize. The film follows a young drifter and a taciturn trucker who link up and forge a precarious bond on Mexico’s dangerous highways.
“This film comes from a very personal place — from the guts — and it’s beautiful to see that it connects with other people,” said Pablos in his brief acceptance speech.
This year’s Horizons jury was chaired by French director and Palme d’Or winner Julia Ducournau of Titane fame.
Italy’s Benedetta Porcaroli took Horizons’ best actress prize for the drama The Kidnapping of Arabellaand Giacomo Covi nabbed best actor for his turn in the Italian-French coming-of-age film A Year of School. Indian filmmaker Anuparna Roy won best director for Songs of the Forgotten Trees, a moving drama set in Mumbai about an unlikely bond that forms between a part-time sex worker and a corporate employee. And the Orizzonti jury prize was handed to Japanese director Akio Fujimoto for his drama Lost Land, the story of two Rohingya child refugees on a perilous journey to reach Malaysia.
The 2025 Venice Film Festival ran Aug. 27-Sept. 6. A complete list of this year’s winners follows.
Main Competition
Golden Lion — Best Film Father Mother Sister Brother
The sixth time will be the charm for Noah Wyle. The ER vet earned five consecutive Emmy nominations for playing Dr. John Carter on the medical drama over two decades ago, and should finally take home his first statue for his starring role as Dr. Michael “Robby” Robinavitch on yet another addictive medical drama. Wyle’s biggest competition is Adam Scott, who leads Severance, the most nominated show this season at the Emmys and the probable outstanding-drama-series winner. (Pascal, Brown, and Oldman, it’s an honor to be nominated!) But the combination of leading this season’s buzziest new prestige drama and the feeling that Wyle is long overdue for recognition means that Dr. Robby’s got this all sewn up. —Chris Murphy
OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES
Zach Cherry, Severance PREDICTED WINNER: Walton Goggins, The White Lotus Jason Isaacs, The White Lotus James Marsden, Paradise Sam Rockwell, The White Lotus Tramell Tillman, Severance John Turturro, Severance
This one’s a bit of a nail-biter that may come down to which drama has a better overall night at the Emmys: Severance or The White Lotus. (James Marsden, thank you for playing.) Conventional wisdom states that Goggins has the best chance of the White Lotus pack, while Tillman is the standout from season two of Severance. But which actor will go all the way? Given the reach of his role and the je ne sais quoi of the performer himself, it seems like it’ll be Goggins by a nose—but if Severance sweeps the drama categories, Tillman could well get the boost he needs to win. —Hillary Busis
OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
Patricia Arquette, Severance PREDICTED WINNER: Carrie Coon, The White Lotus Katherine LaNasa, The Pitt Julianne Nicholson, Paradise Parker Posey, The White Lotus Natasha Rothwell, The White Lotus Aimee Lou Wood, The White Lotus
An actual race! Nearly all—at least a lot—of the White Lotus ladies are pitted against one another in this category, but it’s likely that Carrie Coon will edge out her costar Parker Posey for the win. Posey’s role generated the most memes for the series, but Coon’s monologue in the final episode gave this season its most emotional moment. Coon is also coming off a great season of another HBO show, The Gilded Age, which could be top of mind for Emmy voters. And if there is a groundswell of support for The Pitt, Katherine LaNasa could even pull off a surprise upset in the category. Tsunami! Lorazepam! —John Ross
OUTSTANDING WRITING FOR A DRAMA SERIES
Andor, “Welcome to the Rebellion” The Pitt, “2:00 P.M.” The Pitt, “7:00 A.M.” PREDICTED WINNER: Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Full-Moon Party”
Slow Horses won this category last year in what was considered the biggest surprise of the night. And The White Lotus won the writing award back when it was competing as an anthology series. The Pitt earning two nominations signals that the writing branch really likes that show. But the better strategy here is to just have one episode nominated—it’s very rare for a show with multiple nominations to win. (Just look at Mad Men, which went home empty-handed in the writing category when it had three nominations in 2012.) So Severance’s “Cold Harbor,” the incredible finale of the second season and one of the most talked-about episodes of TV this year, should walk away easily with this. —R.F.
OUTSTANDING DIRECTING FOR A DRAMA SERIES
Andor, “Who Are You?” The Pitt, “6:00 P.M.” The Pitt, “7:00 A.M.” Severance, “Chikhai Bardo” PREDICTED WINNER: Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Amor Fati”
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Hillary Busis, Rebecca Ford, John Ross, Chris Murphy, Savannah Walsh
One of the byproducts of having a capable NFL team for which to root is the numerous individual awards campaigns for the upcoming season. When your team stinks (like, say, the 2021 and 2022 Texans), there are no individual accolades coming for any of the players. When your team is good (like, say, this season’s Texans), then awards possibilities abound.
It’s fun to root for your team to win the division, conference, or a Super Bowl, but it’s also fun to see your favorite players win individual hardware, like C.J. Stroud and Will Anderson winning the Offensive and Defensive Rookie of the Year awards, respectively, back in 2023.
Now comes the individual hardware possibilities for 2025, and the Houston Texans are all over the odds board with six different players in four different categories. So let’s talk some gambling hypotheticals — if I had $100 to wager on these categories, here is the order in which I’d wager, based on betting value:
DeMECO RYANS – Coach of the Year, +2500 Don’t get me wrong, I think DeMeco Ryans is one of the best coaches in the NFL, but the formula for winning the Coach of the Year Award typically entails one of two routes — either you’re a first year head coach whose team overachieves, a formula that almost won Ryans the award in 2023, or you’re the head coach of one of the top two or three teams in the NFL. I like the Texans in 2025, but I wouldn’t; vet on them going 14-3 or something like that.
