‘Femme’ Review: Fearless Performances From Nathan Stewart-Jarrett and George MacKay Complicate a Riveting Queer Revenge Drama

It turns out Katie Maloney doesn’t come from the “if you don’t have anything nice to say, don’t say anything at all” school of thought. LOLz!!

Sophia Grace Brownlee is living the mom life!

Ready to roll with the homies again. Stacey Dash would totally be down for a Clueless sequel — as long as director Amy Heckerling was involved.

Michael Jordan really wanted Viola Davis to play his mom.

Lil Nas X definitely isn’t afraid to shut down trolls on social media.

Jimmy Fallon had a St. Patrick’s Day surprise for some bar-goers on Friday.

24 years later, Alicia Silverstone is totally up for a trip to the past.

Jem Aswad Senior Music Editor The first real SXSW in four years wrapped up this weekend, but it’s likely what went down this year will be looked at in the future as another transitional year. After a mid-pandemic return in 2022 that was intentionally less high-profile than past editions, this year’s South By was supposed to be a return to form of the citywide takeover that’s made SX a staple in the calendar for decades for musicians and execs alike. In practice, though, the music portion of SXSW still felt under-attended, and the current wave of music just on the fringe of popularity under-represented. Even the former Spring-break hub intersection of Sixth Street and Red River was a ghost town on Friday night, and lines to get into showcases across town were essentially nonexistent. On top of that, many of the highest-profile showcases were postponed or shut down following a massive lightning storm on Thursday night. Perhaps it’s post-Covid malaise, perhaps it’s the heightened cost of touring, maybe people were waiting to see how this year went — but something in the Topo Chico has changed, hopefully not for forever.

William Earl Disney+ has landed a four-part Ed Sheeran docu series, “The Sum of It All,” that is set to premiere May 3. The project comes from Disney Branded Television and Fulwell 73 Productions (“Adele: One Night Only”). It coincides with the May 5 release of Sheeran’s latest album, ” -” (aka “Subtract”), from Atlantic. “Ed Sheeran: The Sum of It All” promises to offer a candid look into the British star, his family and his rise to superstardom after suffering with a stutter as a child. “I’ve always been very guarded in my personal and private life; the only documentary I’ve ever made has been one that focused on my songwriting,” Sheeran said. “Disney approached me to make a four-part documentary, and it felt like the right time to open the door and let people in. I hope people enjoy it.”

Nick Vivarelli International Correspondent March 20 marks the celebration of Nowruz, the Persian New Year. It’s Iran’s first Spring festivities since the death of Jina “Mahsa” Amini, the 22-year-old Iranian Kurdish woman who died while in police custody for allegedly wearing a loose headscarf. On Nowruz, which means “New Day,” Iranian activist Naza Alakija is paying tribute to Iran’s “Woman. Life. Freedom.” movement with the release of a powerful short film titled “Rise” about a young woman who, like Amini, pushes back agains Iran’s morality police and is kidnapped from the streets of Tehran. Alakija, who is the founder and CEO of London-based Evoca Foundation, produced the short – which features British-Iranian actress Yasaman Mohsani (“Secret Invasion”) as the victim – with partners who have chosen to remain anonymous for fear of retribution from Iran’s security forces, as has the film’s female director.

Julianne Hough, who has boosted her career through several seasons-long stints with “Dancing With the Stars,” is set to return to the ballroom, this time as host. The news comes on the heels of Tyra Banks announcing she will not return for Season 32. Alfonso Ribeiro will return as co-host, and Carrie Ann Inaba, Bruno Tonioli and Derek Hough are set as judges. (Len Goodman exited at the end of Season 31.) “It is such an honor to be rejoining ‘Dancing with the Stars’ as co-host. The show holds such a special place in my heart from the many years and different roles I have had the privilege of being a part of,” Hough says in an exclusive statement to Variety. “The incredible team that brings the ballroom to life every night has been my family for the past 17 years. I am so excited to reunite with Alfonso, Carrie Ann, Bruno, Derek, the unbelievably talented pros, and the amazing cast on the dance floor. The energy is magnetic every time you step foot in to the ballroom and I can’t wait to feel it again — and of course to share it all with the absolute best and most loyal fans — for another exciting season.”

