All articles tagged with #maggie gyllenhaal
The Venice Film Festival has scrapped its international jury press conference for this year, citing a scheduling conflict. The jury is headed by Maggie Gyllenhaal and includes Kaouther Ben Hania, Daniel Blumberg, Francesco Casetti, Xavier Giannoli, Shahrbanoo Sadat, and Johnnie To. The change comes as festivals face politically charged questions at press events, and Venice will run September 2–12, 2026.
Dakota Johnson, 36, is set to play Marilyn Monroe in Flesh Impact, a Venice Film Festival short that imagines Monroe living past age 36. First-look photos show Johnson with a blonde bob, a departure from her brunette look, while Ellen Burstyn portrays a mature Monroe. The project, written and directed by Maggie Gyllenhaal, honors Monroe’s 100th birthday and features two Monroes—Johnson as the younger version and Burstyn as the older one.
Dakota Johnson stars as Marilyn Monroe in Maggie Gyllenhaal’s 17‑minute short Flesh Impact, a nontraditional reimagining of the Hollywood icon that goes beyond public image and debuts at the Venice Film Festival, with Ellen Burstyn portraying an older version; Gyllenhaal initially worried Johnson didn’t resemble Monroe, but aims to explore identity and legacy for Monroe’s centennial.
Venice reveals its 2026 lineup with Danny Boyle’s Ink premiering as the opening film and contending for the Golden Lion, while Hollywood’s presence is expected to be lighter than recent editions. The closing film is Dio Ride by Giovanni Veronesi. Maggie Gyllenhaal will preside over the competition jury, joined by Johnnie To, Kaouther Ben Hania, Shahrbanoo Sadat, Xavier Giannoli, Daniel Blumberg and Francesco Casetti; George Clooney and Ellen Burstyn will receive lifetime achievement awards. The festival runs Sept. 2–12 amid a robust roster of awards contenders.
Warner Bros. is developing a feature adaptation of Rachel Kushner’s Creation Lake with Maggie Gyllenhaal set to produce and direct; the novel follows a secret-agent infiltrating a French eco-activist commune and grappling with her own worldview. Kushner’s book was a New York Times bestseller and Booker Prize shortlisted. Gyllenhaal’s directing career includes The Lost Daughter, and she will be honored at the Karlovy Vary International Film Festival.
Warner Bros. has optioned Rachel Kushner’s Creation Lake for Maggie Gyllenhaal to write, direct, and produce as a directing vehicle; the philosophical thriller centers on a spy who disrupts a French farming collective, exploring activism, paranoia, and nihilism.
A thoughtful, opinionated piece argues Maggie Gyllenhaal’s The Bride! is a maximalist, feminist horror that underperformed financially due to persistent misogyny and biased reception. It praises the film as a bold love letter to cinema with a standout performance by Jessie Buckley and an auteur-driven vision, and contends the movie’s value lies in the conversations it sparks about gender, rage, and selfhood rather than opening-weekend ticket sales.
IndieWire analyzes Maggie Gyllenhaal’s The Bride!, a Frankenstein-inspired period piece, underperforming with about $7.3M domestic and $13.6M worldwide on an $80M budget, halting Warner Bros.' streak of No.1 openings and drawing mixed-to-negative reviews. The piece argues the box‑office flop shouldn’t derail bold, original bets, noting that WB remains willing to swing with riskier projects like Sinners and One Battle After Another as part of its future ambitions.
Jamie Lee Curtis shared a lingerie photo to support her goddaughter Maggie Gyllenhaal’s The Bride and to promote Scarpetta, her collaboration with Nicole Kidman, while also reflecting on aging and not wasting time on toxic relationships during a NYC press run; fans chipped in praising that she’s still got it.
Deadline reports The Bride! opened to $13.6M worldwide ($7.3M domestic), a sharp flop for Warner Bros. After production costs around $80M and roughly $65M in marketing, industry estimates suggest the film could lose about $90M in its first cycle, despite an Oscar-season release and strong talent. The movie’s high-art, niche appeal and mixed reception limited its appeal, signaling a costly miss for the studio.
Maggie Gyllenhaal’s The Bride! attempts a bold, genre-busting reimagining of Bride of Frankenstein but is overwhelmed by constant meta jokes and over-the-top gore, ultimately failing to coherently land its social or thematic ambitions despite its ambitious scope.
Pixar’s Hoppers is heading for a $40M+ domestic opening and $85M+ worldwide, riding strong early word-of-mouth and a 94% Rotten Tomatoes critics score (and similar audience score) plus solid cinema scores. In contrast, Maggie Gyllenhaal’s The Bride! is tracking only a $7–10M debut, well short of expectations, with weak audience/critic reception (71%/60% on Rotten Tomatoes) and a CinemaScore of C+, signaling a rare box‑office miss for Warner Bros. and a potential shakeup ahead of awards season.
Maggie Gyllenhaal’s The Bride! is framed as part of a new wave of feminist horror that centers the created woman’s interiority and autonomy, reframing Frankenstein’s myth around female agency and connecting Shelley’s critique to contemporary films like Poor Things and The Substance.
Maggie Gyllenhaal’s The Bride! is a bold, noisy, and wildly ambitious reimagining of Bride of Frankenstein that fuses horror, gangster drama, and musical spectacle, but it remains incoherent and overreaching, with Jessie Buckley’s performance feeling one-note amid a film that never settles on a clear vision or message about cinema or female rage.
Rolling Stone’s review presents The Bride! as a maximalist, genre-blending reimagining of The Bride of Frankenstein driven by female agency, radical politics, and a punchy emo-musical tone, anchored by Jessie Buckley and Christian Bale in a wild, stylish era-spanning spectacle.