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A24 has unveiled the new Death of a Unicorn poster, a dark comedy formerly titled Death of a Unicorne, ahead of the trailer reveal tomorrow.

The dark comedy, according to the poster below, will arrive in Spring 2025.

Death of a Unicorn stars Paul Rudd and Jenna Ortega (Scream, X, “Wednesday”). But the talent doesn’t stop there. Not only is the dark comedy produced by Ari Aster (Beau is Afraid, Misommar), but horror master John Carpenter will compose music for the film.

In Death of a Unicorn, “A father (Rudd) and daughter (Ortega) accidentally hit and kill a unicorn while en route to a weekend retreat, where his billionaire boss (Richard Grant) seeks to exploit the creature’s miraculous curative properties.”

It marks writer/director Alex Scharfman’s directorial debut. The film also stars Téa Leoni (Jurassic Park III, Spanglish), Will Poulter (Guardians of the Galaxy Vol. 3), Anthony Carrigan (Bill & Ted Face the Music,...

World War II is a subject that filmmakers return to every year. In 2023 alone, we saw the U.S. home front tackled at a universal scale in “Oppenheimer,” the sweep of European resistance in “All The Light We Cannot See,” “A Small Light,” and “Transatlantic,” indulged in the action-packed catharsis of a Nazi murder-spree in “Sisu,” and heard, if not saw, the horror of the death camps in “The Zone of Interest.” In 2024, we’re already looking ahead to Guy Ritchie fucking up Nazis in “The Ministry of Ungentlemanly Warfare.”

More recent series recreate the era, too, including Tom Hanks’ and Steven Spielberg’s final installment in their TV miniseries triumvirate about the American war effort, “Masters of the Air,” Hulu’s Holocaust survival story “We Were the Lucky Ones,” as well as Baz Lurhman’s, Hugh Jackman’s, and Nicole Kidman’s return to sweeping WWII melodrama in “Faraway Downs.

There are some fascinating names behind A24‘s dark comedy, Death of a Unicorne, beyond stars Paul Rudd and Jenna Ortega. Not only is it produced by Ari Aster, but horror master John Carpenter will compose music for the film.

In Death of a Unicorne, “A father (Rudd) and daughter (Ortega) accidentally hit and kill a unicorn while en route to a weekend retreat, where his billionaire boss (Richard Grant) seeks to exploit the creature’s miraculous curative properties.”

The dark comedy marks writer/director Alex Scharfman’s directorial debut.

Award-winning filmmaker and composer John Carpenter (Halloween), Cody Carpenter and Daniel Davies will compose music for the film.

The dark comedy has fantasy elements baked into the plot, but with Aster and Carpenter involved, it feels like a safe bet that Death of a Unicorne might dip further into genre territory than first glance.

In addition to these big genre...

A24 has wrapped production on Death of a Unicorne, its new film starring Paul Rudd (Ant-Man franchise) and Jenna Ortega (Wednesday) that has been at the center of the online rumor mill for months. Others officially set to join the duo as part of the ensemble include Richard E. Grant (Saltburn) Téa Leoni (Flirting with Disaster), Will Poulter (Guardians of the Galaxy Vol. 3), Anthony Carrigan (Barry), Sunita Mani (Glow), Jessica Hynes (Shaun of the Dead), and Stephen Park (Asteroid City).

Shot over the summer under a SAG-AFTRA interim agreement, Death of a Unicorne marks the directorial debut of Alex Scharfman, who also penned the script. The film follows a father (Rudd) and daughter (Ortega) who accidentally hit and kill a unicorn while en route to a weekend retreat, where the former’s billionaire boss (Grant) seeks to exploit the creature’s miraculous curative properties.

A24 will globally distribute...

Dangerous Liaisons continues to titillate, tease, and torment.

There seems to be no end to Camille and Valmont's mind games, but they still can't help but flirt.

TV Fanatic scored an exclusive clip from Sunday's upcoming episode, which sees the former lovers meeting in a most unlikely place.

Dangerous Liaisons has made such a splash that it has already been picked up for a second season.

It's a prequel series to the novel by Pierre Choderlos de Laclos and play by Christopher Hampton (which was made into a film by Stephen Frears).

Camille (Alice Englert) last saw Valmont (Nicholas Denton) attempting to seduce a wealthy older woman at the opera.

Here she makes an offer -- and demands.

At Madame Berthe's dress shop, Camille has never looked more regal in a magnificent pink gown.

In fact, Pascal doesn't even recognize her.

More playful banter follows, giving way to veiled insults,...

Anya Taylor-Joy, Billie Eilish, Sheryl Lee Ralph, Caitríona Balfe, Jamie Dornan and Disney exec Dana Walden are among the 397 artists and executives invited to join the membership of the Academy of Motion Pictures Arts and Sciences. If all of this year’s invitees accept membership, it will bring the total number of Academy members to 10,665, with 9,665 eligible to vote for the 95th Oscars set to take place on March 12, 2023.