Ben Croll Montreal-based Also Productions, the rising premium outfit behind the Series Mania title “Disobey” and the popular police drama “The Sketch Artist,” will next hit international waters with the facts-are-stranger-than-fiction geopolitical thriller “Chain Reaction.” Based on the best-selling book from investigative journalist Vincent Larouche, the development project will untangle a multinational web that connected Quebecois businessmen to Swiss bankers to FBI agents to former Libyan strongman Muammar Gaddafi, telling the unbelievable true story of a corruption scandal that nearly brought down the Canadian government. “The Sketch Artist” head writer André Gulluni will freely adapt Larouche’s page-turning exposé, which revealed the misdoings of SNC-Lavalin, a Montreal-based construction company alleged to have bribed and defrauded the Libyan government out of hundreds of millions of dollars. The ensuing (and cascading) financial scandal would soon rope in everyone from top politicos to Texas-based associates of Pablo Escobar.

Lise Pedersen Oscar-nominated and double Palme d’Or winning film company Plattform Production (“Triangle of Sadness,” “The Square”) has premiered its latest film, “A Tiger in Paradise,” by director and editor Mikel Cee Karlsson, as part of a live event that received a standing ovation at CPH:DOX, one of Europe’s leading documentary film festivals. Set in the picturesque Swedish countryside, the doc takes viewers on a surreal journey into the inner world of Swedish indie folk singer-songwriter José González. Peppered with songs from his latest album “Local Valley,” introspective musings, self-deprecation and playful special effects involving moving portraits, looping techniques and Conway’s famous Game of Life computation model, the film opens with a disarmingly candid disclosure by González about his past mental health issues.

Rebecca Rubin Film and Media Reporter Jordan Peele’s next film is coming to the big screen in time for Christmas… of 2024. Universal Pictures, which released the filmmaker’s prior features “Get Out,” “Us” and “Nope,” added an “Untitled Fourth Film Directed by Jordan Peele” to its release calendar. It’s set to open in theaters nationwide on Wednesday, Dec. 25, 2024. On its current date, Peele’s upcoming project will premiere one week after James Cameron’s “Avatar 3” and “Sonic the Hedgehog 3,” which will both debut on Dec. 20, 2024. Universal’s big-screen adaptation of the “Wicked” musical was previously slated to land on the same weekend, but the studio recently pushed up its release date to Thanksgiving.

Joe Otterson TV Reporter Andy Kaufman is set to be inducted into the WWE Hall of Fame class of 2023, Variety has learned. Kaufman will be inducted alongside this year’s fellow honorees that currently include Rey Mysterio and The Great Muta. Kaufman is best known for his career on the stage and screen, most famously starring as Latka Gravas in the hit sitcom “Taxi” from 1978-1983. He made his mark on the world of professional wrestling, however, when he declared himself the Inter-Gender Wrestling Champion of the World, offering money to any woman who could pin him as part of his act. This famously led to a feud with fellow WWE Hall of Famer Jerry “The King” Lawler in the Continental Wrestling Association in Memphis, TN.

Todd Spangler NY Digital Editor After a strategic review, Amazon intends to lay off 9,000 more employees — on top of the 18,000 job cuts it previously announced, CEO Andy Jassy announced Monday. The latest round of cuts will mostly affect employees in Amazon Web Services (AWS), People, Experience and Technology (PXT), advertising and Twitch divisions, according to Jassy. The company’s senior management team expects to make final decisions on which jobs will be eliminated by “mid to late April,” the CEO said. “This was a difficult decision, but one that we think is best for the company long term,” Jassy wrote.

