Latest news with #AdrienBrody
Time of India
4 days ago
- Entertainment
- Time of India
The Brutalist OTT Release Date: When and where to watch Adrien Brody's Oscar-winning epic period film in India
The Brutalist OTT Release Date: When you dive into The Brutalist, you're stepping into a sweeping post-war saga that feels personal and epic at once. It follows László Tóth (Adrien Brody), a Jewish-Hungarian architect and Holocaust survivor, who arrives in the U.S. in the late 1940s with his wife Erzsébet (Felicity Jones) and niece Zsófia (the haunting Raffey Cassidy). They're broken, carrying both trauma and hope. In Pennsylvania, László catches the eye of industrialist Harrison Lee Van Buren (Guy Pearce), who sees more than concrete and steel; he sees potential, but also potential compromise. László finds success designing grand structures, but each success carries a new burden: balancing personal integrity with commercial demand, remembering the past while trying to build a future. Good news: from June 28, 2025, The Brutalist is streaming on JioHotstar in India. It had been on rental-only platforms like Prime Video, AppleTV and Zee5, but now anyone can stream it freely if they've got JioHotstar. Cast, crew and the creative force behind it all Adrien Brody delivers an Oscar-winning turn as László. Felicity Jones brings softness and strength as Erzsébet, while Guy Pearce gives off that elegant, slightly cold edge you expect from a tycoon. Joe Alwyn, Stacy Martin, Emma Laird, Alessandro Nivola, and Isaach de Bankolé round out a powerhouse supporting cast. The Brutalist is directed and co‑written by Brady Corbet, with writing help from Mona Fastvold, and carried by Lol Crawley's cinematic eye and Daniel Blumberg's unforgettable score. More about The Brutalist Premiered at Venice in September 2024, winning the Silver Lion, then played Toronto and New York festivals. It hit U.S. theatres late last year, came to India in Feb 2025, and by March had scooped Oscars for Best Actor (Brody), Best Cinematography, and Best Original Score at the 97th Academy Awards. Golden Globes, Baftas, critics' awards and AFI top‑10 lists followed.
Telegraph
5 days ago
- Entertainment
- Telegraph
Why do celebrities think they can paint? Here's our pick of the worst
The double Oscar -winning actor Adrien Brody is rightly celebrated for his on-screen talents, even if there is some truth to the grumblings that he only really excels when he plays Holocaust victims. Yet before, during and after winning his second Oscar, for the magnificent drama The Brutalist, he seems to have been on a personal mission to behave in as obnoxious a fashion as possible. At the Oscars, for example, he caused much revulsion by throwing a piece of used chewing gum at his partner Georgina Chapman so she could hold it while he made his rambling, arrogant acceptance speech But Brody isn't just an actor; he is also an artist, or at least would like to be regarded as such. He is currently displaying a solo show, entitled Made in America, at New York's prestigious Eden Gallery that has been afforded all the accoutrements that a major art-world figure would merit. A lengthy profile piece in the New York Times, fawning news items about his selling one of his artworks, of Marilyn Monroe, for $425,000 at the amfAR gala in Cannes and an elevated degree of respect because of his existing fame. Part of this art, we learn, once again involves chewing gum. Visitors to Made in America are invited to take a piece of gum from a pre-packaged pile, chew it, and then stick it onto a canvas that is festooned with the word 'Violence.' A sign on the wall declares 'Leave your mark—messy, visceral, and anonymous'. This is one way of looking at it. Another way is to suggest that, in a contemporary art world that seems to have gone stark raving mad – Maurizio Cattelan's Comedian, in which a banana duct-taped to a wall sold for $6.2 million last year at Sotheby's, was quite literally bananas – the cachet brought in by an A-list celebrity makes apparently dreadful artworks seem both respectable and newsworthy. Brody's exhibition poses as a deconstruction of much-loved pop icons such as the Simpsons and Mickey Mouse, appearing to homage such New York legends as Jean-Michel Basquiat and Andy Warhol. Unfortunately, Made in America has been panned in the American and international art press on the grounds that Brody isn't a talented artist, despite his beliefs otherwise. 'Why do great actors have so much trouble when they venture into visual art?' asked Artnet critic Annie Armstrong, who attended the opening. 'Can you name one who has been able to bridge the gap?' She concluded: 'It feels uncanny to see an artist who is so successful in one medium be so flat-footed in another.' Still, it did not help that Brody approached this with maximum pomposity. At Cannes, while presenting his Monroe canvas, he indignantly shushed the audience during a lengthy introductory speech. 'I've painted and drawn most of my whole life,' he declared. 