The 2022 class is 44 women, 37 belong to underrepresented ethnic/racial communities, and 50 are from 53 countries and territories outside the United States. There are 71 Oscar nominees, including 15 winners, among the invitees. Some of the big names invited are recent winners Ariana DeBose (“West Side Story”) and Troy Kotsur (“Coda”), and nominees Jessie Buckley (“The Lost Daughter”), Jesse Plemons and Kodi Smit-McPhee (“The Power of the Dog”). Also invited are a slew of global artists and artisans such as actors Robin de Jesús, Olga Merediz...

As she prepared to dress the members of a Swedish commune for A24 horror pic Midsommar, costume designer Andrea Flesch took a deep dive into Scandinavian folklore, finding seeds of inspiration with which she could help build a singularly terrifying and uniquely designed world.

The second feature from up-and-coming auteur Ari Aster, who stunned audiences last year with Hereditary, his critically acclaimed box office smash, Midsommar centers on Dani (Florence Pugh), a young woman who joins her neglectful boyfriend and his friends on a trip to a remote area of Sweden, in the aftermath of an awful family tragedy. Hoping for a peaceful retreat into nature, in a land where the sun always shines, Dani quickly realizes she’s in for an altogether more violent and disturbing experience, in the midst of a pagan cult.

Joining Aster for a Budapest shoot during the summer and fall of 2018, Flesch would hone...

To look at Felicity Jones as the young Ruth Bader Ginsburg in the opening scene of “On the Basis of Sex” is to glimpse a microcosm of the next two hours: Outfitted in a 1950s-silhouetted dress, jacket and seamed pantyhose, Ginsberg is one of the few women at a Harvard Law School introductory seminar among 450 men dressed in gray suits.

“It’s a full ensemble that is quite feminine, but in an appropriate way for where she was,” says the film’s costume designer Isis Mussenden. “Seeing it juxtaposed like that immediately tells our audience that this is someone special. It immediately tells us we’re in another era. And that she’s a fish out of water.”

Such is a key job of a film’s costume designer: to provide an audience shorthand so the story can begin.

Designers for films including “If Beale Street Could Talk,” “Mary Queen of Scots,...

This season’s period costume design was marked by a striking blend of authenticity and artistry in such Oscar contenders as “Black Panther,” “The Favourite,” “Mary Queen of Scots,” “Colette,” and “Outlaw King.”

And the secret weapons were denim and wool, the Pan-African flag, and going black-and-white. How’s that for evoking a sense of modernism?

Read More: ‘Black Panther’: Building Wakanda on Ryan Coogler’s Vision of Identity and Unity

Ruth Carter’s colorful costume designs for “Black Panther” represented a diverse celebration of African cultures — past and present — and elevated the Marvel superhero genre to a new aesthetic realm per director Ryan Coogler’s mandate. She mixed a panoply of tribal influences along with Afropunk for the fictional Wakanda in making a beautiful and positive cultural statement about Africa. And in keeping with the indigenous direction, she stayed true to the authenticity of fabrics in adapting them for a superhero aura.

Elaborate period costumes (see “Colette” and “The Favourite”) tend to rule the day with Best Costume Design. So do fantastical original creations like Ruth Carter’s colorful array of costumes for the new world of Wakanda in “Black Panther.” Both “A Star is Born” and “Bohemian Rhapsody” play with a wide range of flamboyant concert styles and behind-the-scenes outfits.

No film will be deemed a frontrunner unless we have seen it. Lists in alphabetical order.

Frontrunners:

Erin Benach (“A Star Is Born”)

Ruth Carter (“Black Panther”)

Julian Day (“Bohemian Rhapsody”)

Andrea Flesch (“Colette”)

Sandy Powell (“The Favourite”)

Contenders:

Coleen Atwood (“Fantastic Beasts: The Crimes of Grindelwald”)

Alexandra Byrne (“Mary Queen of Scots”)

Sandy Powell (“Mary Poppins Returns”)

Marci Rodgers (“BlackKklansman”)

Mary Zophres (“The Ballad of Buster Scruggs”)

Mary Zophres (“First Man”)

Bill Desowitz contributed to this report.

The London Film Festival continued on October 11 with Keira Knightley‘s new period drama “Colette” playing to three cinema screens packed full of press. This biopic of the acclaimed writer is set in turn of the century Paris and is directed by Wash Westmoreland (“Still Alice”). It co-stars the terrific Dominic West as Colette’s husband, Willy. Here’s the official synopsis: Colette is pushed by her husband to write novels under his name. Upon their success, she fights to make her talents known, challenging gender norms.

Predict the Oscar nominations now; change them until January 22

The film was very well-received here, with many an appreciative laugh heard during the more relevant jokes and topics raised during the film. This period piece is quite relatable to a lot of people today, with the struggle of gender norms a hot button issue. The filmmakers play on that during several scenes. Colette...