Ethan Shanfeld While toasting Adam Sandler at the Kennedy Center Honors Sunday night, Chris Rock called out the Oscars for snubbing his performance in “Uncut Gems.” Honoring his longtime pal and “Grown Ups” co-star with the Mark Twain Prize for American Humor, Rock said “nobody comes even close” to Sandler’s turn as the gambling-addicted jeweler Howard Ratner in the Safdie brothers’ 2019 film. “The Oscars, you know, they’re fucking assholes, and if they don’t want to give my man his props, then we will tonight,” Rock said (via People). The comedian also joked about his own Oscars experience, referencing the 2022 ceremony when Will Smith walked onstage and slapped Rock. He compared the incident to the attack against Nancy Pelosi’s husband Paul, who was hospitalized after a man broke into his San Francisco home and beat him with a hammer.

Ed Sheeran‘s journey from an unlikely child with a stutter to a global music superstar is followed in the upcoming docuseries Ed Sheeran: The Sum of It All, which has just released a trailer.

Amazon is laying off another 9,000 workers as job cuts in the tech sector expand at a time of growing economic uncertainty. It follows cuts last fall and early this year.

Julianne Hough will replace Tyra Banks as co-host of Dancing with the Stars.

Since announcing his dementia diagnosis, Bruce Willis' family has prioritized the health and safety of their beloved patriarch.  On Sunday they celebrated the actor's 68th birthday. Ex-wife Demi Moore shared a video of the group to her Instagram, which included his five daughters, serenading Willis with a song before presenting him with a pie.

Guy Lodge Film Critic Veteran French docmaker Nicolas Philibert was the surprise winner of the Golden Bear at this year’s Berlin Film Festival, taking the prize for his film “On the Adamant,” a poignant observational study of a Paris mental health care facility. He received the award from jury president Kristen Stewart, after the star offered an extended and plainly heartfelt ode to the film’s humanity and simplicity: “People have gone in circles for thousands of years trying to pin down what can be deemed art, who’s allowed to do it and what determines its value,” she said, citing the boundary-pushing nature of the festival, and namechecking such opposing philosophers on the matter as Aristotle, Barthes, Sontag and Beavis & Butthead, before concluding, “For all of us, you just know it when you see it.”

Guy Lodge Film Critic The official awards ceremony of this year’s Berlin Film Festival is under way, with Kristen Stewart’s jury set to announce their winners from the Competition selections. This post will be updated as they’re announced.Previously announced: AUDIENCE AWARDS Panorama Audience Award: “Sira,” Apolline TraoréSecond Prize: “The Burdened,” Amr GamalThird Prize: “Midwives,” Léa Fehner Panorama Documentary Audience Award: “Kokomo City,” D. SmithSecond Prize: “The Eternal Memory,” Maite AlberdiThird Prize: “The Cemetery of Cinema,” Thierno Souleymane Diallo

Guy Lodge Film Critic “Till the End of the Night” opens with what initially seems a Brechtian flourish: a nifty time-lapse shot of a bare shell of an apartment being painted, fitted, decorated and accessorized to an apparently lived-in state, as a vintage German torch song by Heidi Brühl crackles over the soundtrack. It’s not a film set being dressed, however, but a police one — the home base for an elaborate undercover investigation. It’s not the first time Christoph Hochhäusler’s romantic detective thriller will hint at subversive ambitions that turn out, upon closer investigation, to be rather conventional. Tossing a fraught transgender love story in the middle of an otherwise standard cop procedural, the film doesn’t much satisfy on either level, with superficial sexual politics and slack suspense. Despite a Berlinale competition slot, prospects beyond home turf appear limited.

Guy Lodge Film Critic Trends in documentary-making have shifted radically since Nicolas Philibert’s “Être et Avoir” was a surprise arthouse hit two decades ago: That sweetly observational little film, following the ins and outs of a village elementary school over the course of a year, seems a quaintly modest proposition beside today’s more slickly immersive and narrativized nonfiction breakouts. If times have changed, however, Philibert has not. “On the Adamant,” his first feature in 10 years, finds him once more examining the human workings of a care-based institution from a reserved but compassionate distance, avoiding commentary and editorialization in favor of real-life character portraiture. It turns out to be the right approach for the institution under scrutiny: The Adamant, a day-care center in central Paris for adults with a variety of mental disorders, offering its visitors a range of therapy, education and cultural activity. The human subjects here are both expressive and highly vulnerable, open to the low-key, non-invasive presence of Philibert’s camera, and the film is content to be an undulating patchwork of their everyday moods and moments, rather than anything more strenuously conceptual. Suited to specialist distributors and streaming platforms, “On the Adamant” might not achieve the crossover success Philibert has found in the past, but it’s a warm reminder of his perceptive gifts: A premiere slot in Berlin’s main competition, alongside much sleeker, more formally ambitious fiction fare, effectively welcomes him back to the auteur leagues.