NICO COLLINS – Offensive Player of the Year, +1800 Nico Collins was on pace for an historical season early last year, before pulling his hamstring in Week 5. He was headed for an 1,800 yard receiving year. Hell, his first play back from injury, he took a 77 yard screen to the house, but it was called back on a penalty by Laremy Tunsil. I tink Collins can contend for this award, but his injury history hurts the cause. He’s missed at least a few games each season, and I can’t take that chance on it happening again in 2025.
CJ STROUD – Most Valuable Player, +2500 This time a year ago, Stroud was among the too four candidates for the MVP award, but we know how 2024 went for Stroud. He was good, but not great, and got no help from his offensive line. That’s the big question — can Stroud’s offensive line play well enough and protect him well enough to contend for the MVP award. I think they can, but not to the degree where I’d take Stroud for MVP over any of the Texans’ Defensive Player of the Year candidates.
DEREK STINGLEY – Defensive Player of the Year, +6000 It’s hard for a cornerback to win the Defensive Player of the Year award without a slew of interceptions. Stingley has garnered five picks in each of the last two seasons, but if I had to guess, defenses are going to avoid throwing his way this season. Stingley might be better than he was last season, but with fewer picks. That’s a formula for having the best Pro Football Focus score for a cornerback, but not a formula for wining Defensive Player of the Year. Still, at 60 to 1, I’d throw my $100 down on Stingley before the others preceding him here.
DANIELLE HUNTER – Defensive Player of the Year, +8000 I don’t love Hunter’s chances at this award, as he always seems to be fighting against a system that underrates him, but at 80 to 1, if he has a 17 sack season, or something like that, and the Texans are the one or two seed in the AFC, Hunter could make a great case.
WILL ANDERSON – Defensive Player of the Year, +1200 I love Will Anderson, and I love his chances of making another big leap in this third season, similar to what he did in his second season. I’ve never covered a player more hyper focused on improvement in the offseason, and I’ve never covered a player who can identify so specifically the things he needs to do to improve. Anderson is going to have a monster year. For purposes of this exercise, the safest pick (by the odds) is the best pick.
Lady Gaga is extending her dominance of this year’s MTV Video Music Awards and has been added as a performer, show organizers announced Saturday.Related video above: A flight delay, a jazz band and a viral momentThe Grammy-award winning musician leads this year’s VMA nominations with 12 nods, including artist of the year and best album for “Mayhem,” which was released earlier this year.Gaga has a long-standing history with the VMAs, with 57 total nominations throughout her career. Mother Monster, as she’s known, last took the stage in 2020, singing various hits from her album, “Chromatica,” including a performance of “Rain on Me” with Ariana Grande.She joins a slate of other seasoned VMAs performers confirmed for this year’s roster, including Doja Cat, who will give the first ever televised performance of her new single “Jealous Type.” Jelly Roll will also perform and is competing for the first time in four categories. Post Malone, a six-time VMA winner, is also set to take the stage.Pop singers Conan Gray and Tate McRae will each make their performance debut on the VMAs stage next month.Here’s everything you need to know about this year’s MTV VMAs.New awards honor Latin and Rap artistsThis year’s MTV Video Music Awards is shaking things up, handing out two new awards to decorated artists in the rap and Latin music genres.Rapper Busta Rhymes will receive the first ever MTV VMA Rock the Bells Visionary Award and Ricky Martin will be honored with the inaugural Latin Icon Award.The Rock the Bells Visionary Award celebrates the hip-hop star’s “boundary-breaking cultural impact and an indomitable musical career,” the announcement read. Rhymes, who has taken the VMAs stage various times since his first performance in 1997, will also perform during the ceremony.Martin, whose long VMAs history began with his first performance in 1999, will also perform and be honored for a “four-decade career that launched Latin music and culture into the mainstream,” according to the announcement.Who is performing at the VMAs?Gaga joins a growing list of confirmed performers for this year’s VMAs, including Gray, McRae, Jelly Roll, Doja Cat, Post Malone and more.Rhymes and Martin will both perform, as well as a slew of other artists, including Alex Warren, J Balvin, Sabrina Carpenter and sombr.Warren, who’s nominated for best new artist, best pop and song of the year, will take the VMA stage for the first time, performing his breakout hit, “Ordinary.” Newcomer sombr, a singer-songwriter and producer, will also be making his award show debut.Balvin will perform “Zun Zun” with Latin singers Justin Quiles and Lenny Tavárez, and “Noventa” with producer DJ Snake.Carpenter, who offered a debut performance at the VMAs last year, taking home song of the year, will return to perform “Manchild.”McRae is also up for four first-time nominations, including song of the year and best pop artist.When are the MTV Video Music Awards?The 2025 VMAs will air on Sept. 7 at 8 p.m. Eastern, live from the UBS Arena on New York’s Long Island.Who will host the VMAs?LL Cool J has snagged wins, co-hosted and performed atop the MTV Video Music Awards stage. Now, the Grammy-winning rapper-actor-author is going solo to host the 2025 awards ceremony.He’s retaking the stage, this time without Nicki Minaj and Jack Harlow, with whom he co-hosted in 2022.He’s also up for the best hip-hop award for his single “Murdergram Deux” featuring Eminem. The single is part of his most recent album, “THE FORCE,” which released in September and was his first