Hirokazu Kore-Eda On Working With Late Composer Ryuichi Sakamoto, Reteaming With ‘Shoplifters’ Actress Sakura Ando On Cannes Title ‘Monster’

Thania Garcia Nelly Furtado gives fans the first taste of her long-anticipated return to music with the release of her new Dom Dolla-produced single — and her first in five years — titled “Eat Your Man.” Furtado pays lyrical homage to some of her most recognizable hits (ahem, “Maneater”) in the hypnotic club anthem that marks her re-entrance into the limelight. “I have been making new music solid, nonstop for the last year the way I like to: late nights, space to create wildly and loads of community and collaboration,” Nelly tells Variety. “I am making a pop album influenced by sounds that I love. My album touches on dance — I did a record with SG Lewis that I adore. T-Minus produced my Bomba Estereo song (T-Minus is a beast!) I am proud of that record. One of my favorite tunes is produced by Wonda Gurl – I love her energy.”

In today’s episode of ⁠Bingeworthy⁠, our TV and streaming podcast, guest host Joe Scott explores the lives of star-crossed lovers as well as love-crossed country music stars in the award-winning Showtime miniseries “George and Tammy.” Created by Abe Sylvia (“Nurse Jackie,” “The Eyes of Tammy Faye,” “Hap and Leonard,” and “The Affair“), all six episodes of the miniseries were directed by Australian filmmaker John Hillcoat.

Elsa Keslassy International Correspondent Well Go USA Entertainment has acquired North American rights to Kore-eda Hirokazu’s film “Monster” which world premiered in competition at the Cannes Film Festival and and won best screenplay (for Yuji Sakamoto). A critically acclaimed Japanese master, Kore-eda previously won Cannes’ Palme d’Or with “Shoplifters” in 2018 and returned to the competition last year with “Broker” which won best actor for Song Kang-ho. Well Go USA Entertainment plans to release “Monster” in North American theaters in late 2023 or early 2024. Scored by late Oscar-winning composer Ryuichi Sakamoto (“The Last Emperor”) and lensed by Ryoto Kondo (“Shoplifters”), “Monster” tells the story of a widowed mother (Ando Sakura, “Shoplifters) who notices that her young son (Kurokawa Soya) has begun exhibiting strange behaviors. When she brings her concerns to the staff at his school, she discovers that a teacher (Nagayama Eita, “Hara-Kiri: Death of a Samurai”) is responsible and demands an explanation. Told through the multilayered perspectives of mother, teacher and child, the film gradually unveils the truth which proves much more complex than anyone expects.

A woman who passed out in her car in the middle of the road after realising she was too drunk to drive has walked free from court - despite being more than three times the legal limit.

Rachel Seo The real-life story of Reality Winner’s arrest unfolds as such a sharp piece of on-the-nose political theater that it almost seems to have been dramatized. On June 3, 2017, the FBI showed up at the former Air Force member and NSA translator’s house to question her about a leaked document that they’d traced back to her. Over the course of the interrogation — during which the agents did not read the ex-intelligence specialist her Miranda rights and during which she refrained from requesting a lawyer — Winner’s composure gradually deteriorated. She was arrested under suspicion of releasing an intelligence report that detailed Russian interference in the 2016 U.S. elections before being sentenced to five years and three months in prison, the longest ever for the crime.

BLACKPINK‘s Jennie has opened up about working with Lily-rose Depp on the upcoming HBO series The Idol.South Korean singer Jennie, of the K-pop girl group BLACKPINK, recently spoke about her experience working on the forthcoming HBO original TV series, starring Lily-Rose Depp and Abel Tesfaye (also known as The Weeknd).In an interview with Women’s Wear Daily, Jennie touched what it was like to make her acting debut in The Idol and what it was like working with Depp. “It definitely was a challenge, because I’ve never experienced anything like that before. It was like, breaking a wall for me,” she said.“She really helped me a lot.

