3 Weeks After, which explores peer violence and which THR recently discussed with Terzić, will now receive the support of the Europa Cinemas Network, with additional promotion and incentives for exhibitors to extend the film’s run on screen.
The jury statement about the film, which had its world premiere in the main competition program of KVIFF 2026, highlighted: “It was a unanimous decision to award the Europa Cinemas Label to 3 Weeks After by Miroslav Terzić. As a jury, we had a tough decision in front of us, because all 15 films competing for our award were good in their own way, and we are three different people, each with their own taste, yet this film captivated us right from the first shot and held our attention until the very end.”
The jury added: “The ensemble cast delivers a remarkably strong and authentic performance. The story portrays the lives of adolescents today through their own eyes, allowing their voices and perspectives to shape the narrative in a genuine and convincing way. At its core, it’s fueled by group dynamics. Miroslav Terzić’s filmmaking is stunning in every aspect of its craft. The film urges us to truly hear young people, be there for them and not look away!”
The cast of 3 Weeks After includes Jovan Ginić, Klara Hrvanović, Andjela Alavirević, Tihana Lazović and Branislav Trifunović. Written by Vladimir Arsenijević, Bojan Vuletić and Terzić, the film features cinematography by Damjan Radovanović and editing by Marko Ferković.
Being sold internationally by Bendita Film Sales, 3 Weeks After was produced by This and That Productions (Serbia), and co-produced by Invictus (Bulgaria), Nightswim (Italy), Kinorama (Croatia) and Paul Thiltges Distributions (Luxembourg).
The Europa Cinemas Label jury for Karlovy Vary consisted of Sophie Jansen (Filmhuis Den Haag in The Hague, The Netherlands), Nataša Jurčová Findrová (Kino Lumière in Bratislava, Slovak Republic) and Grégory Le Perff (DSN – Dieppe Scène Nationale in Dieppe, France).
Antoinette Bower, the German-born British actress who starred on an Adam & Eve-like episode of The Twilight Zone and portrayed the seductive catlike alien Sylvia on an installment of Star Trek, has died. She was 93.
Bower died April 30 in an Eagle Rock senior retirement home in Los Angeles, her friend Carlotta Glackin — great niece of famed Golden Age character actor Edward Everett Horton — told The Hollywood Reporter.
On the big screen, Bower got top billing in the Filipino-shot horror film Superbeast (1972), played the wife of Leslie Nielsen and mother of Jamie Lee Curtis in the slasher classic Prom Night (1980) and was kidnapped by Charles Bronson in the action thriller The Evil That Men Do (1984).
For three seasons (1989-92), she recurred as the kind Fox Devlin, an associate of Winston Rekert’s Dr. Michael Terry, on the Canadian TV drama Neon Rider, set on a ranch in British Columbia for troubled and abused teens.
On the Rod Serling-penned, Ted Post-directed Twilight Zone episode “Probe 7, Over and Out,” which premiered in November 1963 during the anthology show’s fifth and final season, the statuesque Bower portrayed Eve Norda, a woman stranded on a distant planet. The only other person around is an astronaut named Adam Cook (Richard Baseheart).
Bower also was memorable as the villainous Sylvia opposite Theo Marcuse as Korob on the second-season Star Trek episode “Catspaw,” which premiered in October 1967.
Antoinette Alexandra Jane Bower was born to a German mother and English father on Sept. 30, 1932, in Baden-Baden, Germany.
Educated in England, she was a field language supervisor and welfare counselor in the late 1940s with the United Nations’ International Refugee Organization, which assisted millions of people left homeless across Europe and Asia following World War II.
Bower rejoined her family in Canada in 1953 and in Toronto landed a job with the fledgling Canadian Broadcasting Corp., where she worked in public affairs, wrote scripts and conducted interviews on live TV. She also did some acting, appearing in a 1958 TV adaptation of The Tell-Tale Heart and in 1959 on the syndicated series Hudson’s Bay.