album in 11 years.LL Cool J is a longtime champion of the VMAs, having won his first Moon Person in 1991. He became the first rapper to receive the Video Vanguard Award, in 1997. He also performed in an all-star tribute to hip-hop’s 50th anniversary in 2023 and a celebration for Def Jam Records’ 40th anniversary last year.Can I stream the VMAs?Yes, the show will be broadcast by CBS for the first time, and also simulcast on MTV and available for streaming on Paramount+ in the United States.Who’s nominated for the VMAs?Gaga is leading this year’s awards with 12 nominations, including artist of the year. The “Mayhem” singer was nearly tied with Bruno Mars, who has 11 nods. The pair’s duet, “Die with a Smile,” is up for four awards, including song of the year.Gaga’s plethora of nominations dethrones Taylor Swift, who held the top spot for two years. This time around, Swift received one artist of the year nomination. The two are accompanied by Bad Bunny, Beyoncé, Kendrick Lamar, Morgan Wallen and The Weeknd in that category.Gaga and Mars are followed by Lamar with 10 nominations, ROSÉ and Carpenter with eight each, Ariana Grande and The Weeknd with seven each and Billie Eilish with six.Charli XCX also received love with five nominations for her “Brat” Summer success “Guess,” featuring Eilish.Bad Bunny, Doechii, Ed Sheeran, Jelly Roll, Miley Cyrus and McRae have four nominations each.How can I vote for the VMAs?Fan voting across the 19 categories is live now on the VMAs website. Voting closes on Sept. 5 at 6 p.m. Eastern, except for the best new artist category, which will accept votes into the live show. The public can vote up to 10 times a day until voting closes.Who will receive the Video Vanguard Award?Mariah Carey will receive this year’s Video Vanguard Award.The award was given to Katy Perry last year. Previous recipients include Shakira, Beyoncé, Nicki Minaj and Madonna.
LOS ANGELES (AP) —
Lady Gaga is extending her dominance of this year’s MTV Video Music Awards and has been added as a performer, show organizers announced Saturday.
Related video above: A flight delay, a jazz band and a viral moment
The Grammy-award winning musician leads this year’s VMA nominations with 12 nods, including artist of the year and best album for “Mayhem,” which was released earlier this year.
Gaga has a long-standing history with the VMAs, with 57 total nominations throughout her career. Mother Monster, as she’s known, last took the stage in 2020, singing various hits from her album, “Chromatica,” including a performance of “Rain on Me” with Ariana Grande.
She joins a slate of other seasoned VMAs performers confirmed for this year’s roster, including Doja Cat, who will give the first ever televised performance of her new single “Jealous Type.” Jelly Roll will also perform and is competing for the first time in four categories. Post Malone, a six-time VMA winner, is also set to take the stage.
Pop singers Conan Gray and Tate McRae will each make their performance debut on the VMAs stage next month.
Here’s everything you need to know about this year’s MTV VMAs.
New awards honor Latin and Rap artists
This year’s MTV Video Music Awards is shaking things up, handing out two new awards to decorated artists in the rap and Latin music genres.
Rapper Busta Rhymes will receive the first ever MTV VMA Rock the Bells Visionary Award and Ricky Martin will be honored with the inaugural Latin Icon Award.
The Rock the Bells Visionary Award celebrates the hip-hop star’s “boundary-breaking cultural impact and an indomitable musical career,” the announcement read. Rhymes, who has taken the VMAs stage various times since his first performance in 1997, will also perform during the ceremony.
Martin, whose long VMAs history began with his first performance in 1999, will also perform and be honored for a “four-decade career that launched Latin music and culture into the mainstream,” according to the announcement.
Who is performing at the VMAs?
Gaga joins a growing list of confirmed performers for this year’s VMAs, including Gray, McRae, Jelly Roll, Doja Cat, Post Malone and more.
Rhymes and Martin will both perform, as well as a slew of other artists, including Alex Warren, J Balvin, Sabrina Carpenter and sombr.
Warren, who’s nominated for best new artist, best pop and song of the year, will take the VMA stage for the first time, performing his breakout hit, “Ordinary.” Newcomer sombr, a singer-songwriter and producer, will also be making his award show debut.
Balvin will perform “Zun Zun” with Latin singers Justin Quiles and Lenny Tavárez, and “Noventa” with producer DJ Snake.
Carpenter, who offered a debut performance at the VMAs last year, taking home song of the year, will return to perform “Manchild.”
McRae is also up for four first-time nominations, including song of the year and best pop artist.
When are the MTV Video Music Awards?
The 2025 VMAs will air on Sept. 7 at 8 p.m. Eastern, live from the UBS Arena on New York’s Long Island.
Who will host the VMAs?
LL Cool J has snagged wins, co-hosted and performed atop the MTV Video Music Awards stage. Now, the Grammy-winning rapper-actor-author is going solo to host the 2025 awards ceremony.
He’s retaking the stage, this time without Nicki Minaj and Jack Harlow, with whom he co-hosted in 2022.
He’s also up for the best hip-hop award for his single “Murdergram Deux” featuring Eminem. The single is part of his most recent album, “THE FORCE,” which released in September and was his first album in 11 years.
LL Cool J is a longtime champion of the VMAs, having won his first Moon Person in 1991. He became the first rapper to receive the Video Vanguard Award, in 1997. He also performed in an all-star tribute to hip-hop’s 50th anniversary in 2023 and a celebration for Def Jam Records’ 40th anniversary last year.
Can I stream the VMAs?
Yes, the show will be broadcast by CBS for the first time, and also simulcast on MTV and available for streaming on Paramount+ in the United States.
