Category: Entertainment

Universal’s “The Super Mario Galaxy Movie” held the No. 1 spot at the U.K. and Ireland box office for a third weekend, taking £2.6 million ($3.4 million) and lifting its total to £32.9 million ($44.5 million), according to Comscore.

“Project Hail Mary,” distributed by Sony, remained in second place, adding $2.3 million in its fifth frame to reach $41 million.

Entertainment Film Distributors’ “The Drama” placed third with $1.6 million in its third weekend, pushing its cumulative total to $10.9 million. Warner Bros.’ “Lee Cronin’s The Mummy” was the top new entry in fourth place, debuting with $1.3 million.

Anime Ltd.’s reissue of “Akira” followed in fifth with $1.2 million, while Entertainment Film Distributors’ “The Magic Faraway Tree” continued its run in sixth place, adding $1.1 million for a $18.1 million total.

Further down the chart, Miracle Comms’ “Time Hoppers: The Silk Road” debuted in seventh place with $296,000. Trafalgar Releasing’s “BTS World Tour ‘Arirang’ in Goyang: Live Viewing” held eighth with $275,000, while National Theatre’s “All My Sons – NT Live 2026” was in ninth place with $265,000 for a $807,000 cumulative.

Rounding out the top 10, Bakrania Media’s “Bhooth Bangla” added $253,000 in its second weekend, bringing its total to $299,000.

Meanwhile, in its fifth weekend, Moviegoers Entertainment’s Bollywood blockbuster “Dhurandhar” The Returns” was at No. 19 with $61,400. With a total of $5.92 million, it has surpassed the $5.91 million earned by “Pathaan” to become the highest grossing Indian film in the territory.

Looking ahead, Universal will look to maintain its dominance with “Michael,” launching wide across 300 locations, while Kazoo Films counters in the family space with “Hitpig!,” also rolling out broadly. A24 adds drama “Mother Mary,” directed by David Lowery and starring Anne Hathaway and Michaela Coel, opening across 100-plus sites.

Event cinema remains a key component of the slate, led by Trafalgar Releasing’s “The Magic Flute – ROH, London 2026.” Disney brings “Fight Club” back to cinemas in a 4K restoration, while Dogwoof releases documentary “The Last Spy” and Underground Slate adds “Searching for Satyrus” at the start of the following week.

The specialty and international market is particularly busy. Mubi releases “Submarino” and “Agon,” while Curzon adds “Primavera.” Vertigo Releasing launches “Exit 8,” and BFI Distribution opens “Rose of Nevada,” starring George MacKay and Callum Turner. Bulldog Film Distribution releases “Ultras,” while Tull Stories debuts “The North,” and Metis Films adds “Surviving Earth.”

Further titles include Zee Studios International’s “Ginny Weds Sunny 2,” Miracle/Animitas Cine’s “Olivia,” and Miracle Comms’ “London’s Last Wilderness.”

The Karlovy Vary Intl. Film Festival, the second oldest film festival in the world after Venice, is preparing to celebrate two milestones: 80 years since the first festival, and its 60th edition.

Among the events planned to commemorate the anniversaries is the exhibition titled “KVIFF 60/80 (1946–2026),” in which the festival looks back on its rich history with an exhibition of photographs focusing on its early years, the atmosphere of its pre-1989 editions, important moments and festival guests.

Thirty outdoor panels, located along the path between two of the festival’s iconic venues – the Grandhotel Pupp and the Hotel Thermal – will take visitors on a journey through the festival’s history and allow them to witness the changes it has undergone.

The Out of the Past section will “consist of 20 carefully selected films from previous editions of the festival, which are firmly linked to its history as milestones key to the KVIFF’s identity and reputation,” the festival’s artistic director, Karel Och, said.

The include Michael Powell and Emeric Pressburger’s “A Matter of Life and Death,” which screened at the festival in 1947, and Ken Loach’s “Kes,” which won the top prize in 1970. Other films include Emilio Fernández’s “Río Escondido” in 1948, and Konrad Wolf’s “Lissy” from 1957.

The twin-city format of the festival’s first edition will be recalled in the form of a special preview screening of a selected film from this year’s program on July 1 at the historic Municipal Theatre in Mariánské Lázně.

As a gesture of thanks for playwright, author and Czech president Václav Havel’s long-term support and goodwill, the festival is marking what would have been his 90th birthday with a photographic exhibition at the Hotel Thermal commemorating his visits to the festival and his meetings with various representatives of world cinema.

For this and future editions, the Karlovy Vary festival is redesigning the area around the entrance to the Hotel Thermal’s Grand Hall with a new architectural design that will allow audiences to “more intensely experience and share in the festival atmosphere during the festival’s opening and closing ceremonies as well as at festival screenings.” Guest arrivals with live commentary will bring the festival action “closer to visitors and add interesting behind-the-scenes observations.” Screenings in the Grand Hall will offer audiences “a natural opportunity for a glamorous red carpet entrance.”