She visited L.A. and in the early 1960s decided to stick around after landing an uncredited role in Marlon Brando’s Mutiny on the Bounty (1962) and guest-star parts on such shows as Adventures in Paradise, Alfred Hitchcock Presents, Hong Kong, Wagon Train, Thriller, Hawaiian Eye and Perry Mason.
Antoinette Bower with Richard Basehart in “Probe 7, Over and Out,” a 1963 episode of ‘The Twilight Zone.’
Courtesy Everett Collection
She remained quite busy through the early ’80s, showing up on Combat!, The Man From U.N.C.L.E., Burke’s Law, The Wild Wild West, I Spy, The Fugitive, The Invaders, The Big Valley, Bonanza, Mannix, Hawaii Five-O, Get Smart, Hogan’s Heroes, Mission: Impossible, The F.B.I., Columbo, Kojak and Murder, She Wrote and in the 1983 miniseries The Thorn Birds.
She pretty much left acting after her run on CTV’s Neon Rider.
About 10 years ago, Bower completed a documentary about chuckwagon racing in Canada that she shot, directed, edited and narrated after spending several summers with the participants.
Glackin noted that Bower, who studied carpentry at Santa Monica College, had been a valued Home Depot employee who custom-built cabinets and tall bookshelves at her home in Beverly Glen.
She added that Bower was still getting lots of fan mail from the Star Trek faithful and that William Shatner had emailed his condolences after learning of her death. (She was one of the 20 or so women to kiss Capt. Kirk on the show, according to this post.)
Bower wed Texas-born pop artist James Gill in 1963, but their marriage ended in divorce. She was pre-deceased by her half-brother, Roger.
A life celebration is scheduled for Sept. 26 in Pasadena.
Sofía has just finished her psychology studies in Valparaíso, Chile, and returns to her hometown, Valdivia. This return coincides with the discovery of a young girl’s body, which awakens buried memories of childhood in Sofía. She must decide whether to look beyond the rain and its veil to uncover a past that is painful and uncomfortable not only for herself but also for her whole community.
Director Valeria Sarmiento’s new film Behind the Rain world premiered in the Crystal Globe main competition of the 60th edition of the Karlovy Vary International Film Festival. Mixing beautiful black-and-white landscape images with the difficult subject matter of childhood sexual abuse, the movie is based on an original idea from Sarmiento and a screenplay that she worked on with the late Omar Saavedra Santis. The director of photography is Acácio de Almeida; the editor is Galut Alarcón.
The cast features Paula Prado, Cristián Arriagada, Aline Kuppenheim, Shlomit Baytelman, Chamila Rodríguez, Daniel Muñoz, Julio Milostich, Aimar Alarcón Rodríguez and Clara Vargas Arellano. Rodríguez is also the producer of the movie.
Sarmiento and Rodríguez, who have been collaborators since Secrets (2008), talked to THR, via an interpreter, about Behind the Rain and their hopes for the societal debate it could cause.
What inspired this story and led you to make a film about a very important, and also very heavy, topic?
ValeriaSarmiento The initial inspiration was that in our society, child abuse is sadly really common. And oftentimes, we are silent about it.
You worked on the screenplay with Omar Saavedra Santis. Was that his final film project, and how did he come on board?
Sarmiento Initially, I wanted to work on the film with my French and Swiss friends, but we did not really make any progress. When I met with Chamila, she suggested to go back to where it all started, which meant Chile. And that’s when I contacted Omar, who then he joined the team and developed my initial idea further.
Chamila, why did you want to work on this film – both as an actress and producer?
Chamila Rodríguez I was really intrigued by the artistic complexity, and I’ve been working with Valeria for 20 years. So, I had great trust in her. While we were working on our previous film, she started talking about this story, and it was very appealing to me, because I experienced something similar when I was a child. My experience of child abuse was hidden, and I never spoke about it until I was 40. Then; I finally started to speak about it, so I could really relate to the story. When she showed me the script, I immediately knew that I wanted to do it. I also see art, including film, as a way to exorcize demons, as a way to transform horrible things into something that’s more positive.
Your character isn’t necessarily the easiestpersonto be around…
Rodríguez Yes, my character is a lawyer who is really difficult to be with.