Who’s nominated for the VMAs?
Gaga is leading this year’s awards with 12 nominations, including artist of the year. The “Mayhem” singer was nearly tied with Bruno Mars, who has 11 nods. The pair’s duet, “Die with a Smile,” is up for four awards, including song of the year.
Gaga’s plethora of nominations dethrones Taylor Swift, who held the top spot for two years. This time around, Swift received one artist of the year nomination. The two are accompanied by Bad Bunny, Beyoncé, Kendrick Lamar, Morgan Wallen and The Weeknd in that category.
Gaga and Mars are followed by Lamar with 10 nominations, ROSÉ and Carpenter with eight each, Ariana Grande and The Weeknd with seven each and Billie Eilish with six.
Charli XCX also received love with five nominations for her “Brat” Summer success “Guess,” featuring Eilish.
Bad Bunny, Doechii, Ed Sheeran, Jelly Roll, Miley Cyrus and McRae have four nominations each.
How can I vote for the VMAs?
Fan voting across the 19 categories is live now on the VMAs website. Voting closes on Sept. 5 at 6 p.m. Eastern, except for the best new artist category, which will accept votes into the live show. The public can vote up to 10 times a day until voting closes.
Who will receive the Video Vanguard Award?
Mariah Carey will receive this year’s Video Vanguard Award.
The award was given to Katy Perry last year. Previous recipients include Shakira, Beyoncé, Nicki Minaj and Madonna.
The Telluride Film Festival always brings A-list actors and filmmakers to the picturesque Colorado mountain town. This year, the festival’s also welcoming two larger-than-life icons: William Shakespeare and Bruce Springsteen.
The 52nd Telluride Film Festival—which, per tradition, doesn’t announce its titles until the day before it begins—will feature world premieres of not only a new take on Shakespeare’s Hamlet (starring Riz Ahmed), but also Hamnet—Chloé Zhao’s adaptation of Maggie O’Farrell’s bestseller inspired by Shakespeare’s wife.
Hamnet stars Jessie Buckley and Paul Mescal as Agnes and William, following the couple as they suffer the loss of their son, Hamnet.
Springsteen’s story will come to life in Springsteen: Deliver Me From Nowhere, which follows the Boss as he writes and records his 1982 album Nebraska while battling memories from his past. Directed by Scott Cooper, the film stars Jeremy Allen White as Springsteen and Jeremy Strong as his longtime manager. “It is such a good movie,” says Telluride Festival director Julie Huntsinger. “He really is firing on all cylinders. I’ve always admired him, but I feel like this is his most successful film, for sure.”
Other world premieres at the festival, which runs over Labor Day weekend, include Ballad of a Small Player, which stars Colin Farrell as a gambler hiding out in Macau; Tuner, starring Leo Woodall and Dustin Hoffman; and H is for Hawk, starring Claire Foy. Films that debut at Telluride often go on to have healthy awards campaigns that lead to Oscar nominations and wins, such as last year’s Conclave and Nickel Boys.
The festival always showcases some of the most groundbreaking and fascinating documentaries, and this year will be no exception, with debut docs helmed by Morgan Neville, Ken Burns, and Ethan Hawke.
Hawke, who also stars in Richard Linklater’s Blue Moon at the festival, will be one of Telluride’s Silver Medallion honorees, individuals who are celebrated with special tributes. Jay Kelly writer-director Noah Baumbach, and Iranian filmmaker Jafar Panahi (whose latest film, It was Just an Accident, will screen at the fest) will be honored as well.
Several films from Cannes and Venice will also screen at Telluride as they make their way toward awards season runs. But as always, Huntsinger recommends looking beyond the high-profile premieres to find some hidden diamonds in the lineup. “Get your movie-watching eyes ready. We’re going to have so much fun,” she says.
Here’s the full Telluride Film Festival lineup:
• A Private Life (directed by Rebecca Zlotowski, France, 2025) • Ask E. Jean (directed by Ivy Meeropol, US, 2025) • Ballad of a Small Player (directed by Edward Berger, Hong Kong/Macau, 2025) • Blue Moon (directed by Richard Linklater, US/Ireland, 2025) • Bugonia (directed by Yorgos Lanthimos, UK, 2025) • Cover-Up (directed by Laura Poitras, Mark Obenhaus, US, 2025) • Everywhere Man: The Lives and Times of Peter Asher (directed by Dayna Goldfine, Dan Geller, US/UK, 2025) • Ghost Elephants (directed by Werner Herzog, Angola/Namibia/US, 2025) • H is for Hawk (directed by Philippa Lowthorpe, UK/US, 2025) • Hamlet (directed by Aneil Karia, UK, 2025) • Hamnet (directed by Chloé Zhao, UK, 2025) • Highway 99 a Double Album (directed by Ethan Hawke, US, 2025) • If I Had Legs I’d Kick You (directed by Mary Bronstein, US, 2025) • It Was Just an Accident (directed by Jafar Panahi, Iran/France/Luxembourg, 2025) • Jay Kelly (directed by Noah Baumbach, Italy/UK/US, 2025) • Karl (directed by Nick Hooker, UK, 2025) • La Grazia (directed by Paolo Sorrentino, Italy, 2025) • Lost in the Jungle (directed by Chai Vasarhelyi, Jimmy Chin, Juan Camilo Cruz, US/Colombia, 2025) • Lumière, le Cinéma (directed by Thierry Frémaux, France, 2024) • Man on the Run (directed by Morgan Neville, US, 2025) • Nouvelle Vague (directed by Richard Linklater, France, 2025) • Pillion (directed by Harry Lighton, UK, 2025) • Sentimental