Tag: Entertainment-Variety

Israel’s film community – led by a group of film institutes, film festivals and film funds – have thrown their support behind embattled Berlin Film Festival chief Tricia Tuttle in a letter sent to the festival’s governing body.

The letter, whose signatories include the heads of Docaviv Film Festival, Jerusalem Film Festival, Haifa Film Festival and the Israel Film Fund, was sent yesterday to the KBB supervisory board, which oversees the Berlinale.

It states, “We wish to highlight her commitment to diversity of voices, non-censorship and creating a space of open debate to all voices. We deeply value her continued commitment to hearing and showing Israeli cinema.”

While some festivals, like the International Documentary Film Festival Amsterdam, have taken a hard line against Israeli films and producers, Berlin has invited some of that country’s filmmakers, including Assaf Machnes, a Berlinale Talent alum, whose film “Where To,” produced out of Germany and made with Palestinian collaborators, played in the Perspectives section.

“The Berlinale doesn’t boycott culture workers,” Tuttle told Variety. “Artists are the people who can hold a mirror up and ask difficult questions. Isolation is not the answer.”

Here’s the letter in full:

Date: February 25, 2026
To: KBB Supervisory board
Ms. Charlotte Sieben
From: The Israeli Film Institutes, Festivals, and Film Funds
Re: Formal Expression of Support for Festival Director Tricia Tuttle

The undersigned, representatives of the Israeli film community—including its primary film funds, major international festivals, and cinematic institutes—are writing to formally express our deep appreciation and steadfast support for Tricia Tuttle’s leadership of the Berlin International Film Festival.

The past two years have been characterized by unprecedented global political turmoil, especially so in our region, which has inevitably bled into the cultural and cinematic spheres. Navigating these complexities requires more than just administrative skill; it requires a profound commitment to the integrity of art. We have watched with great respect as Tricia Tuttle has steered the Berlinale through these turmoil with a clear-sighted dedication to the festival’s mission.

In particular, we wish to highlight her commitment to diversity of voices, non-censorship and creating a space of open debate to all voices. We deeply value her continued commitment to hearing and showing Israeli cinema. By providing a platform for our filmmakers, she has ensured that the multifaceted reality of Israeli society continues to engage in a meaningful dialogue with the world.

The Berlinale has long been a home for Israeli filmmakers. Under Tricia Tuttle’s guidance, we feel confident that the festival remains a place where the power of the moving image transcends rhetoric and fosters genuine human connection.

Sincerely,
Yoav Abramovich – CEO – Rabinovich foundation – Israel Cinema project
Limor Aharonovich – festival director, Michal Weitz – artistic director Docaviv festival
Oshrit Bitton, Daniel Gat – co-managers – Tel-Aviv International Students film festival
Ruth Diskin – CEO and Artistic Director – Gesher Multicultural Film Fund
Amit Goren – CEO and Artistic Director – Makor Foundation
Pnina Halfon-Lang, artistic director – Co-Pro Foundation
Roni Mahadav-Levin – Executive director – Jerusalem Film Festival, Jerusalem Cinematheque
Dr. Noa Regev – CEO – Israel film fund
Yaron Shamir – Manager – Haifa Film Festival, Haifa Cinematheque
Eyal Shirai – Manager – Arava Film Festival
Orel Turner – CEO – The New Fund for Cinema and Television

UPDATE: A petition in support of Tricia Tuttle, festival director of the Berlin Film Festival, has now grown to more than 1,200 film business insiders, including directors, producers and actors. As per the website, of 1,357 signatures, 1,218 have now been verified.

Among the signatories are Oscar winning director Sean Baker, Oscar nominated filmmaker Todd Haynes, Oscar winning actress Tilda Swinton, Kleber Mendonça Filho, the director of Oscar nominated “The Secret Agent,” Oscar nominated director Oren Moverman, Ari Folman, director of Oscar nominated “Waltz With Bashir,” producer Nancy Spielberg, and Ilker Çatak, the director of Oscar nominated “The Teachers’ Lounge.”

Other names include Caroline Link, director of Oscar winner “Nowhere in Africa,” Nadav Lapid, the director of Golden Bear winner “Synonyms,” actor-writer-director Maria Schrader, an Emmy winner with “Unorthodox,” director Ira Sachs, and Maren Ade, the director of Oscar nominated “Toni Erdmann.”

The petition comes ahead of an extraordinary meeting, called by Germany’s culture minister Wolfram Weimer, of the Berlin Film Festival’s governing body on Thursday morning to discuss the “future direction” of the Berlinale. It is believed the meeting has been convened in response to criticism of political statements made at the festival.

The petition says, “If an extraordinary meeting is convened to decide the future of the festival’s leadership, more is at stake than a single appointment. What is at issue is the relationship between artistic freedom and institutional independence.”

