George Miller Tells an Epic, Fantasy Love Story in ‘Three Thousand Years of Longing’ Trailer

Katie Holmes is exploring life and love in lockdown in her introspective new romantic drama, ET exclusively debuts the teaser trailer for the upcoming film, written and directed by Holmes, which is set to make its debut at the Tribeca Film Festival next week. The film stars Holmes as June, a food critic who accidentally double-books an AirBnB upstate for herself and her boyfriend, John (Derek Luke), in March 2020. But when John has to bail on the trip to take care of his parents, June is forced to cohabitate with the other guest, newly-single Charlie (Jim Sturgess) as the pandemic restrictions start to sink in, essentially stranding them together.

Katie Holmes is exploring life and love in lockdown in her introspective new romantic drama, ET exclusively debuts the trailer for the upcoming film, written and directed by Holmes, which is set to make its debut at the Tribeca Film Festival next week. The film stars Holmes as June, a food critic who accidentally double-books an AirBnB upstate for herself and her boyfriend, John (Derek Luke), in March 2020. But when John has to bail on the trip to take care of his parents, June is forced to cohabitate with the other guest, newly-single Charlie (Jim Sturgess) as the pandemic restrictions start to sink in, essentially stranding them together.

“Furiosa,” the long-awaited prequel to the 2015 Charlize Theron blockbuster “Mad Max: Fury Road.” Chris Hemsworth, who will reportedly play the central villain in the post-apocalyptic action film, announced the news Wednesday with a Twitter post that read “A new journey in the Mad Max saga begins #FURIOSA.”A new journey in the Mad Max saga begins #FURIOSA pic.twitter.com/nhxqRXB73zStarring Anya Taylor-Joy as the younger version of Theron’s Imperator Furiosa, the movie will follow the protagonist prior to her war captaining days. Along with Hemsworth, Tom Burke and Angus Sampson have been named to the cast.

Jazz Tangcay Artisans EditorThe highly-anticipated  “Furiosa,” a spin-off from “Mad Max: Fury Road” has started filming.Chris Hemsworth, one of the film’s stars, shared a post via social media saying, “A new journey in the Mad Max saga begins.” Anya Taylor-Joy stars alongside him. The “Mad Max” prequel movie is based on Charlize Theron’s Imperator Furiosa character from 2015’s “Mad Max: Fury Road.”Miller calls the sequel “a saga,” which will unspool over a 15-year period, differing from its predecessor which spanned three days in its timeframe.George Miller is set to  direct, co-write and produce “Furiosa,” along with his longtime producing partner Doug Mitchell.A new journey in the Mad Max saga begins #FURIOSA pic.twitter.com/nhxqRXB73z— Chris Hemsworth (@chrishemsworth) June 1, 2022Most recently, Miller revealed that  he and composer Tom Holkenborg, aka Junkie XL, will work together again on the film’s score.

Caitlin Quinlan “I don’t think you ever have to be fearful when you’re writing a film,” says Moroccan filmmaker Maryam Touzani ahead of the premiere of her second feature “The Blue Caftan” in Un Certain Regard.Following the relationship between husband and wife Halim and Mina who have kept Halim’s homosexuality a secret for many years, the film takes an important stand against the homophobia of Morocco and its anti-LGTBQ laws. “In Morocco, homosexuality is illegal and I don’t have words to describe how it makes me feel.

Based on a true story, Firebird is a meticulously researched and produced film about two young men on a military base in Soviet-occupied Estonia in the late 1970s.Sergey (Tom Prior) is a private just weeks away from discharge; Roman (Oleg Zagorodnii) is an officer and pilot, newly assigned to the base. Their attraction is almost immediate, unfolding with a tender intimacy which is beautifully, painfully naïve to the realities of their society – both military and civilian.Tom Prior and Oleg Zagorodnii in ‘Firebird’Firebird feels like a film for the ages, but also of the times.

Clayton Davis Amazon and MGM may have completed their $8.5 billion merger in March, but don’t expect to see “Three Thousand Years of Longing,” the fantastical love story from director George Miller, streaming on Prime Video on Aug. 31 when the film opens.Miller is a true believer in cinema and the movie theatres that house them. “It would be very painful to know that your movie will be first seen on streaming,” he tells Variety.“There’s a commitment that they can’t change.

CANNES – George Miller is one of the most acclaimed filmmakers of his generation, but when it comes to Tilda Swinton he truly knows among the greats. The star, along with Idris Elba, of his new film “Three Thousand Years of Longing” says she doesn’t pick roles.