Value (directed by Joachim Trier, Norway/France/Denmark/Germany, 2025) • Shifty (directed by Adam Curtis, UK, 2025) • Springsteen: Deliver Me From Nowhere (directed by Scott Cooper, US, 2025) • Summer Tour (directed by Mischa Richter, US, 2025) • The American Revolution (directed by Ken Burns, Sarah Botstein, David Schmidt, US, 2025) • The Bend in the River (directed by Robb Moss, US, 2025) • The Cycle of Love (directed by Orlando von Einsiedel, U.K./India/Sweden, 2025) • The History of Sound (directed by Oliver Hermanus, US, 2025) • The Mastermind (directed by Kelly Reichardt, US, 2025) • The New Yorker at 100 (directed by Marshall Curry, US, 2025) • The Reserve (directed by Pablo Pérez Lombardini, Mexico/Qatar, 2025) • The Secret Agent (directed by Kleber Mendonça Filho, Brazil/France/Netherlands/Germany, 2025) • This Is Not a Drill (directed by Oren Jacoby, US, 2025) • Tuner (directed by Daniel Roher, US/Canada, 2025) • Urchin (directed by Harris Dickinson, UK, 2025)
The following short films will screen in the main program: • Last Days on Lake Trinity (directed by Charlotte Cooley, US, 2025) • Sallie’s Ashes (directed by Brennan Robideaux, US, 2025) • Song of My City (directed by David C. Roberts, US, 2025) • All the Empty Rooms (directed by Joshua Seftel, US, 2025) • All the Walls Came Down (directed by Ondi Timoner, US, 2025)
The 2025 Venice Film Festival 2025 began in a state of grace. Grace, after all, is the title of the opening film: La Grazia, by Italy’s own Paolo Sorrentino. It is the story of an Italian president in the last months of his term—a man who’s trying to smoke only one cigarette per day as he remembers his late wife. He’s played by Toni Servillo, who appeared on Wednesday’s opening light red carpet with Anna Ferzetti, the film’s leading lady. The stars and Sorrentino seemed in high spirits after the long applause their film drew at the morning press screenings, as did Milvia Marigliano, who plays the president’s explosive friend. Not far away was actor and producer Pierfrancesco Favino, who will present his own film at the festival— but on Wednesday, was there to accompany his partner, Ferzetti.
Italian rapper Guè, whose music is heard in the film, was also present, dressed in black and decidedly amused. (His wife introduced him to the artist’s music, Sorrentino said at that morning’s press conference.) Also arriving were Venice jurors Maura Delpero and Fernanda Torres, as well as Emanuela Fanelli, host of the event. “I am the face they wanted to open the Festival with,” she jokes on the stage of the Lido’s Sala Grande, recalling the first film she saw in theaters: The Little Mermaid. Werner Herzog, who won the Golden Lion for Lifetime Achievement, was introduced by another Hollywood great, Francis Ford Coppola, who was recently recovering from heart surgery.
American stars were present too: Cate Blanchett, Adam Driver and Tom Waits, who appear together in the film Father Mother Sister Brother by Jim Jarmusch. The movie premieres in competition on August 31. The red carpet featured stars with family ties as well, including Giuseppe and Nicola Fiorello, and Heidi and Leni Klum. The Exhibition has officially begun.
The Venice Film Festival 2025 boasts a dream line-up for cinephiles and lovers of glamour. Here’s an in-depth look at this not-to-be-missed event in the 7th art.
American director Alexander Payne, whose films include Sideways and Nebraska, will head the jury for its 82nd edition, succeeding Isabelle Huppert. “Although I share a filmmaker’s ambivalence about comparing films against one another, I revere the Venice Film Festival’s nearly 100-year history of loudly celebrating film as an art form. I couldn’t be more excited,” he said in a statement. He will be joined by other 7th art figures from around the world: filmmakers Stéphane Brizé, Maura Delpero, Cristian Mungiu, and Mohammad Rasoulof, as well as actresses Fernanda Torres and Zhao Tao. French director Julia Ducournau will serve as president of the Orizzonti international jury.
What’s the opening film?
After presenting his latest film, Parthenope, at the Cannes 2024 Festival, where he is a regular, Italian director Paolo Sorrentino returns to Italy. He will have the honor of opening Mostra 2025 with La Grazia, a film that reunites actor Toni Servillo with Anna Ferzetti. No details of the plot have been released except that it is a love story. The director’s last visit to the Lido was a successful one: in 2021, he won the Silver Lion (Grand Prix du Jury) for The Hand of God.
Who will receive the Golden Lions?
German director Werner Herzog will receive an honorary award for his impressive career spanning fiction (Fitzcarraldo) and documentary (Grizzly Man). A second Honorary Lion will be awarded to Kim Novak, the American actress seen in films by Billy Wilder (Kiss Me, You Idiot) and Alfred Hitchcock (Cold Sweat), also highlighted at the Deauville 2025 Festival.
What are the most anticipated films?
The film festival will be packed with stars and prestigious directors this year. Event previews include Guillermo del Toro’s Frankenstein with Oscar Isaac and Jacob Elordi, Yorgos Lanthimos’s Bugonia with Emma Stone,Luca Guadagnino’s After the Hunt with Julia Roberts, Noah Baumbach’s Jay Kelly with George Clooney, and Jim Jarmusch’s Father Mother Sister Brother with Cate Blanchett.