This year’s edition of the festival will present a gala screening of a digitally restored copy of Věra Chytilová’s tragicomedy “Tainted Horseplay,” which was shot in 1988.

At the center of this generational portrait of thirty-somethings is a group of friends who engage in regular drinking sessions, the occasional borderline prank, and casual sexual adventures – until, that is, the wild and promiscuous Pepe ends up in the hospital.

The group of friends subsequently undergo an anonymous blood test, which shows that one of member of their wild gang is HIV positive. This harsh confrontation with reality leads to a radical crisis of friendship.

Slovak actress Magda Vášáryová will receive the President’s Award at the festival, and in her honor it will screen Juraj Jakubisko’s “Birds, Orphans and Fools,” shot in the turbulent year of 1968. Its three main protagonists – Yorick, Marta, and Andrej – manage to survive in a world full of hopelessness and disillusionment thanks to “foolishness,” light-hearted play, and a philosophy of joy that, in their view, is the only possible path toward happiness.

Future Frames – Generation NEXT of European Cinema, a program organized by the Karlovy Vary and European Film Promotion, which has been helping talented European directors start their careers in the film industry since 2015, will return once again.

For the fourth year in a row, the program has been able to expand the opportunities it offers thanks to its partnership with lottery and entertainment company Allwyn, and also by collaborating with U.S. talent agency UTA and Range Media Partners, which provide young filmmakers with expert guidance and the chance to make important contacts.

Karlovy Vary’s programming team selects 10 film school students and graduates for Future Frames from a pool of candidates nominated by member organizations of European Film Promotion. The participating filmmakers present their short and medium-length films at the festival and take part in a mentoring program that includes training, networking and promotion.

This year’s Future Frames will take place from July 5 to 8 at the Hotel Thermal, which will once again host the creative and networking space that is the Allwyn Lounge. Here, participants will attend training sessions and individual meetings with representatives from UTA and Range Media Partners, who will provide them with feedback and subsequently select one director for a residency in Los Angeles sponsored by Allwyn. Last year’s winner was German director Simon Schneckenburger.

Sister Group, Jane Featherstone and Elisabeth Murdoch‘s growing transatlantic powerhouse, has added to its portfolio of acquisitions by taking a majority stake in British digital-first production company After Party Studios.

Founded in 2016, After Party was set up by YouTuber Callum McGinley (best known by the name Callux), film director Ben Doyle (who goes by Rvbberduck), CEO Joshua Barnett (formerly of YMU and ITV), and Base79 founder Richard Mansell.

The company has become known for original content, branded entertainment and social productions spanning platforms, brands and online talent. Series and formats from After Party include Sky Sports docuseries “Scenes” (150 million+ views), Channel 4.0 shows “Don’t Get Catfished,” “Find The…” and “Hear Me Out,” the sell-out annual Sidemen Charity Match at Wembley Stadium; and digital content supporting Netflix’s “House of Guinness,” “Stranger Things” and “Being Gordon Ramsay.” They’ve also made wider campaigns for the likes of Red Bull and Just Eat.

Upcoming projects include “In Search of Peace” with Jordan Stephens for MTV UK; “Race To The Top,” the docuseries following KSI’s takeover of Brit soccer team Dagenham & Redbridge FC; and the ongoing social rollout of the “SNL U.K.” digital series “Five To Live” for Sky One.

“The After Party Studios team occupy a unique space — a digital-native creative company driven by creator instincts and built on deep relationships with talent, brands and platforms and first-class execution,” said Sister Group CEO Lucinda Hicks. “Our partnership enables them to continue to do what they do so brilliantly, originating groundbreaking IP, deepening direct relationships with audiences and shaping the next era of digital storytelling.”

According to the companies, the Sister acquisition fuels After Party’s ambitions to “supercharge” its slate, with the potential for collaboration across other entities under the Sister Group umbrella.

Among these entities are Sister Pictures, the multi-award winning TV and film production banner behind shows such as “Chernobyl,” “This is Going to Hurt” and “Black Doves” (the second series of which is currently in production). Also in the TV and film sphere are Dorothy St Pictures, Yes Yes Media, Locksmith Animation, South of the River and Unanimous Media. On the podcasting side, Sister Group has a majority stake in Campside Media, with publishing it has backed Zando and AWA and it has even invested in London nightlife venue Koko. After Party marks Sister’s first foray into digital media.

