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What can’t Julianne Moore do?

The U.S. actress accepted Zurich Film Festival‘s lifetime achievement honor, the Golden Icon Award, in perfect German on Friday night.

She was joined at the ceremony by Jesse Eisenberg, who directs her in his latest feature The Debut, a musical-comedy co-starring Paul Giamatti, which is screening at the 22nd edition in Switzerland this week.

Moore called upon her own childhood growing up in Europe while making her acceptance speech. “Thank you for this wonderful honor,” said a translated version of her words. “I know that I am in Switzerland right now, but as a teenager, I lived in Germany. And my teacher there told me that I could become an actress. Had I not moved to Europe with my parents, I would not have had this wonderful life. And I wouldn’t be here with you tonight to speak my bad German to you.”

On the carpet ahead of the presentation, the Oscar-winning actress beamed and said she was feeling “pretty good” about the prospect of receiving the prestigious Golden Icon. “And it’s really wonderful to be here with Jesse Eisenberg, who’s such a tremendous talent and has been an unbelievably wonderful creative partner,” she added. “He’s such a genius, so I’m just happy to be sharing this experience with him, and to be here with our movie. Every day was phenomenal. It really was. There’s actually a shot of me that Jesse said was so, so funny because I was making so many dumb faces. But I said, ‘That was just my dumb face!’ I was enjoying it so much.”

Eisenberg’s third directorial feature follows Mona Friedman (Moore), who is cast in a bit part at a small community theater and transforms from a shy, unassuming housewife into a zealous method actor willing to do anything to protect the artistic integrity of her marginal role — even if it means waging war against the show’s domineering director (Giamatti).

The filmmaker-actor-writer told reporters on the Zurich carpet on Friday: “Mona is me. When I was seven years old in New Jersey in 1990, I was a sad little kid, and then I joined a community theater and I found a home.” On the brilliance of Moore, who starred in Eisenberg’s directorial debut When You Finish Saving the World (2022), he said: “When I started writing it, it was only her, and if she did not want to do it, the movie would have not been made. There’s no one else on the planet, alive or dead or yet to be born, who could play [the role] as good as she [does].”

Among Moore’s best-known performances are Still Alice, for which she won the Academy Award, as well as The Hours and The Kids Are All Right. Recent credits include Apple TV’s Echo Valley, Pedro Almodóvar’s The Room Next Door and Netflix limited series Sirens. Next year, she will return to the stage to star in the title role of the Off-Broadway play Faydra.

Also on Friday night in Zurich, In Bruges and The Banshees of Inisherin filmmaker Martin McDonagh was given the fest’s A Tribute To… Award. The honor was in celebration of his most recent film, Wild Horse Nine, which is currently making its way around the festival circuit and already generating Oscar buzz, particularly for lead actor John Malkovich.

Set shortly before the 1973 military coup in Chile, Wild Horse Nine stars Malkovich and Sam Rockwell as Chris and Lee, longtime CIA partners stationed in Santiago who are dispatched to Easter Island by their bureau chief, MJ (Buscemi) to assist in the U.S.’s covert campaign to undermine the democratically elected Chilean government. Against the surreal backdrop of the island’s monumental Moai statues, the pair begin reckoning with their murky shared past.

“I love coming to Zurich, and it’s a tremendous honor,” said the British-Irish creative on the carpet ahead of his ceremony. “I’m excited. I know it’s a great, very cine-literate audience, so I hope they’ll like [Wild Horse Nine] as much as the other ones.”

He said about travelling to Easter Island: “I visited maybe 15 years ago, and was just struck by the beauty of the place, [and] also the mystery of the Moai heads, and I thought it could be almost a character in a film, and it’s turned out to be that way. I’d worked with Sam Rockwell obviously a bunch of times before, so that’s always a joy. But John Malkovich was new to me, and he’s just perfect for the part. He’s funny and he’s dangerous. And Steve Buscemi and Parker Posey were fantastic too.”

These aren’t the only awards Zurich is dishing out. Tom Hiddleston received the Golden Eye on Thursday night as the fest opened with his Everest drama, Tenzing, and John Turturro will also be given the same honor for his starring role in this year’s The Only Living Pickpocket in New York.

The 22nd Zurich Film Festival runs Sept. 24-Oct. 4.

Iberseries & Platino Industria’s sixth edition takes place in Madrid this week, and its jam-packed schedule includes the Thursday, Oct. 1 presentation of six series projects developed by seven screenwriters as part of a collaboration with Fundación SGAE, Spain’s primary collective management organization for intellectual property rights.

