Em uma carta conjunta divulgada neste sábado (10) pela revista Variety, 58 membros brasileiros da Academia de Artes e Ciências Cinematográficas, responsável pelo Oscar, entre eles o ator Wagner Moura, os cineastas Kleber Mendonça Filho, Fernando Meirelles e o produtor Rodrigo Teixeira, se dizem preocupados com os possíveis desdobramentos do segundo turno das eleições presidenciais no Brasil.

O texto cita propostas de Flávio Bolsonaro (PL) de reescrever a Constituição, o desmonte da cultura sob o governo de seu pai, Jair Bolsonaro, que foi condenado por tentativa de golpe de Estado. Aborda ainda o caso, revelado pela Folha, da criptomoeda B22, que oferecia tokens a quem divulgasse conteúdos que incentivassem o voto em Flávio e dizia destinar parte dos recursos a crianças de Uganda.

Artistas temem retrocessos na cultura

“Sob a administração anterior, a indústria audiovisual brasileira sofreu com o fechamento do Ministério da Cultura, a suspensão do Fundo do Setor Audiovisual, o enfraquecimento das instituições culturais e as acusações de censura. Tememos um retorno a esse cenário”, diz o texto. “Proteger a liberdade de expressão e garantir a sustentabilidade a longo prazo da indústria audiovisual brasileira são inseparáveis da defesa da democracia.”

Menciona ainda os planos do governo de Donald Trump de enviar US$ 1 milhão para financiar grupos contrários ao STF, noticiados pelo The Guardian, sob a acusação de que a corte extrapola as atribuições judiciais e impõe censura no Brasil.

Carta pede atenção internacional às eleições

A carta, assinada também por nomes como Alice Braga, Anna Muylaert, Daniel Filho, Lais Bodanzky, Lucy Barreto, Sônia Braga e outros, pede maior atenção internacional ao pleito no país.

“Consideramos os acontecimentos no Brasil como parte de um padrão mais amplo de suposta interferência eleitoral em toda a América Latina. A defesa da democracia brasileira deve, portanto, depender não apenas do povo brasileiro, por meio de eleições livres, justas e transparentes, mas também da vigilância e do engajamento da comunidade internacional.”

Veja a lista completa dos signatários

• Adrian Teijido
• Alê Abreu
• Alice Braga
• Andrea Barata Ribeiro
• Anita Rocha da Silveira
• Anna Muylaert
• Anna Van Steen
• Bernardo Uzeda
• Carlos Segundo
• Carolina Markowicz
• Claudia Kopke
• Daniel Filho
• Daniel Rezende
• Daniela Thomas
• Eduardo Serrano
• Eliza Capai
• Emilie Lesclaux
• Emilio Domingos
• Fernando Meirelles
• Flávia Amon
• Flávia de Souza
• Gabriel Domingues
• Gabriel Mascaro
• Helena Solberg
• Heloisa Passos
• Ilda Santiago
• Jefferson De
• Jorge Bodanzky
• José Joffily
• Juliana Rojas
• Karen Akerman
• Karen Harley
• Karim Ainouz
• Kleber Mendonça Filho
• Lais Bodanzky
• Lucy Barreto
• Maeve Jinkings
• Marcelo Caetano
• Maria Augusta Ramos
• Mariana Oliva
• Matheus Farias
• Miriam Biderman
• Otto Guerra
• Paula Barreto
• Pedro Kos
• Petra Costa
• Plínio Profeta
• Renata Almeida Magalhães
• Rodrigo Teixeira
• Sara Silveira
• Sônia Braga
• Tatiana Leite
• Thales Junqueira
• Vânia Catani
• Vera Hamburger
• Wagner Moura
• Waldir Xavier
• Wilssa Esser

The post Wagner Moura e artistas do Oscar alertam sobre eleições appeared first on Diário da Manhã - O Jornal do leitor Inteligente.

Eva Marie Saint, one of the last great actresses from Alfred Hitchcock’s universe, died on Tuesday, October 6 at her home in Los Angeles, family representatives said. She was 102.

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He had a solution for everything. There was no problem he couldn’t tackle. Whether it was forcing open a lock by melting ice, building a defibrillator out of two candlesticks and a microphone cable, making a bomb with a stick of chewing gum or defusing one with a paper clip. He could even stop a sulfuric acid leak with milk chocolate bars. As a popular Spanish saying inspired by the character goes: “You’re more dangerous than MacGyver in a hardware store.”

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© Alvaro Cabrera

“He’s here, he’s there, he’s every fucking where: Roy Kent, Roy Kent!” chants the loyal Richmond crowd in tribute to the captain of the struggling English football club at the heart of the TV series Ted Lasso. It seemed almost prophetic of what awaited Brett Goldstein, the 46-year-old actor who plays the gruff Kent. Since joining the hit Apple TV comedy’s main cast, having originally been hired only as a writer, he has gone from being virtually unknown outside the United Kingdom to starring in a romantic comedy with Jennifer Lopez, appearing alongside Harrison Ford in a television series, and becoming Marvel’s new Hercules.

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© Axelle/Bauer-Griffin (FilmMagic)

Tom Cruise's new climate film Digger is turning into the "biggest flop of his career" and could lose $150m in a "historic disaster", leading Warner Bros to try a bold new marketing strategy: implying Americans are dumb.

The post Tom Cruise Climate Film Digger is “Biggest Flop of His Career” and Could Lose $150m in “Historic Disaster” appeared first on The Daily Sceptic.