The French will also be present, with François Ozon’s adaptation of Albert Camus’ The Stranger,Valérie Donzelli’s À pied d’œuvre with Bastien Bouillon and Virginie Ledoyen, and Olivier Assayas’s latest feature, Le Mage du Kremlin. Out of competition, Jacques Audiard‘s series adaptation of Un prophète, due soon on Canal+, and Cédric Jimenez’s Chien51, starring Adèle Exarchopoulos and Gilles Lelouch, will close the festival.
Kathryn Hahn is back in the Emmys hunt this year, nominated for her supporting turn as an overly on-trend marketing executive in Seth Rogen and Evan Goldberg’s comedy The Studio. It’s the kind of loud, big-swing comic performance that Hahn honed in the Adam McKay comedies of the 2000s, like Anchorman and Step Brothers—and then, as new opportunities cropped up, started moving away from. When she first stepped onto the set of The Studio, she quickly realized what she’d been missing: “This feeling is the best.”
It’s Hahn’s fourth Emmy nomination in 10 years. In that time, she’s emerged as an unlikely Hollywood lead, getting critical recognition and a certain degree of fame for deeply vulnerable, intimate work. She’s toplined such indie gems as Private Life and Afternoon Delight, tenderly led lyrical literary adaptations including Tiny Beautiful Things and Mrs. Fletcher. She’s also a new, unexpected Marvel favorite: Her star turn on Agatha All Along, reprising the witchy role from WandaVision that netted her an Emmy nod, is among the most wildly creative of her career.
That Disney+ show, which received a handful of below-the-line Emmy nominations, remains in limbo for a potential season two, but The Studio will soon make its way back to Apple TV+. Indeed, Hahn is plenty busy. As we chat, she’s in production on an as yet unannounced project, and she recently finished filming on Madden,David O. Russell’s already controversial new biopic starring Nicolas Cage. There was a lot to catch up on.
Vanity Fair: Of all your recent Emmy nominations—for Transparent, WandaVision, and Tiny Beautiful Things—I’d argue The Studio is the outlier of the group, as a broader comedy. Does it feel that way to you?
Kathryn Hahn: One hundred percent, yeah, you’re right. I hadn’t really done anything of this size, with this much gas on the pedal, so I was very excited to jump when I read it. She was so clear on the page. It looked so fun. There was an ease to it, which is always a good sign with the comedy; it didn’t feel like it was going to have to be too muscled or too sweaty. There was a flow already to her.
I had just done Agatha. I had a year basically off where I was with my family, and I don’t think I’d worked since. This came, it was shot in LA, it was really close by, and also I knew it was such a fun part.
It made me think of those big ensemble comedy movies you used to do. You’ve talked about not knowing how you would fit into those environments when you first started doing them. What was it like to return to the genre here?
Weirdly like a full circle. I love that feeling of the circus. There is something about an ensemble—that the whole thing would fall apart if one person is not carrying their weight. Especially in a farce like this, keeping those balls in the air, no pun intended. I was so much younger when I did those [movies], and I was so in my head about it. I wasn’t in improv. My training was in theater. I never thought I’d find myself in comedies like that. So a lot of those early ones with [Adam] McKay or with [Will] Ferrell, I was definitely in survival mode.
When did you realize you were a) really funny, and b) able to keep up with those guys?
During Anchorman, watching how Adam worked with those actors and watching those guys do their thing, was such a lesson. It felt anarchic. Everything that I had been told not to do, we were encouraged to do. That kind of reckless, fearless, throwing yourself into it—it all opened for me. I felt I had the same freedom going into the next parts. It just felt more and more comfortable, and less and less prescribed.
The Studio did unbelievably well in the Emmy nominations, so it’s clearly beloved in the industry. It’s also so brutal and bleak toward the industry. What do you make of that combination?
There is such a nostalgia baked into this show—there’s clearly respect and awe. I can only imagine Seth and Evan growing up as these Canadian boys thinking of Hollywood. So that makes the specificity of what actually goes down a) that much funnier, and b) that much less cynical or mean. It’s under this layer of people that love film. If it was just solely a mean takedown, it would not be as appealing. That’s my two-cents working theory.
Zoe Saldaña, the guest on this episode of The Hollywood Reporter’s Awards Chatterpodcast, which was recorded in front of an audience at the SCAD Savannah Film Festival, has been a screen actress for 25 years. She has been described as “the queen of the film franchise,” having starred in installments of the Avatar, Avengers, Guardians and Star Trek series. (She’s the only person ever to have been part of four films that grossed more than $2 billion.) But this year, with her performance as an attorney recruited to help a cartel leader with a top-secret mission in Jacques Audiard’s unconventional musical Emilia Pérez, she has reminded people that she’s also much more.
Those who have already seen Emilia Pérez have gone wild for it. It received an 11-minute standing ovation following its world premiere at May’s Cannes Film Festival, where the festival’s jury awarded Saldaña and her principal co-stars — Karla Sofía Gascón, Selena Gomez and Adriana Paz — the best actress prize. And the film and its stars have been garnering acclaim and accolades ever since. Soon, everyone will have the opportunity to see the film: it debuted in select U.S. and Canadian theaters on Nov. 1 en route to a Nov. 13 debut on Netflix in the U.S., Canada and the U.K.
In the meantime, though, Saldaña has been reflecting on her roller coaster of a journey to this point. As she discusses during this episode, her father was killed in a car crash when she was just nine years old, leading her mother to send her and her sister to live with relatives in the Dominican Republic. There, she fell in love with dance, which led to acting — she sang in local music theater productions and danced in her first film, 2000’s Center Stage. But she wasn’t called upon to sing or dance again until Emilia Pérez. (It’s also the first film in which she has had the opportunity to act in her native language, Spanish.)