'Painting precedes acting for me.' In another interview in 2016 with the Huffington Post, he remarked: 'Maybe I am vain, to a certain extent, but the purpose of doing this is far from vanity.' Most would disagree with his summation. Still, in the actor's defence, he is far from the only celebrity who has dabbled in the world of art to disastrous or embarrassing effect. Everyone from the late Val Kilmer to Jim Carrey has, at one time or another, decided that they were capable of producing artworks of lasting impact and effect, enabled by a crowd of sycophants and excitable fans. Almost inevitably, the result has been the same; well-known figures have produced mediocre art – at best – that looks like something that a middling GCSE student might come up with as coursework. Whether it's Carrey's truly shameful pictures of 'Jesus Electric' and Melania Trump, Kilmer's self-aggrandising portrait of Jim Morrison (a homage to the man he played, to far greater effect, in Oliver Stone's biopic The Doors) or Sylvester Stallone's Rocky-inspired The Arena, the consistent impression that virtually anyone would have when seeing these 'artworks' is a profound wish that their creators don't give up the day job. Actors who paint tend to take what they do so very seriously, and most actors who do see themselves as artists tend to be exactly the kind of characters you would expect – Johnny Depp, Viggo Mortensen, Marlon Brando, etc. Sir Anthony Hopkins, however, is a refreshing exception to this rule. He may be one of the finest thespians that Britain has ever produced, but his bizarre, vaguely psychedelic paintings – George, for instance, depicts a vast purple elephant – seem like an elaborate joke. Which it probably is. 'Painting is something I really enjoy, like playing the piano,' Hopkins has said. 'I have a lot of fun with it. I just paint for the sheer enjoyment of it.' This sense of fun is sorely lacking from the more po-faced practitioners. Sharon Stone's abstract, sub-Rothko works, entitled things like It's My Garden, Asshole, appear to exist less to sell for the $40,000 that she charges for some of her canvases, and more for feminist empowerment. As she put it, 'It's my job to open a window for other women and hold it open further.' Likewise, if you look at the monochrome splodges that the actress Lucy Liu appears to specialise in, you will have been missing the point of how from the 'painterly, fleshy nudes to delicate depictions of the human spine in resin or embroidery, Lucy Liu's art lays bare themes of intimacy, belonging and memory.' It makes the relatively accessible and pleasant-looking work of Tony Curtis – which was ridiculed during the actor's lifetime – all the more bearable, although even here, Curtis was not immune to delusions of pseudery. 'When I paint, I don't paint shapes, I paint colours,' he once said. Yet is the desire to create art limited to actors. Musicians have also dabbled in the field, to mixed effect. Rolling Stone Ronnie Wood's paintings of him and his Rolling Stones bandmates have an appealing energy to them (let's ignore his 'nude studies', which have a different kind of energy) and there are many people who rate Bob Dylan's paintings and sculpture, which he was demonstrating as far back as the cover of 1970's Self Portrait album. Others have fared less well. David Bowie and Paul McCartney may be the two greatest post-war British musicians, but neither of them managed to persuade the art world that their own work was of any special significance, whether it was Bowie's alternately haunting and embarrassing Francis Bacon-esque studies or Macca's dreadful daubs. The late Brian Sewell had it about right when he said of the latter that they were 'a self-indulgent impertinence so far from art that the art critic has no suitable words for them – they are, indeed, beneath criticism.' Still, works on canvas are one kind of dreadfulness, but when celebrities veer into performance art, matters worsen inexorably. There are those who believe that Shia LaBeouf is an overlooked genius, others – especially post-Megalopolis – that he is simply a mediocre actor who is addicted to attention-seeking. Such actions as turning up at the premiere of Nymphomaniac in 2014 with a paper bag on his head saying 'I am not famous any more' and watching all his films in reverse order for the #ALLMYMOVIES project may have been original, but they also felt like the showily demonstrative actions of a bored has-been star. And let's not even get onto James Franco, whose smug, self-congratulatory blurring of boundaries between reality and fiction came crashing down in 2021 when he admitted allegations of sexual coercion with students at his acting school. Few miss Franco's once-ubiquitous, forever-irritating presence in public life, during which art was just one of the means he used to torment us. He once commented that he had been painting longer than he had been acting, which sounded like a threat of some kind. At least Robbie Williams, whose current solo show Radical Honesty ('expanding his visual language of sarcasm, self-deprecation, and playful irreverence), refuses to take this stuff seriously. Which is just as well, given that one critic described it as 'an Instagram self-help quote attacking your brain and eyes….incredibly bad art: so earnest, so superficial, it's