‘Superpower’ Review: Sean Penn’s Right-Minded Ukraine Doc Could Do With a Little Less Sean Penn

Manchester United are reportedly currently first in line to bid for Juventus striker Dusan Vlahovic, should they want him.

Black Panther and 9-1-1 star Angela Bassett is back at the Academy Awards as a nominee, but this time she'll be joined by her beloved husband Courtney B. Vance.Courtney has been by the 64-year-old's side this entire awards season, and the two celebrated their 25th wedding anniversary in October 2022.

Tame Impala have shared a new song that will appear on the soundtrack to the upcoming movie Dungeons & Dragons: Honor Among Thieves (due in theaters on March 31). The track is called “Wings of Time” and is described by Kevin Parker in a statement as representing "an unmissable opportunity to indulge in my long time love of fantasy prog rock.” "I recruited my good friend Nicholas Allbrook, who is the person I know appreciates this subject matter the most," Parker added.

Actress and comedian Daisy May Cooper left fans stunned as she showed off her glam new look during an appearance on Saturday Night Takeaway. Daisy, 36, appeared as Star Speaker on this week's episode of the popular ITV series, where she looked incredible in a black satin shirt dress. Fans were quick to take to social media to compliment the star after over her incredible body transformation, with one writing: "Daisy May Cooper’s glow up really is unbelievable.

King Charles has been given a horse by the Royal Canadian Mounted Police. Noble, a seven-year-old black mare, is settling into life at the Royal Mews in Windsor, the Palace said in a statement.The horse, who stands at 16.2 hands high, toured with the “Mounties” Musical Ride in 2022, where she participated in 90 public performances at 50 different locations in Canada.

A supermarket is under fire for the increasing the price of a shopping essential from its budget range.

Sean Penn is doubling down on his call for the United States to supply Ukraine with modern fighter jets amid the country's war against Russia. The 62-year-old actor, who first pressed the White House on Ukraine's need for jets last March, said President Joe Biden's surprise trip to Kyiv this week to mark the one-year anniversary of Russia's invasion was "extremely encouraging." However, he stressed that the U.S. continue sending military aid, including modern aircraft, to the war-torn nation.

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.

King Charles is showing his support for Ukraine once again.

King Charles III is continuing to show his support for Ukraine and President Volodymyr Zelenskyy. The 74-year-old British monarch shared a message marking the one-year anniversary of Russia's invasion of Ukraine.«It has now been a year that the people of Ukraine have suffered unimaginably from an unprovoked full-scale attack on their nation,» he wrote.

Russian troops invaded Ukraine and, like many people around the world, he felt helpless at the images of people fleeing their homes.“The world felt like it was in a new place that it hadn’t been in decades,” the three-time Grammy winner recalls.On Friday, the one-year anniversary of the war’s start, Paisley is releasing a new song called “Same Here,” featuring Ukrainian President Volodymyr Zelenskyy speaking proudly about his country and people.The song is Paisley’s first from his new record, “Son of the Mountains,” to be released later this year on Universal Music Group Nashville.The West Virginia native wrote the song with Lee Thomas Miller (co-writer on Paisley hits “The World” and “Perfect Storm”) and Dawes frontman Taylor Goldsmith. It’s a three-part narrative that reflects on universal similarities, despite distance and language.While it doesn’t mention Ukraine specifically, the song ends with Paisley and Zelenskyy in conversation, recorded during a video call.

Brad Paisley is marking one year since Russia invaded Ukraine.

A year ago, country star Brad Paisley watched the news on television as Russian troops invaded Ukraine and, like many people around the world, he felt helpless at the images of people fleeing their homes.

Good afternoon Insider team, Max Goldbart here. It has been a wild ride of a week with Berlin drawing to a close. Read below for a good ol’ recap.

EXCLUSIVE: On February 24, 2022 Sean Penn and his documentary filmmaking team got up before dawn in Kyiv in anticipation of a planned interview with Ukrainian President Volodymyr Zelenskyy. Suddenly, explosions shattered the quiet and missile fire turned the darkened sky to malevolent orange. Russia’s full-scale attack on its neighbor had begun — what President Vladimir Putin later that day euphemistically dubbed a “special military operation.”