In the intervening years, as she describes it, she nearly quit the biz (after a bad experience on 2003’s Pirates of the Caribbean: The Curse of the Black Pearl), had her faith in it restored (by Steven Spielberg on the set of 2004’s The Terminal) and then, quite by accident, stumbled into “space” thanks to James Cameron, J.J. Abrams and Kevin Feige. In-between her big studio, VFX-heavy projects, she has often returned to smaller-scale art house ventures — among them 2011’s Colombiana, 2013’s Out of the Furnace and 2014’s Infinitely Polar Bear. But it is Emilia Pérez that has reminded others — and Saldaña herself — of the extent of her talent and range.
In just a few months, she will almost certainly find herself an Oscar nominee for the first time, in the category of best supporting actress, for Emilia Pérez. One of the tunes that she performs in the film, “El Mal,” is, in the category of best original song, also a frontrunner, and Saldaña, upon being asked, confirms that she would be willing to perform it on the Oscars telecast if it is nominated and she is invited to do so. It’s all new and exciting territory for someone who has been around for a long time, if never fully seen and appreciated … until now.
Fargeat: The thing that is quite philosophically funny is that once we finished shooting the apartment, we destroyed the set and we built this theater in the same space. So basically, it’s built on the ashes of the apartment.
The shooting took so long that we couldn’t finish everything in prep; prep was continuing while we started shooting. We had first thought about shooting in a real theater to use a real set. The theaters we visited had read the script like, “It’s going to be splattered in blood. Oh yes, that’s funny!” They wanted to welcome us with their arms open. And when everyone understood how much blood I wanted to splatter here, for real, the executive producer said, “Okay, I don’t want to finish in jail. We can’t shoot in a real theater, because there is no way we can protect it in a way that it’s not going to be destroyed.” So very soon after that, we understood that the only way to get to do this technical challenge was to build our own sets.
Kracun: It was a proper blood opera, wasn’t it? Everything had to be waterproof. It was going to go everywhere. All the lights were waterproof. We did design a lighting show for the beginning with little spotlights, and had [the monster] follow the spot and things like that. This is how the whole film worked, in a way, because we were constantly pushing to see what we could find and discover.
Fargeat: It was a massive technical challenge of how to spread the blood, how to protect the elements, how to keep everyone safe. But it was also, I must say, so much fun to be able to lose ourselves in this tsunami. I remember Ben getting into white protection gear with all the crew to protect themselves, pushing the dolly on the massive track among a tsunami of blood. The behind the scenes for this is heroic. We were navigating a volcano of blood, and we all had our hands in the thing. I was splattering it for real myself with the hose and a helmet that I had, and filming that at the same time. Ben was with another camera in the crowd, and navigating following the stunt people. We didn’t know until the end if it was going to work. Once we were on set in this massive pool, our faces totally covered in red, we hugged each other and we said, “We did it.”
This interview has been edited and condensed. Awards Insider’sShot List spotlights the year’s most impressive cinematography.
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“Don’t speak!” Dianne Wiest is unstoppable as the actress Helen Sinclair, one of the all-time great “diva” roles in Woody Allen’s zany gangland comedy Bullets Over Broadway. (This was one of the few Allen films in which he had a cowriter; in this case, it was the humor columnist, playwright, director, and actor Doug McGrath.) With this win, Wiest became just the second woman to win two best-supporting-actress Academy Awards, tying Shelley Winters for the honor.
Anna Paquin — 1994 The Piano (1993)
Just 11 years old when she won (but still not the youngest winner in this category!), Anna Paquin bolted out of her seat in a fetchingpurple hat when Gene Hackman read her name at the Oscar ceremony. Adorable! Then she stood behind the podium in a state of shock, half-giggling, half-hyperventilating. It’s a great moment! Then a little Hollywood kicked in and she started thanking people. If you can believe it, Jane Campion was only the second woman ever to be nominated in the best-director category.
Marisa Tomei — 1993 My Cousin Vinny (1992)
A great performance, a great film, a great and righteous win. We’re saying that because, back in the day, there were some who felt Marisa Tomei’s comedic turn in the admittedly light My Cousin Vinny was some kind of blight on the Oscars. It even spun into a conspiracy theory that the announcement of her name was some kind of accident. Tomei was also a former soaps and sitcom star up against three heavyweight Brits (Joan Plowright, Vanessa Redgrave, and Miranda Richardson), as well as Australian Judy Davis in Woody Allen’s Husbands and Wives. But time has washed all that away—and Tomei has had two more nominations since.
Mercedes Ruehl — 1992 The Fisher King (1991)
Mercedes Ruehl is probably a bigger name to Broadway aficionados than movie lovers, but her turn in Terry Gilliam’s outstanding fantasy-drama The Fisher King was absolutely the right choice for the best-supporting-actress prize this year. She is marvelous as the hard-working video store owner who helps get Jeff Bridges back on his feet after he abandons his career as a talk radio host who inadvertently inspires a killing spree. (Today, someone like that would just say, “Hit like and subscribe!”)
Whoopi Goldberg — 1991 Ghost (1990)
The second Black woman to win in this category (after a 51-year gap), Whoopi Goldberg, who would later host the Oscars four times, was hilarious and touching in the part of the medium Oda Mae Brown in the blockbuster sensation Ghost. As it happened, she was handed her Oscar by Denzel Washington, who had become the second Black man to win the best-supporting-actor prize the year before. Whoopi’s win also added her name to the list of Star Trek alumni who have won an Oscar.