barely even funny.' There have been a few more successful celebrities involved in the world of art, including Edward G Robinson, a Hollywood tough guy star from the Thirties and Forties and the legendary horror star Vincent Price, although both of these men were more notable as enthusiastic and prodigious collectors than for their own painting. This willingness to step back and let other, more talented artists take the limelight reflected well on them. Today, the Brodys and Carreys and McCartneys produce their terrible, vainglorious work and expect someone impressed by their fame to pay vast sums of money for them. The real tragedy is that, so far, they haven't been disappointed. Brody's exhibition may have been called Made in America, but this worship of celebrity excess is, alas, a global phenomenon, and it shows no signs of dissipating any time soon. Perhaps the solution is to send in the hardy protesters of Just Stop Oil, armed with paint and knives, and see what happens then. If it resulted in a few irreparably damaged works of celebrity hubris, I doubt that too many people would be truly devastated. The five worst celebrity artworks 1. Jim Carrey, Jesus Electric, 2017 The actor Jim Carrey recently claimed to have found God and Christianity, and stated that 'The energy that surrounds Jesus is electric. I don't know if Jesus is real, I don't know if he lived, I don't know what he means. But the paintings of Jesus are really my desire to convey Christ-consciousness.' This would be fine, if the Bruce Almighty star's representation of his idol's electric energy wasn't so embarrassingly redolent of the kind of paintings that you see for sale on a dodgy-looking stall in Camden Market. Such is Carrey's clout that he even made a short documentary about the painting's creation, called I Needed Colour; perhaps it should have been called I Needed A Better Agent, given how mired he is in Super Mario Bros films these days. 2. Adrien Brody, Hooked, 2016 Brody's most recent pictures and installations have been soundly and deservedly ridiculed, but some of his earlier work might be even worse – which, I suppose, is a back-handed way of saying he might be getting better. One Warhol-inspired display of fish in four different colours was embarrassing itself on his own terms, but worsened by Brody claiming, straight-faced, that 'If we look closely, we are the fish. We are the ones 'hooked' as we consume with abandon…the fragility and beauty and uniqueness of fish is much like our own spirit and spiritual state.' It makes Eric Cantona's discussion of fish and trawlers look like the last word in profundity. 3. Shia LaBeouf, #IAMSORRY, 2014 Describing Shia LaBeouf's performance artworks as 'good' or 'bad' is not really fair; 'embarrassing' and 'shameful' would be closer to the mark. Yet when he embarked on a five-day stint in a Los Angeles gallery of wearing his 'I am not famous any more' bag on his head, inviting members of the public to interact with him, one participant went rather too far. As LaBeouf later recalled, 'One woman who came with her boyfriend, who was outside the door when this happened, whipped my legs for 10 minutes and then stripped my clothing and proceeded to rape me.' After LaBeouf's girlfriend learnt of this, 'she came in [and] asked for an explanation, and I couldn't speak, so we both sat with this unexplained trauma silently. It was painful.' LaBeouf never pressed any criminal charges, suggesting that this piece of suffering for his art was simply part of the job. 4. Paul McCartney, Unfinished Symphony, 1993 Paul McCartney has always chafed against the idea that he was the 'safe' or somehow predictable Beatle in comparison to John Lennon, frequently bigging up his avant-garde and experimental credentials. Musically, this might well be true, but when it comes to his art, it can be found wanting. This painting, which might kindly be described as his attempt to capture on canvas what A Day in the Life's crescendo did musically, will seem to most as an ugly, Pollock-lite splurge of horrible colours all jumbled together. McCartney remarked of it that 'It is very spontaneous, I don't think there was a lot of thinking about that. But, you know, my composition generally is spontaneous. Some people I talk to will ask, 'Do you do sketches beforehand?' And I will say, 'No, it is alla prima.' You know, I just love to play around with the paint and let the paint show me the way, and I sense they are not as impressed if they think I did it spontaneously.' Perhaps a little less spontaneity may have been welcome here. 5. James Franco, Army Pants, 2011 It now seems incredible to think that James Franco – last seen popping up in French-language blockbusters as the villain – was once one of the hottest actors in Hollywood, an Oscar-nominated star who could (apparently) do no wrong. How else to explain the indulgence that he was offered when it came to producing such ugly, cluttered artworks as the frankly horrible Army Pants. It sold for just over $8000 when it was last offered for auction in 2023; a mere fraction of the work of other celebrity artists, and an indication of how steeply his reputation has fallen.