Guy Lodge Film Critic There’s a parched austerity to the landscape of the Australian outback, along with an embedded history of conflict between Indigenous and invading occupants, that makes it irresistibly well-suited to screen westerns. But there’s a loneliness to it, too, a sense that its quiet vastness could swallow you whole and without trace, that lends itself as easily to moody, smoky mystery. Aboriginal filmmaker Ivan Sen has twice before dabbled in the harsh, dry space where those genre possibilities overlap, in his features “Goldstone” and “Mystery Road.” In his latest, most accomplished film “Limbo,” he once more surveys the region with a critical eye, finding a history of racial injustice in its sharp cracks and long shadows. But the genre styling this time has been pushed all the way to stark, monochromatic stylization. This is outback noir — oblique, secretive and as hard-boiled as the ground is hard-baked — and Sen wears it well.

In 1991, “Street Fighter” made history by introducing the world’s first playable female character in a fighting game, Chun Li. An expert martial artist and Interpol officer, Chun Li has a notorious sense of justice, with much of her arc dedicated to a tireless search for revenge for the wrongful killing of her father.

Guy Lodge Film Critic If any writer has ever retreated to a remote, idyllic rural pad with the intention of getting some work done, and proceeded to have a productive and creatively fulfilling time, it has certainly never happened in the movies. Leon, the callow young novelist at the center of Christian Petzold’s canny, many-layered new film “Afire,” is the latest in a long line of onscreen scribes to learn that lesson. But over the course of a hot, rainless summer by the Baltic coastline, the elusiveness of his imagined masterwork turns out to be far from his greatest problem: Writer’s block spills over into bitter social paralysis, exposing every facet of life he doesn’t yet know how to live, let alone write about. All the while, the surrounding woodsy landscape wilts and scorches, the threat of natural disaster lending an urgent pull to this dry, elegant comedy of manners — so dry, in fact, it’s just a breath of wind away from tragedy.

Guy Lodge Film Critic In time, stories like “20,000 Species of Bees” will come to feel as commonplace within the coming-of-age genre as tales of first love or heartbreak: a young girl, unhappy in her skin and at odds with her family, finally recognizes her gender over the course of one pivotal summer, and persuades others to recognize it too. For now, Spanish writer-director Estibaliz Urresola Solaguren’s mellow, softly piercing debut feature joins the likes of Céline Sciamma’s “Tomboy” and Emanuele Crialese’s “L’Immensità” in a select but growing canon of trans or nonbinary childhood studies. Unassuming and meanderingly character-oriented, the film doesn’t assert itself as an issue drama — in large part because, as Solaguren presents her eight-year-old protagonist’s gradual steps toward self-realization, her film doesn’t see much of an issue to begin with.

Femme, a queer thriller written and directed by Sam H. Freeman and Ng Choo Ping, had its premiere at the Berlin International Film Festival and stars George Mackay and Nathan Stewart-Jarrett. The film explores the price of vengeance, the toll it can take on the psyche, and how that pressure can lead to some questionable decisions that may leave the viewer looking for explanations for these character’s actions.