Here is the full statement:

Open Letter on the Future of the Berlinale
As filmmakers in Germany and beyond, we are following the current debates surrounding the Berlinale and the proposed dismissal of Tricia Tuttle with deep concern. We stand in defense of the Berlinale for what it fundamentally is: a place of exchange.

The Berlinale is more than a red carpet or a series of headlines. It is a space where perspectives intersect, narratives are questioned, and social tensions are brought into view. This is where discourse unfolds – at the very heart of cinema.

Recent criticism has focused on statements made from the stage. None of these remarks were made by the festival leadership itself, but by invited filmmakers. An international film festival is not a diplomatic instrument; it is a democratic cultural space worthy of protection. Its strength lies in its ability to hold divergent perspectives and to give visibility to a plurality of voices.

A photograph of the festival leadership with filmmakers, in which a Palestinian flag was visible, has likewise been subject to criticism. Being photographed with international guests is part of the practice of such a festival. The visibility of different identities is not an endorsement; it is an expression of an open and democratic public sphere.

When personnel consequences are drawn from individual statements or symbolic interpretations, a troubling signal is sent: cultural institutions come under political pressure.

If an extraordinary meeting is convened to decide the future of the festival’s leadership, more is at stake than a single appointment. What is at issue is the relationship between artistic freedom and institutional independence.

The Berlinale has always been political — not party-political, but socially engaged. Film makes conflicts visible, opens up perspectives, and renders experiences of injustice and violence tangible. Cinema raises moral questions and asks us to endure ambiguity rather than resolve it prematurely. It illuminates power structures and gives visibility to experiences of oppression — not to deliver simple answers, but to enable meaningful public debate. That is precisely where its democratic value resides.

Especially in times of global crisis, we need spaces capable of sustaining disagreement. The independence of cultural institutions safeguards not only artistic freedom, but the vitality of democratic discourse itself.

If every controversy leads to institutional repercussions, discourse gives way to control.

We stand for a culture of exchange, not intimidation.

Where diversity remains visible, democracy remains alive.

While at the center of a tug-of-war between Paramount Skydance and Netflix, Warner Bros. Discovery reported its fourth-quarter 2025 earnings results Thursday.

According to the David Zaslav-led company, WBD narrowed its losses to $252 million during the October-December quarter and saw streaming subscribers reach nearly 132 million amid an increased international rollout for HBO Max.

“With the successful recent launches of HBO Max in Germany and Italy, as well as the upcoming launches in the United Kingdom and Ireland on March 26th, we expect to finish the first quarter of 2026 with more than 140 million subscribers, well on our way to more than 150 million subscribers by year end,” Warner Bros. Discovery said in a letter to shareholders accompanying the financials.

In these materials, Warner Bros. Discovery stated CEO Zaslav and other WBD brass “will not be answering any questions” during the earnings call with analysts Thursday regarding WBD’s pending acquisition battle between intended buyer Netflix, which already has a merger agreement in place to buy WBD’s studio and streaming assets, and eager suitor Paramount, which just upped its bid for the whole company, including the linear networks.

“While the Netflix Merger Agreement remains in effect and the Board continues to recommend the Netflix transaction and has not withdrawn or modified its recommendation, the Board recently determined that the latest proposal from Paramount Skydance could reasonably be expected to lead to a ‘company superior proposal’ as defined in the Netflix Merger Agreement,” the company wrote. “WBD continues to engage with PSKY to determine if a proposal that constitutes such a ‘company superior proposal’ can be reached. There can be no assurance that the Board will conclude that the transaction proposed by PSKY is superior to the merger with Netflix or that any definitive agreement or transaction will result from Warner Bros. Discovery’s discussions with PSKY. The Board remains committed to maximizing shareholder value and certainty while mitigating downside risks, and the Board will evaluate any proposal against that standard with the objective of delivering the best deal for our shareholders.”

Streaming revenue was up 5% year-over-year to reach $2.8 billion. Sales for the studio segment were down 13% at $3.2 billion. WBD’s global TV channels division saw a 12% drop to $4.2 billion.

Within the streaming business, distribution sales were up 3% ($2.4 billion) and ad sales jumped 18% to $278 million.

Streaming subscribers reached 131.6 million, an increase of 3.6 million customers vs. the July-September 2025 period. Domestic subscribers were up 1.2 million and international subscribers rose 2.4 million. Overall, streaming subscriptions were up 14.7 million vs. Q4 2024.

Turning to WBD’s studios segment, box office was down 11%, TV revenue was down 18% and gaming sales dropped a whopping 34%.

Warner Bros. Discovery’s global linear networks saw an 8% decrease in distribution revenue and 14% drop in ad sales. WBD attributes that advertising revenue decrease primarily to U.S. audience decline of 22% and the loss of its NBA rights.