Epoch Times
10-06-2025
- Entertainment
- Epoch Times
AI Trained on Copyrighted Material Without Permission Poses ‘Direct Threat' to Film Industry, Says BFI
Artificial intelligence trained on copyrighted material without permission 'poses a direct threat to the economic foundations of the UK screen sector,' a report by the British Film Institute (BFI) says. Authors Other issues raised include concerns about the future of the workforce, as well as the need for new skills training for sector employees to be able to adapt to and operate in an AI-enhanced screen industry. The report on the use of AI in the film, TV, visual special effects, and video game industries published on Monday says the source of training data for generative AI models includes scripts from more that 130,000 films and television shows, as well as databases of pirated books and content uploaded to YouTube. The analysis was carried out in partnership with CoSTAR, the UK's creative research and development network which is led by Goldsmiths, Loughborough, and Edinburgh universities. Professor Jonny Freeman, director of CoSTAR Foresight Lab, said that the landscape of AI is complex, with both disadvantages and advantages for its inclusion in the screen sector. Related Stories 2/25/2025 5/22/2025 Freeman said, 'The report acknowledges that while AI offers powerful tools to enhance creativity, efficiency and competitiveness across every stage of the production workflow – from script development and pre-production planning, through on-set production, to post-production and distribution – it also raises urgent questions around skills, workforce adaptation, ethics, and sector sustainability.' AI Used in Industry One of the BFI's recommendations is for the UK to establish AI training licences, enabling deals between intellectual property (IP) rightsholders and AI developers. 'The UK is well-positioned to lead in this space, thanks to its 'gold standard' copyright regime, a vibrant creative technology ecosystem, and a coalition of creative organisations advocating for fair licensing practices.' the report says. AI is already been used for dubbing and visual effects in film and televisions, notably in the post-production of 'The Brutalist,' starring Adrien Brody, which Adrien Brody attending the special screening of The Brutalist, at Picturehouse Central Cinema, London, on Jan. 15, 2025. Ian West/PA Wire The report also recommends the screen sector build skills complementary to AI, making the workforce resilient to technological changes. 'AI automation may, in time, lower demand for certain digital content creation skills. It may also create new opportunities for roles that require human oversight, creative direction, and technical fluency in AI systems,' it said. Rishi Coupland, the BFI's director of research and innovation, said the report 'comes at a critical time and shows how generative AI presents an inflection point for the sector and, as a sector, we need to act quickly on a number of key strategic fronts.' 'While it offers significant opportunities for the screen sector such as speeding up production workflows, democratising content creation and empowering new voices, it could also erode traditional business models, displace skilled workers, and undermine public trust in screen content,' he said. Artists Call for IP Protections The report was published as the government attempts to pass the Data (Use and Access) Bill, which would allow tech companies to train their AI on copyrighted material unless the creator explicitly opts out. The House of Lords has been demanding an amendment be added to ensure artists are offered copyright protection. High-profile artists are also calling for better protections for their creative output. In February, Culture Secretary Lisa Nandy arrives in Downing Street, London, England, on Oct. 30, 2024. Lucy North/PA Wire Last week, Culture Secretary Lisa Nandy sought to reassure the creative sector that artists would not be harmed by future legislation and AI. Addressing the Media & Telecoms 2025 and Beyond Conference on June 3, she 'I will never stop working for creatives to deliver solutions, transparency and the empowerment that you need in the digital age. We are a Labour government, and the principle of people must be paid for their work is foundational, and you have our word that if it doesn't work for the creative industries, it will not work for us,' Nandy said.