Behind the Rain has stunning black-and-white visuals, with color coming in only at the very end. Can you maybe talk about that choice?
Sarmiento I knew from the very beginning that the film was going to be in black and white, except for the ending, because I grew up seeing films with no color. I was born in 1948, so it took quite a time before I was able to see a color film. And the title also comes in here. My mother said to me that I have to look behind the rain in order to see all the colors and aspects, so that’s what I tried to do.
‘Behind the Rain,’ courtesy of KVIFF
How did you cast Paula Prado in the lead role?
Sarmiento It was not easy to find an actress who would be able to travel with us to Valdivia, because many actresses work in theaters, and they can’t really travel to go there. And when I found Paula, I immediately felt that she was the right person, that she would be the perfect one to convey the ideas of the film.
How was the whole experience on set?
Sarmiento The shoot was very harmonious.
Rodríguez It was. And it is a great pleasure to work with Valeria, because as a director, she’s really calm, and you can trust her. You feel safe, and she knows exactly what she wants. Also, Valdivia is a beautiful small town. Everything is close there, so from a technical point of view, it was really helpful and easy to work there.
What is your hope for the film and the discussions it can maybe create in society?
Sarmiento We hope the film will do exactly that.
Rodríguez Yes, because people have to talk about it. It’s like the abuse is hidden because children don’t have the words to be able to tell others about what’s been happening
Don Iwerks, the Disney legend who spearheaded various camera and projection systems for the company’s parks and films, has died. He was 96.
Disney announced Iwerks died Thursday evening.
“It is with great sadness that we report that Disney Legend Don Iwerks has passed away at the age of 96,” reads a statement shared on Disney D23’s Instagram. “Iwerks was an innovator whose work brought The Walt Disney Company to new technological heights, aiding in perfecting the sodium vapor process used in 1964’s Academy Award®-winning Mary Poppins, developing the 360-degree Circle-Vision camera used to film America the Beautiful for Disney Parks, and implementing the projection system for the fan-favorite Star Tours attraction, among numerous other advancements. The achievements of Don Iwerks and his family have shaped Disney’s creative ethos and will forever be part of the company’s history.”
Born on July 24, 1929, Iwerks was the son of fellow Disney Legend Ub Iwerks, co-creator of Mickey Mouse (alongside Walt Disney himself). Iwerks began at Walt Disney Productions in 1950, when he was a special photographic processes laboratory technician. He was drafted into the Korean War but upon his return two years later returned to Disney.
Iwerks took on his role as a camera technician position in 1953, when he worked on his first feature 20,000 Leagues Under the Sea. He went on to lead the machine shop department, camera service department and technical engineering and manufacturing division.
The executive is particularly known for developing the 360-degree Circle-Vision camera; alongside Ub, he also helped develop the sodium vapor process.
After 35 years with Disney, he founded Iwerks Entertainment Inc. in 1986. The company was acquired by SimEx Inc. in 2001.
In 1997, Iwerks received the Gordon E. Sawyer Award from the Academy of Motion Picture Arts and Sciences’ Board of Governors, then named a Disney legend in 2009.
“Don embodied that rare combination of heart, ingenuity and passion that has always defined Disney,” Disney CEO Josh D’Amaro said in a statement. “Through his innovative contributions to some of our most iconic films and attractions, he helped create experiences that have delighted generations of fans around the world. All of us at The Walt Disney Company will miss him deeply, and we send our most heartfelt condolences to his family, whose enduring connection to Disney has helped shape its legacy for over a century.”
Barbara Ling, the production designer who turned back time and won an Oscar for re-creating 1969 Los Angeles for Quentin Tarantino’s acclaimed Once Upon a Time in Hollywood, has died. She was 73.
Ling died Thursday in Santa Barbara after a battle with cancer, a spokesperson for WME announced.
A Los Angeles native, Ling also tooled around her hometown for the present-day, Michael Douglas-starring Falling Down (1993), then reteamed with director Joel Schumacher to set up the fictional Gotham City for Batman Forever (1995) and Batman & Robin (1997).