Guy Lodge Film Critic Giacomo Abbruzzese’s debut feature is a hazily seductive, frequently dreamlike study of life in the French Foreign Legion, fixated on masculine bodies in synchronized and sometimes violently clashing motion. It is also called “Disco Boy.” You almost certainly wouldn’t choose that subject, tone and title for a film if you didn’t want viewers’ minds to immediately wander to “Beau Travail,” Claire Denis’ seminal Foreign Legion cine-ballet, with its climactic solo number set to a thumping Eurodance classic; even if you somehow made that error, you wouldn’t compound it with electro-scored terpsichorean interludes of your own. Choosing homage this direct for a first feature is a brazen move, but notwithstanding its openly derivative qualities, “Disco Boy” doesn’t want for boldness or surprise — Abbruzzese’s hot, fluxional command of sound and image keeps us curious.

Manori Ravindran Executive Editor of International George MacKay is virtually unrecognizable in the erotic revenge thriller “Femme,” directed by Sam H. Freeman and Ng Choon Ping. With slicked-back hair and a heavy-handed neck tattoo, the dashing, soft-spoken British actor, well known for his period roles, is transformed into the kind of East London gangster you’d go out of your way to avoid. Part of what makes MacKay’s character, Preston, so menacing is the fact that he’s deeply closeted. When one night he’s teased in front of his friends by Nathan Stewart-Jarrett’s drag artist Jules — dressed up as Aphrodite Banks — he responds with violence so severe that it shatters Jules’ confidence to ever perform in drag again. The attack emboldens Jules to ensnare an unwitting Preston in an intense sexual relationship with the intention of outing him on the Internet.

Naman Ramachandran Nathan Stewart-Jarrett is ready for his close-up. After making a mark with TV’s “Misfits” and “Utopia” and in the film “Candyman,” the British actor is set to explode upon the world stage with “Femme,” world premiering at the Berlin Film Festival’s Panorama strand. Stewart-Jarrett plays Jules, whose alter-ego is Aphrodite, a celebrated drag queen in a gay club in London whose life is destroyed by a homophobic attack. After he spots one of the perpetrators (George MacKay) in a gay sauna, Jules plots revenge.  “Femme” is based on the BAFTA-nominated short of the same name by directors Sam H. Freeman and Ng Choon Ping. Stewart-Jarrett had played a former drag queen in the Tony- and Olivier Award-winning theater production of “Angels in America” and built on that during the “Femme” preparation.

Guy Lodge Film Critic Depending on the state of your own family network, the relationship between the trio of grown siblings at the center of “The Adults” may strike you as intensely, skin-crawlingly familiar or quite desolately alien. Either way, Dustin Guy Defa’s determinedly quiet family-reunion drama seeks to be discomfiting, gradually giving the viewer that hollow, lurching, pit-of-the-stomach feeling that either precedes a dreaded encounter or follows a disappointing one. That might not sounds like a good thing, but in the context of this small, expansively sad film, it is one: From that queasiness comes bristly tension, tautening and deepening what otherwise seems a low-key, low-stakes character study, and eventually a sweet, conciliatory sliver of hope too.

Guy Lodge Film Critic Last November, in a gesture that the actor himself described as “a symbolic, silly thing,” Sean Penn gifted one of his two Academy Awards to Ukrainian president Volodymyr Zelenskyy, to mark his emotional investment in the country as they continue to fight Russia’s invasion — attracting widespread mockery from social media and the entertainment press in the process. That this moment is not included in Penn and co-director Aaron Kaufman’s “Superpower,” a disordered, distinctly Penn-centric account of recent Ukrainian history, counts as one of the film’s few moments of self-awareness. As far as the rest goes, anyone watching this doc right after emerging from a two-year coma could be forgiven for identifying the Hollywood veteran as a key player in the conflict.

Guy Lodge Film Critic Anyone who has spent much time on Film Twitter recently might know that there are two recurring subjects sure to instigate discourse wars between certain moralistic Zoomers and their befuddled elders: on-screen relationships marked by significant age gaps, and on-screen sex scenes between partners of any age, largely condemned by youthful detractors as gratuitous narrative roadblocks. That demographic won’t be seeking out Emily Atef’s film “Someday We’ll Tell Each Other Everything,” a brazenly sensual May-December romance between a teenage ingenue and a middle-aged social outcast, though beyond the festival circuit, this pretty but somewhat dreary mood piece is unlikely to end up on many people’s radars at all.