Digital Trends
09-06-2025
- Entertainment
- Digital Trends
3 underrated movies on Hulu you need to watch in June 2025
The Predator franchise gains another entry this month on Hulu. Predator: Killer of Killers is a new adult animated anthology from Prey director Dan Trachtenberg. Killer of Killers explores the lives of three warriors — a Viking raider, a Japanese ninja, and a World War II pilot — and their battles against a Predator. The critically acclaimed movie is now streaming. Speaking of the Predator franchise, one of our picks for underrated movies to watch this month is Predators, which stars two-time Oscar winner Adrien Brody. Check out Predators and two more underrated movies on Hulu. Recommended Videos We also have guides to the best new shows to stream, the best movies on Netflix, the best movies on Hulu, the best movies on Amazon Prime Video, the best movies on Max, and the best movies on Disney+. Predators (2010) 2025 is the comeback year for the Predator franchise thanks to Predator: Killer of Killers and Predator: Badlands. Things were not always this positive for the franchise, as many of the Predator movies released between 1987's Predator and 2022's Prey were not successful. The lone bright spot was 2010's Predators, Nimród Antal's standalone sequel to Predator 2. A group of murderers are transported to a mysterious alien planet, where they become the prey of a group of Predators who hunt humans for sport. One of the murderers, a mercenary named Royce (Adrien Brody), deduces that they must work together to free a captive Predator and convince it to help them get back to Earth. Backed by several terrific action sequences, Predators is a wildly entertaining thriller that still holds up 15 years later. Stream Predators on Hulu. Presence (2025) Don't take Steven Soderbergh for granted. Many filmmakers of Soderbergh's stature could coast for the rest of their careers. No one experiments more with the medium than Soderbergh. Take Presence, for example. Soderbergh crafts a supernatural thriller seen through the eyes of the spirit occupying the house. The Presence follows the house's new inhabitants: Rebekah Payne (Lucy Liu), her husband Chris (Chris Sullivan), and two children, Tyler (Eddy Maday) and Chloe (Callina Liang). On the surface, Presence might be viewed as a horror movie. It's not. Presence is a thrilling family drama about grief and trauma. What other filmmaker could pull that off? Only Soderbergh, man. Stream Presence on Hulu. Just Go with It (2011) Life lesson — the funny guys get the girl. Well, at least that's true in Adam Sandler movies. Sandler plays a womanizing plastic surgeon in Just Go With It. After getting his heart broken, Danny Maccabee (Adam Sandler) changes his attitude by pretending to be married to sleep with women. After meeting the beautiful Palmer (Brooklyn Decker), Danny takes the scheme to another level by having his assistant, Katherine (Jennifer Aniston), pose as his future ex-wife. As he spends more time with Katherine, Danny starts to question if he's in love with the wrong woman. Sandler could have chemistry with a tree, so it's no surprise that he and Aniston are a great on-screen tandem. Stream Just Go with It on Hulu.