In a career that spanned more than four decades, Ling served as the production designer on two 1991 classics, Oliver Stone’s The Doors and Jon Avnet’s Fried Green Tomatoes, on which she also was an associate producer.
She also teamed with director Scott Hicks on Hearts in Atlantis (2001), No Reservations (2007), The Lucky One (2012) and Fallen (2016).
Most recently, she worked on Marc Forster’s A Man Called Otto (2022), starring Tom Hanks, and on the blockbuster biopic Michael (2026), directed by Antoine Fuqua.
On Once Upon a Time in Hollywood (2019), Ling shared the Oscar for best production design with set decorator Nancy Haigh; the two had worked together once before, on the 1988 film Checking Out.
Tarantino’s “main thing from the moment we sat down was, ‘I want this to be real. I want to see. I want to smell and I feel that Hollywood. I don’t want to do green screen over here or have the digital interpretation. Let’s really change the billboards, and let’s put the real facades back on,’” Ling said in a 2019 interview.
“That is, to me, very exciting. It’s something we don’t do much of anymore. I knew that what he wanted was to encompass himself and the actors into an environment that you could feel is real. You’re not just staring at something that’s a piece of green screen where we piece together later. That was the starting ground of this.
“I had to go out and figure out where I could attach real things to. It was quite an engineering feat to do, particularly on Hollywood Boulevard, to say, ‘I want the Pussycat Theater back.’ To build those marquees, it’s added weight. These are old and fragile buildings that we were working with. We had to also work with engineers to make sure we weren’t going to pull the facade off once we rebuilt the old signs. It was laborious but well worth it.
“The night of the first shoot when all the neon lit up and the period cars came out and [Arianne Phillips’] costumes were out there, you absolutely believed you were in 1969 because everything was real. It was a movie filming a real street. We pretty much carried that theme through Westwood [to re-create the Bruin Theater] and everywhere we shot.”
After winning her Oscar, Ling lamented to reporters backstage that “L.A. is not a preservation city, never has been. Now there’s been a nonstop movement of apartment building and glass towers. … What we did will be impossible to do next year. It’s unfortunate. We hope this will bring some nostalgia back and stop things from being torn down.”
Born in August 1952, Barbara Claire Ling began her career designing sets and lighting for more than 200 theater, opera and musical productions. Among her early efforts was the 1981 HBO special The Pee-Wee Herman Show, taped at the Roxy in West Hollywood.
She made the leap to filmmaking when David Byrne enlisted her to design his directorial debut, True Stories (1986).
Her credits also included Heaven (1987), Less Than Zero (1987), V.I. Warshawski (1991), With Honors (1994) and Sydney Pollack’s Random Hearts (1999), among the films that demonstrated she was equally comfortable with period authenticity, contemporary realism and stylized fantasy.
Survivors include her wife, Lindsay, and their sons, Clay and Will.
Christopher Nolan is the latest major filmmaker to praise the breakout horror hits Obsession and Backrooms.
In a new interview with The Telegraph promoting his upcoming epic The Odyssey, Nolan reflected on the lengths he went to in order to make the film feel authentic, including traveling the world and assembling a “cast of thousands.”
“I think cinema is vital and essential and continues to transform itself,” the Oscar winner said. “We’ve got all these great new young voices in movies, making the medium their own and moving it forward.”
The article states that Nolan pointed to Curry Barker and Kane Parsons — the filmmakers behind Obsession and Backrooms — as evidence that “things are on the right track.” Both horror films have made history at the box office.
“This is why I never bought into the arguments that young audiences’ attention spans are too fried to enjoy a three-hour Greek epic,” Nolan said. “Those films are so mysterious and ruminative. I mean, parts of Backrooms are like David Lynch at his most obscure. And yet young people can’t get enough of them.”
The Oppenheimer director continued: “I’ve never seen a more rapid wholesale dismissal of a supposedly foundational jump in technology in my lifetime. So much energy has been expended on bringing in AI, but if you look at that generation’s reaction, they’re utterly rejecting it.”