Wall Street forecast earnings per share (EPS) of 0 cents on $9.37 billion in revenue, according to analyst consensus data provided by LSEG. WBD reported a diluted loss per share of 10 cents, or a net loss of $252 million, on $9.5 billion in revenue.

Free cashflow stood at $1.4 billion. The company’s debt currently stands at $33.5 billion.

Oscar-winning director Bille August, who recently scored a global hit with TV series “The Count of Monte Cristo,” is set for another high-end period show that this time will hark back to Ancient Rome and delve into the timely figure of Julius Caesar.

Underlining the project’s “contemporary” relevance, August, in an exclusive statement for Variety, pointed out that “The Republic of Rome was the first democracy to be undermined by a government that elected a dictator, granting him absolute powers.”

The series, working-titled “Julius Caesar,” will explore “the story of a great leader intoxicated by power,” the Danish director added, “uncovering the deep psychological complexities ultimately leading from the most epic feats to his downfall.”

August, who won an Oscar for “Pelle the Conqueror,” and is also a double Palme d’Or winner for “Pelle” and “Smilla’s Sense Of Snow,” has reunited with screenwriter Greg Latter – whom he worked with on “Goodbye Bafana,” “Night Train to Lisbon” and upcoming film “Me, You” – on the “Julius Caesar” project. It’s being produced by Italy’s Mediawan-owned Palomar, the company that also lead-produced “Monte Cristo.”

Filming, which will take place in Italy, is scheduled for early 2027. There are no casting details as yet.

“In today’s world, shaken by the spectre of war, it seems to us that taking on the challenge of portraying an extraordinary character such as Julius Caesar – unique orator, infallible strategist, far-sighted politician and great commander — is more relevant than ever,” said Palomar founder and CEO Carlo Degli Esposti, who is also a member of the Mediawan board.

“It has never been as crucial as today to highlight the story of such a contradictory man,” Degli Esposti continued. He called Julius Caesar ambitious and generous “but also cruel; a mixture of greatness and corruption exercised by power. By the desire to conquer power and maintain it, even at the cost of his life.”

Previous TV series that delved into the tale of Julius Caesar include 2005-2007 Emmy-winning HBO/BBC series “Rome” that chronicled the fall of the Roman Republic and Caesar’s rise to power; TNT’s pulpy 2002 miniseries “Caesar,” starring Jeremy Sisto in the title role; and 2023 BBC docudrama “Julius Caesar: The Making of a Dictator.”

August’s lushly lensed adaptation of Alexandre Dumas’ “The Count of Monte Cristo,” toplining Sam Claflin (“Peaky Blinders”) and Ana Girardot (“The Returned”), scored record-breaking ratings on Italian state broadcaster RAI and was sold widely by Mediawan around the world.

Catherine Deneuve has co-authored a book dedicated to the late icon, “Marilyn chérie,” which will come out in May to mark the centenary of her birth.

In the book, which she wrote with collector Sébastien Cauchon, Deneuve delivers a personal look at photographs of Monroe, including set photos, costume fittings, portraits by leading photographers, press images and amateur shots. The curated stills, many of which have never been published before, come from Cauchon’s private collection, among others.

Deneuve, herself a cinema icon, is a longtime Monroe devotee and has been influenced by her work. She previously participated in the documentary, “Marilyn, dite Norma Jean,” which aired on television in 1987. Deneuve also starred with Monroe’s partner in “Some Like It Hot,” Jack Lemmon, in his first American film, “The April Fools,” in 1968; and with Yves Montand — who had starred opposite Monroe in “Let’s Make Love” — in Jean-Paul Rappeneau’s “Le Sauvage” in 1975.

“So beautiful, so open, almost unknown. So generous with her body, her face tilted back, something childlike too — which never makes her seem indecent. The actress whose films I have seen all, never known, the most precious to me,” Deneuve writes in “Marilyn chérie.”

The 224-page book is set to be published by Flammarion, which holds the worldwide publishing rights. Deneuve and Cauchon retain the adaptation rights.

Cauchon, who currently works as an awards strategist, previously wrote the book “Marilyn 1962,” which was published by Stock in 2016 and was optioned for a miniseries project. His Marilyn Monroe photo archive collection was presented at an exhibition hosted by Cannes Film Festival chief Thierry Frémaux during the 2022 edition of the Lumière Festival.

The Royal Shakespeare Company has unveiled its 2026-27 season, headlined by Tony Award-winning Broadway star Jonathan Groff making his RSC debut as Rosalind in an all-male staging of Shakespeare’s “As You Like It,” directed by RSC co-artistic director Daniel Evans.