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.

Zack Sharf Back in 2001, Sean Penn found himself next to Jack Nicholson in a speeding car on the way to meet Russian president Vladimir Putin. The two actors were in Russia for the world premiere of “The Pledge” at the Moscow Film Festival. The Penn-directed psychological drama starred Nicholson as a retiring police detective who vows to catch the killer of a young child. Penn recently spoke to The Independent about his anxiety-inducing journey to meet Putin. “We were put in a convoy,” Penn said. “We knew that Putin was going to be the honored guest. In the nature of that time and space, we accepted the invitation. We got in this convoy, and we were going as fast as they wanted to drive, with no care for whether it might have presented danger in the villages we drove through.”

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.

Guy Lodge Film Critic On stage, drag artist Aphrodite Banks is a femme fatale: Caked in war paint, with a waterfall of braids whipping around her waist, she’s possessed of the white-hot glare and forthright confidence to match her Amazonian height and bearing. Off stage, as Jules, he’s simply femme: that term for gay men who present or express themselves in a more feminine way, too often used as a slur or a dismissal even by their community brethren. (Open up a cruising app like Grindr and see how frequently “no fems” comes up as a requirement.) The former identity connotes swaggering strength; the latter, to many, delicate weakness. How those associations and stigmas battle each other in one man’s body is the driving conflict in “Femme,” a tense, sometimes startling revenge drama from British freshmen Sam H. Freeman and Ng Choon Ping.

Leo Barraclough International Features Editor The Berlin Film Festival has returned to its first fully in person edition since 2020. But this year, the Berlinale has come back with a vengeance, and added something that it wasn’t especially known for in its pre-pandemic days: star power. Indeed, it’s been hard not to bump into a famous person in the German city — almost giving this previously mostly auteur driven gathering a vibe that more closely resembles the latest versions of Sundance or Toronto. Artistic director Carlo Chatrian told Variety Sunday that A-list names help raise awareness for the festival’s core mission – to celebrate movies and encourage audiences to return to theaters.

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.

Matt Damon revealed he is in the early stages of research in a documentary project tackling the war in Ukraine at the Berlin Film Festival on Sunday.

Elsa Keslassy International Correspondent Matt Damon revealed he was in the “early stages” on a project about Ukraine during the press conference for “Kiss the Future” at the Berlin Film Festival. Damon is a producer on the documentary which chronicles the struggle of Sarajevo citizens during the Bosnian War. World premiering in the Berlinale Special section, the politically minded documentary is directed by Nenad Cicin-Sain and based on “Fools Rush in: A Memoir” the memoir of Bill Carter, an aid worker. It shows how his determination resulted in the enlistment of the world’s largest rock band, U2, to help shine a light. Fifth Season and WME handling worldwide sales. Asked if he was considering following the footsteps of Sean Penn with “Superpower” with a film on the war in Ukraine, he said he’s “watched as everyone has with horror that unfolded there in the last year,” and although they “don’t have anything on it right now there isn’t any doubt that we’ll be doing.”

Christopher Vourlias The war in Ukraine has taken center stage this week at the Berlin Film Festival, which is taking place for the first time since Russia’s full-scale invasion last year. At Thursday’s opening ceremony, Ukrainian president Volodomyr Zelenskyy appeared via satellite to encourage festival-goers “not to remain silent” over Russia’s unprovoked war of aggression. Sean Penn, who this week premiered his docu-portrait of the Ukrainian leader, “Superpower,” lashed out at Russian strongman Vladimir Putin, who he described as a “war criminal” and a “creepy little bully.” Moral outrage has not been in short supply since the start of the war, as the global film community — in a show of near unanimous condemnation of the Kremlin’s criminal attack — has rallied behind the Ukrainian war effort. But many U.S. and foreign companies quietly continue to do business with Putin’s pariah state or have resumed the deal-making that was put on pause once the war began.

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.