It is Sylvester Stallone’s fourth interview of the day. Is he tired of talking yet? “No, because this is the first one about my memoirs,” he replies from a hotel room in New York, his hometown, overlooking Central Park, where he is meeting with EL PAÍS.

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© CJ Rivera (AP Photo)

There is a generation of filmviewers that cannot separate Vincent Cassel, 59, from the 1995 movie La Haine (Hate), where he dominated the screen. Although more than three decades have passed, Mathieu Kassovitz’s film was already exposing the seams of modern France. A Jewish kid from the Parisian suburbs, inflamed by frustration, resentment, the poison of social exclusion, a constant sense of injustice and a desire for revenge after a friend gets killed by the police. Vince, but also Saïd and Hubert, his closest friends, formed a trio that would be unlikely today in the banlieues of the Paris periphery. An Arab, a Black man and a Jew united by that prescient smell of fracture, exclusion and identity conflicts that began to feed the hatred and stoke the fire of the far right.

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Production: Nono Vázquez. Photography assistants: Emilio Azevedo and Adrián Wong. Production assistants: Laura Gimenez and Isabel Orozco. Makeup and hair: Anne Bochon. Movement direction: Pauline Gudet. Video: Daniele Vaia. Studio: Paul Le Cacheux Photographer.

© Nick Thompson

Lili Reinhart isn’t interested in being a celebrity… and the 30-year-old actress has proven this throughout her career. The moment her name started making headlines for her starring role as Betty Cooper in the TV series Riverdale (2017-2023), control over what she wanted (and didn’t want) in her life seemed to slip from her grasp. And, as her fame grew, she also had to confront her insecurities: subjected to constant media exposure, her life suddenly belonged to the public.

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© Variety (Variety via Getty Images)

Although Tom Cruise has maintained his star status on the big screen, the 64-year-old has avoided giving interviews to mainstream media for the past 20 years. Instead, he has focused on being an actor exclusively associated with his roles, someone who only generates conversation for his spectacular stunts in the sequels to Mission Impossible, done without doubles, or for his commitment to the seventh art, to theaters, and to Hollywood.

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Digger is like a mango. It’s an acidic film, but also a bit sweet; outwardly it seems one thing but inside it contains surprises, and it needs time to ripen. Like a mango, its flavor can’t be explained. In fact, it’s better not to even try, says its director, Alejandro González Iñárritu: “The only way to know what a mango tastes like is to put it in your mouth. And you have to put this film in your eyes to understand it, because if I explain it to you, you won’t get it.”

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© Mario Guzmán (EFE)

There is nothing a good plate of lechón (piglet) can’t achieve. So can a story that has been in the works for a decade and speaks of friendship, migration, change, roots and food (yes, lechón too), one that is animated and aimed primarily at children, yet carries a message not only for kids. It was over dishes like that and other traditional Filipino foods that Forgotten Island was cooked up for years. Joel Crawford and Januel Mercado, who are friends, colleagues and something like compatriots, have been passionately shaping the story all these years, and finally on September 25, 2026, it is opening in movie theaters worldwide.

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© Cortesía de Dreamworks

Lena Dunham — the child prodigy who wrote the HBO series Girls (the millennial version of Sex and the City) and later became the fallen star of her generation — published her second memoir this past April. And it reads quite differently now, after she recently announced that she has become a mother via surrogacy.

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© Gilbert Carrasquillo (GC Images / GETTY IMAGES) (EL PAÍS)

Thirty years ago, Leonardo DiCaprio, at just 21, won the hearts of half the world starring opposite Claire Danes in Romeo + Juliet, a modern adaptation of William Shakespeare’s classic directed and adapted by Baz Luhrmann.

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No matter how skeptical we may be about the American dream, Arnold Schwarzenegger’s personal story strains the limits of credibility as much as any of his most over-the-top films. That the destiny of Hollywood—not to mention California, the world’s fourth-largest economy all by itself—should be shaped for decades by an Austrian villager raised among the ruins of World War II would seem highly unlikely, were it not for the fact that the actor and former governor is so firmly ensconced in our collective imagination, his name pronounced by everyone with the same startling ease. Schwarzenegger, 79, is one of those individuals for whom the phrase “larger than life” seems to have been invented: for the scale of his achievements, his film career and his physical presence — 6ft 2in (1.88 meters) of chiselled muscle like a Greek statue.

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© Imágenes cortesía de 'Arnold '(Taschen) (EL PAÍS)

Consciously, in what he himself calls “a healthily obsessive way,” Dublin-born Andrew Scott has built a career across film, television and theater by gravitating toward complex characters. In his hands, no role is ever banal or simple.

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Kevin Dupzyk’s profile of Sam Rockwell, a “legendary scene-stealer” now in his fourth decade of work, is a crisp and entertaining one-act, with journalist and actor holed up in a spare Manhattan greenroom. Dupzyk studies Rockwell while Rockwell studies the room, testing the durability of his own idiosyncratic observations—about Red Bull and loss and rain—to see what they might yield in a conversation with a stranger. Dupzyk had wanted to “gin up some action for this story,” but it’s strangely compelling to watch Rockwell’s gaze prowl the room, to see what lodges in the filter of his creative process.

Rockwell is a good tennis player. And like any good athlete, he trains. For as much as he appears to get by on natural charm and charisma, he is an actor’s actor, a true believer, in his words, an “acting nerd.” Research. Running lines. Exerci—

“Do you know what a gibbon is?” Rockwell asks.

“Like, a monkey?” I say, confused.