Groff, who can currently be seen starring in “Just in Time” at New York’s Circle in the Square Theatre, previously originated the roles of Melchior Gabor in “Spring Awakening” and Kristoff in Disney’s “Frozen” franchise, and claimed his Tony for his portrayal of Franklin Shepherd in the recent “Merrily We Roll Along” revival. He will be joined by Fisayo Akinade as Celia. Akinade earned screen recognition through Russell T. Davies’ Channel 4 series “Cucumber” and “Banana,” and appeared as Mr. Ajayi in the 2022 Netflix series “Heartstopper.” The production runs Sept. 26 through Nov. 7 in the Royal Shakespeare Theatre.

Harriet Walter will return to the company to reprise her role as Brutus in a revival of Phyllida Lloyd’s 2012 Donmar Warehouse production of “Julius Caesar,” originally staged under artistic director Josie Rourke and executive director Kate Pakenham. The all-female production is set in a women’s prison. The revival, co-produced with KPPL Productions, will tour to secondary schools across England from Sept. 21 through Oct. 23 before a run at The Other Place from Nov. 5-28.

The school tour anchors the RSC’s celebration of two decades of educational partnership work. The company’s Associate Schools Program now reaches more than 280 schools across 100 towns and cities in England. Each performance will be supported by workshops and post-show discussions, with the touring program culminating in a Young Creatives Festival at The Other Place on Nov. 21.

The Swan Theatre will stage a two-part dramatization of George Eliot’s “Middlemarch,” with Nina Raine writing the adaptation and Jeremy Herrin directing, in a co-production with Second Half Productions. Part 1 opens Oct. 1, Part 2 follows Oct. 10, with both running through Jan. 16.

Rounding out the season, theater company Told by an Idiot brings Alexandre Dumas’ “The Three Musketeers” to the Royal Shakespeare Theatre in a new adaptation written and directed by company co-founder and artistic director Paul Hunter. The production runs Nov. 28 through Jan. 9.

The previously announced world premiere of “Game of Thrones: The Mad King,” written by Duncan Macmillan and directed by Dominic Cooke, arrives at the Royal Shakespeare Theatre in summer 2026, in a co-production involving Simon Painter, Tim Lawson, Mark Manuel, Warner Bros. Theatre Ventures on behalf of HBO, and Sir Leonard Blavatnik and Danny Cohen for Access Entertainment.

RSC co-artistic directors Daniel Evans and Tamara Harvey described the season as one where themes of “identity, transformation, freedom, justice and the liberation that comes from breaking free of expectations loom large this autumn, as classic stories and universal struggles take on powerful new resonance in the hands of some of the most exciting artists of today.”

Joko Anwar’s horror-comedy “Ghost in the Cell” has secured distribution across multiple territories following its world premiere at the Berlin Film Festival, with Barunson E&A unveiling sales from the European Film Market.

Well Go USA has acquired North American rights to the Indonesia-South Korea co-production, which follows inmates in a violent Indonesian prison who must unite for survival when a supernatural entity begins targeting those with the darkest auras. Additional confirmed distributors include The World Pictures for Russia and CIS, La Aventura for Spain and Spanish-speaking territories, Calendar Studios for Taiwan, Shinesaeng Ad. Venture for Thailand theatrical rights, Purple Plan Pte for Singapore, Cambodia and Vietnam theatrical rights, Filmbridge for Mongolia, and the previously announced Plaion Pictures for Germany and German-speaking territories. Negotiations are ongoing on several additional territories, including Benelux.

“We’re thrilled to bring ‘Ghost in the Cell’ to North America,” said Doris Pfardrescher, president and CEO of Well Go USA. “As longtime fans of Joko Anwar, having previously released his film ‘Gundala,’ we’ve seen firsthand how strongly his work resonates with audiences here. ‘Ghost in the Cell’ is an absolute blast – it’s wildly entertaining and deliciously gory in all the right ways.”

Purple Plan Pte added: “We acquired ‘Ghost in the Cell’ because it’s bold, unapologetic, and wildly entertaining. Its gory, high-impact action and horror elements create a thrilling experience. Under the direction of prolific storyteller Joko Anwar, the film has a distinctive voice that sets it apart from others in the genre. We’re excited to bring it to Singapore, Vietnam and Cambodia giving audiences a brand-new horror experience.”

The film, which premiered in the Berlinale Forum, addresses Indonesia’s deforestation crisis through its supernatural premise. “The environmental and political realities have always been the origin of horror, not only as a sideshow,” Anwar told Variety in an interview. “I let the ghost carry the truth that the system made by humans refuses to articulate.”

The production represents a collaboration between Anwar and producer Tia Hasibuan through their Jakarta-based Come and See Pictures, alongside Rapi Films, Barunson E&A and Legacy Pictures. The ensemble cast features Abimana Aryasatya, Lukman Sardi, Bront Palarae, Aming, Rio Dewanto, Morgan Oey and Tora Sudiro.

The film is scheduled for Indonesian theatrical release in the second quarter of 2026.​​​​​​​​​​​​​​​​