There is a particular kind of audacity reserved for the wealthy and the well-meaning. Multi-award-winning actor and humanitarian Sean Penn co-directs “Superpower” with Aaron Kaufman, known mostly for his commercial work and his collaboration with writer-director Robert Rodriguez.

Sean Penn has reiterated his offer to have one of his Oscars melted down by Ukraine’s President Volodymyr Zelensky – saying his gift to the battling leader was inspired by his “continuing shame towards the Motion Picture Academy.”

Christopher Vourlias Sean Penn said he was happy to be a “propagandist” for the Ukrainian war effort and called Russian president Vladimir Putin a “creepy little bully” Saturday in Berlin, after the world premiere of his gonzo documentary “Superpower,” a gripping, courage-under-fire portrait of Ukrainian president Volodymyr Zelenskyy. “This is not an unbiased film because this is not an ambiguous war,” he said, calling the conflict “extremely personal.” “I’m very happy to be considered a propagandist. I was happy to make an unbiased film because that is the true story we found.” Donning a black jacket and hoodie and sporting a camouflage trucker cap, Penn repeatedly called on the Biden administration to send precision, long-range missiles to Kyiv to support the Ukrainian war effort.

Sean Penn and a gonzo documentary camera crew found themselves on the frontlines of war as they waited to see if they could interview Ukrainian president Volodymyr Zelenskyy. Not only did he land that interview, but he continued to travel back to Ukraine to chronicle the horrors of war a total of six times for “Superpower,” a documentary Penn co-directed that premiered to a standing ovation at the Berlin Film Festival on Friday. In the nearly two-hour-long film, produced by Vice, Penn underlines America’s shortcomings in supporting Ukraine in the war. Zelenskyy, who grows increasingly comfortable around the Oscar-winning actor in a series of interviews, reveals his frustrations at the lack of support in the form of high-impact weapons received from the Biden administration.

Roughly three quarters of the way into Superpower, the documentary about the war in Ukraine directed by Sean Penn and Aaron Kaufman, the Oscar-winning actor displays a fixed-blade knife while traveling by car through the embattled country. He jokes to the camera, “All of Ukraine should feel safe now that I’m armed.” He adds, holding up fists clenched like a boxer’s, “Plus, I’ve got these.”

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.

Guy Lodge Film Critic “The Echo” — or rather, El Eco — is the name of a tiny rural village in Mexico’s Puebla state that sufficiently captivated Mexican-Salvadorean filmmaker Tatiana Huezo into filming it over the course of 18 months, observing its changes in weather, fortune and the temperament of its few, tightly bonded residents in fine, fraught degrees. But there’s more to the title of Huezo’s return to documentary filmmaking — following the major success of her 2021 fiction debut “Prayers for the Stolen” — than a mere marker of place: Examining the unique ties that bind farming families, where everyone’s welfare hangs on the same unkind elements, this exquisitely textured film observes how children’s lives echo those of their parents, repeating for generations on the same constantly inconstant land, until somebody breaks the pattern.

Kristen Stewart glams it up for the opening ceremony of the 73rd Annual Berlinale International Film Festival at the Berlinale Palast on Thursday (February 16) in Berlin, Germany.

Ukraine President Volodymyr Zelenskyy delivered an empowered live video message to attendees of the opening night of the 73rd edition of the Berlin International Film Festival, urging filmmakers and culture “not to remain silent” when it comes to global politics as his country approaches a year since the Russian invasion.

Guy Lodge Film Critic Even before last year’s Supreme Court overturning of Roe v. Wade, a recent international surge in films about abortion rights and the endangerment thereof — from period pieces like “Happening” to present-day portraits like “Never Rarely Sometimes Always” — almost seemed to anticipate such a devastating blow. In America in particular, where talk of abortion access has always been snarled up in extreme religious rhetoric and eternal red-blue division, it has never been a subject to be treated complacently. Urgent and unvarnished, Tracy Droz Tragos’ documentary “Plan C” is an early entry in what might be considered post-Roe cinema, focusing less on pro-choice ideology than on the practicalities of ensuring choice in a system increasingly stacked against the idea.