The series will be in focus during one of the pitching events that will showcase the projects to producers, buyers, investors and other audiovisual industry professionals. The event is designed as “an opportunity to foster the production, financing and international reach of new fiction projects, while reinforcing one of the objectives of Iberseries & Platino Industria: to facilitate connections between creative talent and the different players in the Ibero-American audiovisual industry,” the event organizers highlight.

Below, THR takes a closer look at the six series projects being pitched in Madrid.

La librera by Virginia Burgos (Seville) and Juan Sánchez (Madrid)
Synopsis: In the early 1990s, a woman opens the first LGBT bookstore in our country. Over several decades, the business becomes a refuge and a political backroom for an entire community. But the day comes when the neighborhood she helped build turns its back on her, leaving her no choice but to ask herself: “What do you do when nobody needs you anymore?”
Takeaways: An LGBT community force and pioneer faces the blues. Do you get the feeling that people will want to find out more about this woman and what is changing for her?

Avión by Miguel Cavadas (Vigo)
Synopsis: Avión is the village that embodies the utopia of Galician emigration: leaving poor and returning rich. In winter, it is yet another example of rural precarity and aging. In summer, it becomes a festival of money, ranchera music and Mexican flags. Its population quadruples, returning to celebrate, enjoy themselves and show off the transatlantic feat. A microcosm that is neither here nor there, but the coexistence of two worlds that have little or nothing to do with one another: community and individualism, past and present, Galicia’s lowest pensions and Mexico’s greatest fortunes. What happens when those two worlds collide?
Takeaways: Don’t expect a theme song like “Sur le Pont d’Avión (Avignon)” for this one – the show sounds much darker and more like a social clash drama that moves you to take a closer look at Galicia.

El capricho by Alberto Grondona
Synopsis: El capricho is a satirical historical comedy about three women vying for power at the 18th-century Spanish court: Queen María Luisa of Parma, the charismatic Duchess of Alba and the enlightened Duchess of Osuna. Their battles for influence, image and desire, in a Spain on the brink of collapse, are observed and narrated with fierce irony by Francisco de Goya, an uneasy witness who turns palace intrigue into a surprisingly contemporary mirror.
Takeaways: A female-led comedic Game of Thrones with Spanish fire and twists will surely turn heads – even if it may remind viewers of the end times.

Teléfonos fijos by Ángel Mirou
Synopsis: In the modest Recalde neighborhood of Bilbao, landline phones ring in the early hours, waking those who still have them installed in their homes. When they pick up, residents hear the voices of relatives, friends or acquaintances. The callers have only one thing in common: they are dead. Whether the calls are proof that something exists after death or an elaborate fraud based on cutting-edge technology, the lives of those involved will never be the same again.
Takeaways: I hear dead people. But in the age of tech scams and AI, can we trust my ears – or your eyes, for that matter!?

La edad menor by Roberto Osa
Synopsis: In a dystopian Madrid where children become the legal guardians of their parents, María confronts the system when her mother is admitted to La edad menor, an irreversible process of infantilization. While her brother is torn between his sister and power, a devastating secret will reveal that neither resistance nor sacrifice is enough to stop oblivion.
Takeaways: Power to the kids! You may look at politicians in your country and think this could actually work. But let’s be honest: there’s something that sounds worrisome, even sinister, about this synopsis. We’ll have to see what’s actually going on here.

Trueque by Pedro Pablo Picazo
Synopsis: Three families who are very close friends struggle daily with the teenagers at home. Each family has solutions for the others’ children. What if they swap them? What could possibly go wrong?
Takeaways: Forget Honey, I Shrunk the Kids! Here comes Honey, I Swapped the Kids.

Former To Catch a Predator host Chris Hansen was interviewed on his podcast Friday to give his unfiltered reaction to A24‘s unauthorized, dramatized film about parts of his life, Primetime, which he called overly dramatic, detached from reality, and a “fever dream” — while giving Robert Pattinson‘s performance a “D” grade.

Primetime, which opens Friday in the U.S., is set in 2006 and follows Pattinson’s fictionalized version of Hansen as the popular To Catch a Predator segment on NBC’s Dateline grows into its own primetime block on the network. On the show, Hansen blurred journalistic lines by working with law enforcement and the watchdog group Perverted Justice to intercept adult men as they arrived, unbeknownst to them, at a sting house to meet a minor they’d met online for sex. The men were typically arrested as a result. The series drew mixed reactions, with concerns about potential entrapment-law violations at the forefront of the criticism.