“Over the last decade, we’ve built After Party Studios alongside some of the best talent in front of and behind the camera, making work that is creatively ambitious and always striving to push internet culture forward. We’ve always cared deeply about storytelling, craft and originality in a space that has historically rewarded the opposite, because we believe the future of entertainment is online,” said After Party co-founders Callum McGinley and Ben Doyle. “Joining the Sister family feels like a natural next step for us. Their track record of backing bold, distinctive storytelling makes them an ideal partner as we take the company into its next chapter.”

Added Sister’s Murdoch, co-founder and executive chairman, and Jane Featherstone, co-founder and Chief Creative Officer: “Sister Group has always stood for excellence in storytelling in all its forms, enabling exceptional creative entrepreneurs to do their best work and where every company is additive to the whole. Callum, Ben, Josh and their ridiculously talented team are exactly that… relevant, engaging storytellers committed to excellence and to connecting with audiences wherever they are. We welcome them wholeheartedly into the Group where there are many like minds and many opportunities for new, impactful collaborations.”

The deal was brokered by Sister Group COO Chris Fry and Joshua Barnett, CEO and Kevin Deeley, CFO for After Party Studios. After Party Studios were advised by Waypoint Partners. Sister Group were represented by CMS and After Party Studios by Harbottle & Lewis.

Gabriel Byrne and Geraldine James will lead the world stage premiere of “45 Years,” Hannah Patterson’s theatrical adaptation of Andrew Haigh’s 2015 film, directed by Prasanna Puwanarajah, at the Minerva Theatre, Chichester, U.K., from June 12 to July 11.

The story centres on a couple in the days before their anniversary celebrations, whose relationship is quietly upended when a letter arrives from Switzerland – connected to the decades-old discovery of a woman’s body preserved in glacial ice.

Byrne, making his Chichester debut, takes the role of Geoff. A Golden Globe winner with two Tony nominations, he has built an expansive career on both sides of the Atlantic – on stage most recently in Eugene O’Neill productions and Samuel Beckett-influenced work on Broadway, and on screen in “Miller’s Crossing,” “The Usual Suspects” and “In Treatment.”

James plays Kate, also appearing at Chichester for the first time. A Tony-nominated stage actress, her recent theatre work includes productions at the Orange Tree and the RSC. On television, she has accumulated an extensive body of work across four decades, with notable recent appearances in “Silo,” “This Town” and “Back to Life.”

Patterson has written for both fringe and mid-scale venues in London and New York, with work including a Hampstead Theatre commission and a piece that earned dual award nominations before transferring off-Broadway.

Puwanarajah, who won the 2025 U.K. Theatre Award for best director for his RSC production of “Twelfth Night,” makes his CFT debut with the production. As an actor, his screen credits include “The Crown,” in which he played journalist Martin Bashir, as well as “Patrick Melrose” and “Line of Duty.” He made his feature directorial debut with “Ballywalter,” which opened the Belfast Film Festival in 2022, and subsequently co-wrote and co-executive produced the drama “Breathtaking.”

“It’s an honor to be directing Hannah Patterson’s sensitive adaptation of Andrew Haigh’s surgical, devastating ’45 Years,’” he tells Variety, “and to be working with an extraordinary team of creative artists to find its real-life theatrical voicing.” He described Byrne and James as “two of the finest and most treasured players from these islands,” adding that they would “find new richnesses and rhythms in this story which serves as a celebration of deep relationship honesty and a warning against the quietly ossified secret.”

The production’s creative team includes designer James Cotterill, lighting designer Guy Hoare, composer Ruth Barrett, sound designer Beth Duke, movement director Natasha Harrison and casting director Matilda James CDG.

Haigh’s source film premiered in competition at the Berlin Film Festival in 2015, where Rampling won the Silver Bear for best actress and Tom Courtenay took the Silver Bear for best actor. Rampling subsequently received an Academy Award nomination for best actress in a leading role at the 88th Oscars.

South Korea‘s film, television and streaming sector contributed KRW24.08 trillion ($16.4 billion at current exchange rates) to the country’s GDP and underpinned 291,100 jobs in 2025, according to an independent economic study commissioned by the Motion Picture Association.

The report – “Economic Contribution of the Audiovisual Industry in South Korea,” produced by Oxford Economics – was presented at the National Assembly in Seoul before legislators and industry leaders. It assesses the sector’s full economic footprint across direct production activity, supply-chain spending and induced consumer expenditure.

For every KRW1 billion ($680,000) generated directly by the industry, the study calculates a further KRW2.1 billion ($1.4 million) was created across the broader economy, implying a GDP multiplier of 3.1. The employment multiplier stood at 3.4, meaning each 100 direct jobs supported an additional 240 elsewhere. Close to four in five of the sector’s total jobs – 78% – were in micro, small and medium-sized enterprises, with micro businesses alone accounting for 36% of the employment footprint. Of the 291,100 total supported jobs, the information and communication sector accounted for the largest share at 116,500, reflecting the digitally intensive nature of the industry’s supply chain.