Priyanka Chopra loved working with her husband. In an exclusive behind-the-scenes clip from the set of the actress' latest film, , Chopra gushes over Nick Jonas' cameo performance in the film.«It was hysterical,» she says. «He leaned into it and the crew was cracking up.

Kelly Rowland spoke about working with Tyler Perry in a movie during a recent chat with ET Canada.

Monica Barbaro has now starred alongside two action legends — Tom Cruise and Arnold Schwarzenegger — and the actress says her experience working with the two is “night and day.”

Priyanka Chopra opened up about a variety of topics during an interview with The Zoe Report.

Elizabeth Olsen is opening up about Love & Death, and what lies ahead.

Marion Cotillard is opening up about an unpleasant experience she had with a male director who left her feeling “manipulated.”

It’s the end of a bittersweet era for country music star Blake Shelton. After 23 seasons of being on NBC’s "The Voice," Shelton, 46, is preparing to bid farewell to the singing competition show.  Speaking with Fox News Digital, first-time coach Niall Horan and previous winners on Team Blake shared the impact the "God’s Country" singer left in their lives.  "It was amazing to watch all of the tributes to Blake… it was amazing to be part of it, even be part of his whole last season," Horan said.  "I'm so happy for Blake.Twenty-three seasons, and he goes out as the major champion." While Shelton’s last show was Tuesday, previous winners on Team Blake reunited to bask in the country music star’s glory one last time.

Selma Blair is joining the Race to Erase MS. The actress has been open about her struggles living with multiple sclerosis since being diagnosed in 2018. Earlier this month, she revealed she went undiagnosed for 40 years despite showing symptoms.

Rachel Seo Jenny Han’s 2014 novel “To All the Boys I’ve Loved Before” first introduces readers to Kitty Song Covey as the mischievous younger sister of main protagonist Lara Jean. Kitty, a precocious pre-teen, harbors a penchant for instigating drama — an affinity that sets off the chain of events leading to the fake-but-eventually-real relationship between her sister and love interest Peter Kavinsky. Memorialized by Anna Cathcart in the 2018 film version of the book — which spawned two sequels and launched the careers of Lana Condor and Noah Centineo, who played the leads — Kitty often serves as the comic relief, offsetting Lara Jean’s careful romantic idealism. But in spinoff series “XO, Kitty,” which premiered on the streaming service on Thursday, the little sister becomes the star, and Cathcart steps into the spotlight.

Cannes Film Festival was bursting with powerful auteurs debuting new work and a bevy of titles being prepped for acquisition. From Pedro Almodóvar to Steve McQueen, festival attendees were flush for choice on what to watch — this despite reports that issues with tickets were still happening.

In the throes of Hirokazu Kore-Eda’s latest Rashomon-infused narrative Cannes competition film, Monsters, are two boys learning about their feelings for one another.

Japanese filmmaker Hirokazu Kore-eda’s latest gem, “Monster,” begins on an enormous inferno. The facade of a hostess club is engulfed in flames of mysterious origin, attracting everyone from curious neighbors to squealing children chasing down roaring fire engines to witness the chaos.

Japanese filmmaker Hirokazu Kore-Eda’s seventh go-round in Cannes competition, Monster, received a six-minute standing ovation Wednesday in the Grand Theatre Lumiere. He won the Palme d’Or back in 2018 for Shoplifters. Can he do it again?

Peter Debruge Chief Film Critic In film after film, from “Nobody Knows” to “Shoplifters,” Japanese master Kore-eda Hirokazu has proven himself to be among the medium’s most humanistic directors, inclined to see the best in people, especially children. So how to reconcile the way “Monster” makes us feel? Returning to his native Japan after helming two relatively disappointing features abroad (“Broker” and “The Truth”), the 2018 Palme d’Or winner opens his latest Cannes competition entry with a building on fire — a “hostess bar” where lonely men seek female company — and fifth-grade Minato (Kurokawa Soya) watching the inferno from a nearby balcony. Kore-eda will return to this scene three times over the course of the film, folding the narrative back upon itself from a different angle each time, before finally revealing who set the blaze.