In a brief segment produced for his video podcast, Have a Seat with Chris Hansen, the former NBC News journalist is seen exiting a Times Square AMC after viewing the film for the first time at a Thursday night screening — his first look at the indie drama since its theatrical release. He’s then asked for his first reaction to the Lance Oppenheim-directed film.

“It’s hard for me to — obviously, I’m not a judge, because the character is based on me,” he said. “I think because the character is so detached from reality, from anything I’ve ever experienced then or now doing the investigations — I’m not sure what the point of it was.”

The rest of the podcast episode has Hansen discussing the film, its director and Pattinson’s portrayal of him with Fox News’ Jesse Watters. Hansen railed against the movie throughout.

Oppenheim has said he conceived Primetime after receiving a personalized Cameo video from the To Catch a Predator host. Hansen said on his podcast that he spoke to a mutual friend before seeing the film, and that Oppenheim told the friend it was “something to the effect of, ‘a love letter to Chris Hansen, and it gets a little weird in the storytelling.’”

Hansen also flagged inaccuracies in the fictionalized version of his life — including scenes involving Jeff Zucker and Stone Phillips that he insists never happened — and said absolutely nothing in the film was close to reality. He assured viewers he’s not the ratings-obsessed figure the script conjures. His biggest gripe, he said, is that the film portrays him as an aloof parent, which he says is far from how he relates to his kids. As for Pattinson’s take on Hansen circa 2006, Hansen had few kind words.

“He’s got work to do. I’m kind of the only guy that counts for this, right?” he said.

Days before seeing the movie, Hansen spoke with The Hollywood Reporter‘s Seth Abramovich about what he knew of the film. A24 hadn’t reached out to him or the production to explain the premise or ask for his input, he said.

“Based upon what I’ve seen in the trailer and my understanding of what’s been written about the film, they wanted to create something much darker and way more dramatic,” he said. “I think it’s an insult to the thousands of men and women who work hard every day to protect children from predators. They’ve turned something that is very positive, very challenging and not without risk into what is essentially a horror film.”

On Friday, after viewing Primetime, he doubled down with a direct swipe at Oppenheim.

“You have to question the motives of not coming forward and talking to me or anybody I’ve worked closely with over the years,” he said. “They didn’t want to hear that Chris Hansen is a good guy. They didn’t want to hear that this work is important. This director had a dark image of what he wanted to do. He wanted to create a horror-like film with interesting photography, and didn’t want to hear anything else.”

Hansen continues identifying and capturing potential child predators on Takedown with Chris Hansen. Earlier on Friday, Hansen’s TruBlu streaming network dropped the trailer for I’m Chris Hansen, a documentary centered around the host.

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No more playing it safe with purses. Sure, neutral leathers and suedes will always have their place, but this summer into fall is all about the statement bag — a signature piece that doesn’t just make the outfit; it is the outfit.

Exhibit A: Coach‘s latest campaign, titled “Live Your Story,” starring actress Elle Fanning alongside musicians PinkPantheress, SOYEON, Lilas and Shan Yichun. In addition to the campaign’s four Fanning-led short films — each soundtracked by one of the artists — Coach unveiled five special-edition Tabbys, all of which are inspired by the talents’ personal styles. The result? Playful embellishments, unique patchwork and even cherry red shearling trim.

But these five limited-release bags aren’t the only items trending for fall. Coach’s inventory is chock-full of fringe detailing, contrasting textures, bold prints and beading. From mini bags and structured silhouettes to carryalls and slouchy shoulder bags, Coach’s staple styles are met with unexpected accents and finished in vibrant colorways.

Some of the most fun finds — especially when it comes to fringe — are part of the Coach (Re)Loved collection, an assortment of pre-loved bags falling into one of four categories: Coach Custom (gently used bags, reimagined by Coach’s craftspeople for one-of-a-kind results), Coach Vintage (beautifully restored classic pieces), Coach Restored (gently worn bags, restored to their original condition) and Coach Remade (bags remade from deconstructed, pre-owned purses).

Below, 10 more standouts — organized by category — to freshen up any fall wardrobe, whether basic or bold.

More Fringe

Fringe? For Fall? Groundbreaking.

Quilting and Tufting

Part of a limited-edition collection combining American artisanal techniques with Coach’s heritage of craftsmanship.

Bold Colorways

(That we still think go with everything.)

Patchwork

Styles inspired by the early aughts.

Crystal Embellishments and Beading

Keep the sparkle of summer as the weather starts to cool.

Related: Elizabeth Taylor’s Legacy Endures as Estate Taps Brilliant Earth for Official Jewelry Collection