Wash Westmoreland at Le Parker Meridien in New York : "My co-writer and late husband Richard Glatzer was really the first one to feel a connection. He spoke fluent French and his birthday was the same day as Colette's." Photo: Anne-Katrin Titze

Wash Westmoreland's Colette, co-written with Richard Glatzer and Rebecca Lenkiewicz (co-writer of Sebastián Lelio's Disobedience and Pawel Pawlikowski's Oscar-winner Ida) stars Keira Knightley in the title role, Dominic West as her husband Willy, Fiona Shaw as her mother Sido, Denise Gough as her girlfriend Missy, Eleanor Tomlinson as Georgie Raoul-Duval, Robert Pugh as Colette's father Jules, and Dickie Beau as the mime Wague.

Julia Kristeva's trilogy Female Genius: Life, Madness, Words, costume designer Andrea Flesch, a connection between Coco Chanel and Colette, Maurice Chevalier's character in Vincente Minnelli's Gigi, Keira Knightley and the cat, a dog named Life, and the early influence and...

In Wash Westmoreland’s “Colette,” the most famous female writer of the early 20th century –played by Keira Knightley– dressed the part in subversive fashion. Which provided the perfect opportunity for costume designer Andrea Flesch to express the forward-thinking, androgynous icon through her wardrobe.

“I tried to design her style by her writings, by her inner thoughts, by her strong behavior and not caring what others think,” said Flesch. “So I put the image of masculinity in her wardrobe, even when it was sexy or feminine. Ties and very simple cuts and this black-and-white, which is the most elegant thing but very different. And I always gave her a tie pin with a meaning: her pet bulldog.”

Read More: ‘‘Colette’ Review: Keira Knightley Starts a Sexual Revolution in this Frothy French Biopic — Sundance 2018

Colette’s journey consisted of ghost writing her autobiographical coming-of-age story in the popular “Claudine” novels for...

Costume designer Andrea Flesch assembled more than 50 outfits to define the title character in “Colette,” a film in which period costumes strongly support the story of avant-garde French novelist Sidonie-Gabrielle Colette, who lived from 1873 to 1954 and became identified with such issues as creative copyright ownership and women’s emancipation.

The film, directed by Wash Westmoreland (“Still Alice”), stars Keira Knightley as “Colette,” a girl from rural France who marries Willy, a sophisticated Parisian writer played by Dominic West. Bleecker Street will release the picture Sept. 21.

Flesch aimed to define Colette as she embarks on her journey from country to city and from suppressed ghostwriter to literary fame, perhaps most notably for the 1944 novella “Gigi,” on which the 1958 best picture Oscar winner is based. “From the beginning, Wash and I discussed our vision of the film,” she says. “What’s special in her character is that she always finds her way to be unique and modern.

Colette was a pioneer in women’s rights, an author who was nominated for the Nobel prize in literature six years before her death in 1954. But director Wash Westmoreland (Still Alice) — working from a script he wrote with his late husband Richard Glatzer and Rebecca Lenkiewicz — has rightly refused to fashion a stuffy biopic out of Colette’s life. This is the story of Colette’s empowerment, a theme that rings timely and true in the era of #MeToo and #TimesUp. This is the firebrand Colette that Knightley plays with every fiber of her being.

About a quarter of the way through the film that shares her name, Colette (played by Keira Knightley) sits down to write what I gather became quite a famous opening line – “My name is Claudine, I live in Montigny; I was born there in 1884; I shall probably not die there.” We hear this line again and again throughout the film, as Claudine à l’école spawns not only a series but an entire culture. But it never has the same power as that first time, when Colette smiles in amazement at having written it. Not because she’s particularly taken with her own cleverness, or foresees the success it may spawn, but for the very act of having written it at all. For the act of creating something new, something personal and true. For realizing one’s thoughts have a shape and some value; for the sudden confrontation with one’s own personhood.

The Duke Of Burgundy

Written and directed by Peter Strickland

UK, 2014

A couple of years ago, Peter Strickland’s Berberian Sound Studio seemed to materialise from the ether and spear the hearts of giallo and cult murder movie fans everywhere with its exquisitely executed homage to the murdering grounds of Argento, Bava and Martino, so his long-anticipated follow-up as been eagerly received throughout the international festival circuit. This time Strickland has mounted a similar etymology of cult movie history in the form of 1970′s Eurotrash exploitation pictures, soft-core seductions from the likes of Jess Franco or Umberto Lenzi, with a reincarnation complete with creeping zooms, trance-like montages, and a rather flippant approach to narrative coherence, sacrificed on the altar of pure cinematic sensation.

In a nameless, unspecified European locale – we could be on the outskirts of Antwerp or Amsterdam, Milan or Madrid – -a pastoral moss-choked mansion house is visited by...