Khaleej Times
08-06-2025
- Entertainment
- Khaleej Times
Adrien Brody returns with bold art exhibition 'Made in America'
'I'm a little in a daze,' actor Adrien Brody said at the end of May, the skin around his eyes slightly crinkled, but his gaze soft and present. He'd been up since 5am and had spent most of his day crouched on the ground at Eden Gallery in Manhattan, putting the finishing touches on his collages ahead of the opening of his latest solo exhibition, 'Made in America.' The floors and walls were covered with canvases, themselves covered with old newspaper advertisements, erratic splashes of graffiti and darkly rendered cartoon characters. Donald Duck, Mickey Mouse and Marilyn Monroe were in attendance. As were the Hamburglar and a toy soldier. In a nearby corner was an empty gum wall, soon to be covered in wads of chewing gum straight from the mouths of attendees in an interactive 'expression of rebellion and decay,' according to the wall text. Adrien Brody, the Oscar-winning actor, is also Adrien Brody, the impassioned painter, is also Adrien Brody, the beats-mixing sound artist. Those mediums converge in a collection of more than 30 works. Accompanied by Brody's soundscapes, the show features large mixed media art in what he calls an autobiographical display of the gritty New York of his youth, and the culture of violence and intolerance today. It's an approach that has been met with some derision both in the art press and on social media. 'Made in America,' on view until June 28, also includes photographs of and by his mother, acclaimed Hungarian American photographer Sylvia Plachy — a role model for Brody, who was never formally trained in visual art. It's been nearly a decade since Brody, 52, last showed his work publicly, at Art Basel Miami. So why now? 'I'm an unemployed actor at the moment,' he said with a half smile. Though it's difficult to picture Brody as unemployed, especially when which his artworks sell for six figures, this isn't untrue. The last film Brody shot was in 2023, 'The Brutalist,' for which he won the best actor Oscar this year, and nothing definite is lined up next. 'I know that if I don't do it now, I won't do it for another long period of time,' he said of the show. 'It's kind of this time to let it go.' Brody has been steadily working on his collages for the past decade. In the fallow periods, yearslong stretches when he wasn't landing the acting roles he yearned for, he turned inward and painted. The method in all of his mediums, he said, is a combination of layering (be it the incorporation of studied hand mannerisms for his character in 'The Pianist' or the added thumps for a recorded track) and peeling back (using chemicals to degrade paint for a visual work; stripping away pretenses as an actor). Brody, who credits his mother as his greatest artistic inspiration, grew up accompanying Plachy on photo expeditions as she chronicled the city's beauty and chaos on assignments for The Village Voice, where she worked for 30 years. In her darkroom, set up in their home attic in Queens, they would talk to each other through the curtain while she developed her photographs, moving the images from tray to tray, swirling them around in Dektol. 'He still associates me with those bad chemicals,' she said, laughing. His father, Elliot Brody, was also a painter but focused on his career as a teacher. It was onto Plachy's discarded photo prints that Brody began painting as a child. 'He used to be the son of Sylvia Plachy,' she said warmly. 'Now I'm the mother of Adrien Brody!' As a teenager, Brody attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts for drama, after being rejected for visual arts. 'It was a good thing, obviously,' he said. 'I'd definitely be a starving artist, most likely, if I didn't have an acting career. So it's funny how that happened.' On weekdays he took four trains from his home in Woodhaven, Queens, to get to school, and on his long commute became enamoured with the graffitied walls and etched tags on the plastic windows — a city 'bursting with energy and aggression' of a different time, he said. In 'Made in America,' many works feature a cartoon — Lisa Simpson or Yosemite Sam or Bugs Bunny — brandishing a weapon. It's a depiction of the violence Brody said he grew up with culturally: an American diet of toy guns, video games and McDonald's. 'What we're fed as children is constant imagery of ubiquitous violence,' he said. 'I think that there are repercussions to that, and we are experiencing those.' In Brody's vermin series, oversized black and white images of rats appear to pixelate behind street art tags. People are 'either grossed out by them, or they are antagonistic toward them,' Brody said of the scores of rats in New York City. 'And I always felt like, 'Why doesn't anybody see what they're going through?' Weirdly, I really kind of feel for them.' That compassion, he said, comes from his mother. Plachy's sensitivity toward animals rubbed off on him. So much so that he's had a pet rat. Twice. The first he bought as a child and then gifted to a friend; the second, a few years ago, belonged to the daughter of his girlfriend, Georgina Chapman. 'They're forced to kind of hide and scurry about and forge for themselves, and are being poisoned by this kind of campaign to eradicate them,' he said. 'And people are nasty to them and that always bothered me.' Sitting outside the gallery the day before the opening, Brody looked down at his hands, covered in acrylic paint. 'It's a lot of pressure to reveal this,' he said. 'I've literally been hiding the works.' 'Hiding maybe isn't the right word,' he added, 'but working quietly for a very long time and not showing, intentionally, to kind of develop this and do it at my pace. And so this is kind of ripping a Band-Aid off.'