Brenda Fricker — 1990 My Left Foot (1989)
Somehow, Brenda Fricker is the only Irish woman to win an Oscar for either supporting or lead actress. This doesn’t seem right, considering Irish contributions to film arts, but it’s the truth. (There have been wins for Irish women in other Oscar categories, so that’s something, until Saoirse Ronan eventually wins one for acting—she’s got four nominations already.) Accepting her award for My Left Foot (which also got Daniel Day-Lewis his first of three trophies), she thanked the real “Mrs. Brown” and said that “anybody who gives birth 22 times deserves one of these.”
Geena Davis — 1989 The Accidental Tourist (1988)
Perhaps a bit of an upset over Sigourney Weaver in Working Girl (her third nomination and third loss), Geena Davis won the best-supporting-actress prize for her role as the zany dog trainer who teaches William Hurt how to embrace life after tragedy in Lawrence Kasdan’s terrific comic drama. Oscar producers were probably rooting for Weaver, too, as her costar Melanie Griffith (and then husband Don Johnson) were the presenters for this category.
Olympia Dukakis — 1988 Moonstruck (1987)
This was one of three wins for Moonstruck, which also received a best-actress trophy for Cher and best original screenplay for John Patrick Shanley. (Alas, Vincent Gardenia had tough competition for best supporting actor opposite Sean Connery in The Untouchables. Olympia Dukakis was the obvious best-supporting-actress winner as Rose, head of the Castorini family in one of the all-time great romantic comedies. She concluded her acceptance speech by adding, “Okay, Michael, let’s go!”—a reference to her cousin Michael Dukakis, who was running for president at the time (and would lose by a considerable margin).
Dianne Wiest — 1987 Hannah and Her Sisters (1986)
She may not have deserved Cole Porter, but she deserved this Oscar win. This was Dianne Wiest’s first of two best-supporting-actress Oscars, both of which came from appearing in Woody Allen films. Hannah and Her Sisters is such a sweeping view of New York City characters that she barely shares any screen time with her costar Michael Caine, who also won a best-supporting-actor award for this film. (Allen won best original screenplay, too, and was nominated for best director while the film was nominated for best picture.)
Anjelica Huston — 1986 Prizzi’s Honor (1985)
With this award, Anjelica Huston became the only person to win an Oscar in a film directed by their parent, in this case John Huston. (Nearly 40 years earlier, John Huston directed his father, Walter Huston, to an Oscar in The Treasure of the Sierra Madre. Not sure if this double record will ever be broken!) Prizzi’s Honor, an ahead-of-its-time mafia comedy, costarred Jack Nicholson and Kathleen Turner and has one of the most shocking endings in the history of movies.
Peggy Ashcroft — 1985 A Passage to India (1984)
“Mrs. Mooooooooore!” Sir David Lean’s final film was nominated for 11 Oscars, including best picture, but won only two: best score for Maurice Jarre (his third after Lawrence of Arabia and Doctor Zhivago, all Lean films) and best supporting actress for Dame Peggy Ashcroft, who was 77 at the time of her win, making her the oldest winner in this category. Based on E.M. Forster’s novel, costarring Judy Davis, Victor Banerjee, James Fox, Alec Guinness, Roshan Seth, and others, the film is either progressive for its time or a reactionary ode to the days of the British Raj, depending on your point of view. All can agree, though, that Peggy Ashcroft’s performance as the kind British lady who prefers to travel in comfort is terrific.
Linda Hunt — 1984 The Year of Living Dangerously (1982)
An unusual award in the sense that Linda Hunt (a white woman from New Jersey) plays the part of Billy Kwan, a Chinese Australian man. This would likely not fly today, but 40 years ago it was seen as a brave—and even noble—casting choice. The film is beyond canceled, despite being a stern look at Indonesia’s attempted military coup and democratic struggles during the late 1960s.
Jessica Lange — 1983 Tootsie (1982)
This was one wild night for Jessica Lange at the Oscars. She won best supporting actress over her costar Teri Garr from Tootsie (tough choice!), but also over her costar Kim Stanley in the Frances Farmer biopic Frances. For a brief moment, it looked like Lange might be a double-winner, as she was nominated for best actress for Frances too—but that prize went to Meryl Streep for Sophie’s Choice. Anyhow, despite Tootsie’s 10 nominations (including best picture), this was its only win. That it lost best original screenplay to Gandhi (a terrific movie, sure) is a bit of a scandal.
Maureen Stapleton — 1982 Reds (1981)
A three-hour-plus movie about internecine squabbles between leftists sounds like more of an obligatory chore than a good time, but Warren Beatty’s exhilarating and juicy Reds is absolutely terrific. Part of that is due to Maureen Stapleton’s performance as the community’s den mother (inasmuch as anarchists can have den mothers) Emma Goldman. She had been nominated three times previously (first in 1958, for Lonelyhearts), and when she accepted her award, she said she was “thrilled, happy, delighted,” paused to add “sober,” then said she wanted to thank “everyone she ever met in her entire life.”
Mary Steenburgen — 1981 Melvin and Howard (1980)
Jonathan Demme’s breezy tall tale about Melvin Dummar, a drifter, gas station employee, game show contestant, and American dreamer who claimed that Howard Hughes bequeathed him his fortune, is one of the great movies of this era that doesn’t get enough attention. This shaggy indie included a juicy part for Mary Steenburgen as the put-upon wife trying to keep a family together in the face of a doofus husband.