CANNES, France -- It's taken a lot of time and a good deal of yearning for Australian director George Miller to make “Three Thousand Years of Longing, " his long-awaited follow-up to “Mad Max: Fury Road."Miller premiered “Three Thousand Years of Longing” over the weekend at the Cannes Film Festival, the culmination of a journey that began 20 years ago when Miller first read the A. S.

If anyone has a right to be jaded about superhero movies, it’s George Miller. Miller posses one of the great what-if superhero stories, having spent several years in the 2000s working on “Justice League Mortal,” a $200 million dollar movie that would have featured Armie Hammer as Batman and D.J.

Matt Donnelly Senior Film WriterGeorge Miller has some thoughts about the future of superhero movies.At a Saturday press conference in Cannes for his new film “3000 Years of Longing,” story archetypes throughout history were widely discussed — as his movie follows an academic who studies the narratives of humankind.In one scene, set at a conference discussing storytelling, we glimpse a large image of the DC Comics heroes including Superman, Batman and The Flash. Variety asked Miller if he thought that contemporary superhero content would be shared throughout the ages to come.“They endure and have endured anyway.

As if unleashing all the pent-up narrative impulses tamped down for the hard-bitten minimalism of “Mad Max: Fury Road,” Australia’s proudest son George Miller returns to Cannes’ out-of-Competition section with a sumptuous banquet of storytelling in service of storytelling. “Three Thousand Years of Longing” compresses eons of heartbreak, happenstance, and hope into a hotel room tête-à-tête that then re-blooms to the size of the universe, a parable both titanic and intimate in scale as it negotiates one woman’s complacent solitude against the welfare of mythologies dating back to the cradle of civilization.

George Miller told press today in Cannes that his new film 3000 Years of Longing is a fantasy story that is “open to interpretation.”

When ranging out of Mad Max territory, George Miller’s films are highly diverse and unpredictable in nature, and never has this proved more the case than with his time-traveling, narratively far-ranging new drama, Three Thousand Years of Longing. In this Cannes Film Festival competition entry, the director delves back into old texts to examine the nature and power of legendary stories that have endured for centuries in a way that is both sharply creative and a bit off-putting; the film begins on quite a high, only to slowly deflate as it works its way toward its modern-day ending.

Peter Debruge Chief Film CriticIn the brain-tickling eyesore that is “Three Thousand Years of Longing,” Tilda Swinton plays a narratologist, which is to say, someone who studies stories. Her character, Dr.

Of all the delirious sights that fill the screen and dazzle the eyes in George Miller’s delightfully idiosyncratic “Three Thousand Years of Longing,” the most surprising is also, without a doubt, the most banal: It is the four-inch piece of cloth that actress Tilda Swinton drapes across her nose and mouth as her character rides a city bus. It would seem this fairy-tale landscape that Miller has dreamed up – a land of Djinns and magic wishes and men who morph into malicious little ghouls before scattering away as 10,000 scarabs – is also, apparently, a world shook by COVID. This tension between escapism and the dreariness we often hope to escape lies at the heart of the mad scientist Miller’s latest experiment, which premiered to waves of applause at the Cannes Film Festival on Friday. Like “Mad Max: Fury Road” before it, “Three Thousand Years of Longing” is another kind of blockbuster that tries to lead by example, a big-budget fantasia that argues there are more imaginative and original ways for Hollywood to employ its tools. Adapted from a short story by A.S.

Zack Sharf George Miller electrified the Cannes Film Festival with “Three Thousand Years of Longing,” his first directorial effort since “Mad Max: Fury Road.” Miller’s latest, starring Tilda Swinton and Idris Elba, earned a six-minute standing ovation after its world premiere at Cannes’ Palais theater.A love letter to storytelling and its tropes and parables passed down through history, “Three Thousand Years” follows a solitary academic (Swinton) and a burdened genie (Elba) she finds in a bottle in the markets of Istanbul. His history unfolds in the stories of those who had found him before.While his memories were relayed in dazzling ancient locations with heavy special effects, half of the film is spent in a hotel room (the same that Agatha Christie lived in when she wrote “Murder on the Orient Express,” a bellhop tells Swinton).

It hopefully should not be controversial to say that “Mad Max: Fury Road” is a titanic work of modern filmmaking. It may then come as a surprise that its equally iconic creator, George Miller, has not made a film since its release.

It’s been seven years since Australian filmmaker George Miller dropped “Mad Max: Fury Road,” the acclaimed action fantasy some consider the best movie of the century. Now, the visionary writer/director/producer is back in the spotlight with another idiosyncratic original story.