Television was the dominant segment, contributing roughly KRW15,620 billion ($10.6 billion) – about 65% of the industry’s combined GDP output – and supporting 181,200 jobs. Film added KRW4,960 billion ($3.4 billion) and 77,800 jobs, while video-on-demand contributed KRW3,500 billion ($2.4 billion) and 32,100 jobs. The industry generated an estimated KRW7,170 billion ($4.9 billion) in total tax revenues.

VOD workers were by far the most productive in the sector, averaging KRW437 million ($297,000) in direct GDP contribution per head – roughly five times the national average of KRW92 million ($62,600). Television followed at KRW107 million ($72,800) per worker.

Looking ahead, the report projects VOD as the sector’s fastest-growing segment, with direct GDP and tax contributions forecast to expand at approximately 7.4% and 7.2% annually through 2028, respectively. Film and television are projected to see modest contractions in line with broader shifts in audience consumption toward streaming and digital platforms. The proposed merger of local platforms Tving and Wavve, if completed, would create a combined entity with around 9.3 million monthly active users – potentially Korea’s largest local streamer – and could strengthen the ability of local platforms to compete against global players.

The study also tracks a sharp rise in international reach. Exports of Korean film and TV content reached KRW1.8 trillion ($1.2 billion) in 2024, nearly double the KRW899 billion ($612 million) recorded in 2019 – a compound annual growth rate of 14.5%. To put that figure in context, the report notes it exceeded Korea’s exports of beverages and spirits (KRW1.71 trillion/$1.16 billion) and railway locomotives (KRW1.39 trillion/$946 million). Broadcasting accounted for the bulk at roughly KRW1.5 trillion ($1 billion), with animation and film comprising the remainder.

While Asia still anchors Korean film exports at roughly two-thirds of the total, North America and Europe have each grown to about 14% of the mix, reflecting deeper platform partnerships, improved localisation and rising international familiarity with Korean storytelling.

The cultural spillover into tourism is also quantified in the report. Some 38.3% of inbound tourists said they were motivated to visit Korea after engaging with Korean Wave content, up from 32.1% a year earlier – the most frequently cited reason for visiting the country. A case study on the 2025 Netflix K-drama “When Life Gives You Tangerines,” set in Jeju’s fishing villages, illustrates the mechanism directly: after the series topped global non-English rankings, Jeju posted year-on-year foreign visitor growth every month from April, with January–September arrivals reaching 1.74 million, up 17.5%. The Jeju Haenyeo Museum, featured prominently in the series, saw foreign visits climb 58.9% to nearly 50,000 by November.

“South Korea’s audiovisual industry has become one of the most influential in the world,” MPA chair and CEO Charles Rivkin said. “This report shows an industry that delivers substantial economic value at home while exporting creativity, culture and innovation to global audiences. MPA member studios are proud to partner with Korean creators to bring these stories to screens worldwide.”

“Wherever we travel, policymakers ask how Korea did it,” added Mila Venugopalan, president and managing director of MPA Asia-Pacific. “This report shows that Korea’s success is grounded in strong creative talent, evidence-based policy and international collaboration. It is a model many markets now seek to emulate.”

“Korea’s screen industry combines domestic strength with global reach,” said Bo Son, managing director of MPA Korea. “Its impact extends across employment, exports and long-term economic growth.”

“Korea’s video content industry has evolved beyond the global spread of Hallyu to become a key driver of the national economy,” said Rep. Lim O-Kyeong, a National Assembly member focused on culture, content and sports policy. She added that data-driven analysis of the sector’s impact would play “a critical role as reference material for future policy formulation and regulatory improvement.”

On the talent development front, the Korea Creative Content Agency and the Ministry of Culture, Sports and Tourism have committed KRW43 billion ($29.3 million) under a 2026 roadmap to train around 3,400 professionals across AI, creative and export-oriented roles. The programme includes 1,000 VOD specialists being retrained in planning and post-production in partnership with Netflix, and a flagship mentoring initiative targeting 300 aspiring creatives aged 19 to 34.

MPA member studios – Netflix, Paramount Pictures, Sony Pictures, Universal Studios, The Walt Disney Studios, Prime Video & Amazon MGM Studios, and Warner Bros. Discovery – all maintain active ties with Korean producers, broadcasters and distributors.

Despite its headline figures, the report identifies several pressures bearing on the sector’s outlook: theatrical attendance has not rebounded to pre-pandemic levels, the mid-budget segment that once defined Korean cinema is contracting under the weight of higher production costs and tighter margins, and an uncertain regulatory environment has dampened investor confidence. The study was commissioned as an evidence base for future policy design and to support the long-term competitiveness of the sector.