Nolan also cited his children, who are in their late teens and early 20s, as examples.
“Their judgment of AI slop has been immediate and harsh. They see it for what it is very quickly — and it’s much easier for them to identify it, because it grew out of an online world they know really well,” he explained. “While that doesn’t mean that every aspect of the technology is useless or meaningless, in filmmaking it’s hitting at exactly the wrong time. After years of driving towards heavily virtual environments, we’re seeing a renewed interest in more tactile, more real forms of storytelling.”
“Audiences in general, but especially audiences my age, are getting so overwhelmed by all of the CGI movies — the Marvel epidemic. It really deterred a lot of people from wanting to go and see these big-budget movies,” one moviegoer said.
Nolan isn’t the only legendary filmmaker championing the next generation of talent. Steven Spielberg also recently praised Obsession, saying he “loved” the film and applauded Barker for making it on a budget of less than $1 million.
As far as Nolan’s next film, The Odyssey tells the story of Odysseus’ long, torturous trip back to Ithaca after the Trojan War to save his wife Penelope and son Telemachus. Its star-studded cast includes Matt Damon, Anne Hathaway, Tom Holland, Zendaya, Robert Pattinson, Jon Bernthal, Travis Scott, Elliot Page, Lupita Nyong’o and more.
CBS has unveiled the cast for Big Brother season 28.
On Tuesday, the network announced the houseguests competing in the upcoming season of the long-running reality series. The initial 14-player cast includes everyone from a rocket scientist and an MMA fighter to a pickleball coach and a RuPaul’s Drag Race alum, better known as Salina EsTitties.
The reality competition series follows a group of strangers living together in a house under 24/7 surveillance as they form alliances, compete in challenges and vote one another out until one houseguest remains to claim the $750,000 grand prize. This season’s theme, “Time Trip,” will see the “past, present and future collide,” according to CBS.
Big Brother premiered on Thursday at 8 p.m. ET/PT. The 24/7 live feeds are available the following day on Paramount+, Pluto and YouTube for a limited time. Additional surprise houseguests will also be revealed during the premiere. (This list was originally published on July 7 and has been updated as new characters were revealed.)
Meet the Big Brother season 28 houseguests, with official bios and photos provided by CBS, below.
Peter Van Norden, the actor who appeared in the Police Academy and Naked Gun films, has died. He was 75.
Van Norden’s son, Robert, announced that his father died on Thursday.
“Peter passed away peacefully last night with his wife, Wendy, at his side,” Robert wrote in an Instagram post. “He was a terrific father, husband, friend, and a greatly respected member of the theater community. He will be missed.”
Born Dec. 16, 1950, Van Norden earned his first acting credit in the late 1970s in the comedy Squeeze Play. He went on to appear in numerous film projects, including the 1985 Police Academy follow-up, entitled Their First Assignment. There, Van Norden portrayed policeman Vinnie Schtulman, the first partner of Steve Guttenberg’s Carey Mahoney.
Another sequel, he acted in the second Naked Gun movie in 1991, where he took on the role of John Sununu, President George H. W. Bush’s former White House chief of staff.
On the small screen, he has acted in Three’s A Crowd (1985); an episode of Silver Spoons; a 1991 episode of Matlock; L.A. Law (1990-1992); The Stand; Murder, She Wrote (1989-1996); two 2004 episodes of Days of Our Lives; and 9-1-1 (2019).
Van Norden’s film credits include The Accused; An Innocent Man; Love Hurts; Hunky Dory; and West Virginia, among others.
Outside film and TV, Van Norden had an extensive stage career, appearing in various Broadway, off-Broadway and regional productions. His Broadway stints included features in St. Joan, Macbeth, Little Johnny Jones, Romeo and Juliet and The Inspector General. He performed his final stage role last year in Corktown ’39 at Los Angeles’ Matrix Theatre.
Van Norden was also part of The Rehearsal Room actors workshop, which “help[s] actors and artists grow their careers through challenging material.” Last August, he partook in breaking down Shakespeare’s Richard III.
He is survived by his wife, Wendy, and their son, Robert.
