Influencer Culture Skewered in Gia Coppola Film at Venice

US filmmaker Gia Coppola. (AFP)
US filmmaker Gia Coppola. (AFP)
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Influencer Culture Skewered in Gia Coppola Film at Venice

US filmmaker Gia Coppola. (AFP)
US filmmaker Gia Coppola. (AFP)

Coronavirus lockdowns have kept most US filmmakers and actors away from the Venice Film Festival, but Gia Coppola and Maya Hawke have brought a bit of today’s America to the Lido with “Mainstream,” a skewering look at YouTube and influencer culture.

The two descendants of Hollywood royalty (Coppola is a grandchild of Francis Ford and Hawke is the first-born of Uma Thurman and Ethan Hawke) said they have been tested repeatedly for the virus since arriving, as required by festival organizers for participants from outside Europe.

“It feels like a moment where we’re like ‘OK, we can follow the rules and we can still celebrate art and filmmaking and protect each other, keep each other safe,’” Hawke said, adding that she appreciated in particular the discipline of festival-goers in adhering to Italy’s anti-virus precautions that include mask mandates and social distancing norms.

In the US, “we’re still really struggling and having trouble working together. And that’s what feels so good about being here: that everyone is working together really, really well and respecting each other,” she told The Associated Press on Saturday.

It’s Coppola’s second feature-length film and second appearance at Venice, after her 2013 debut “Palo Alto,” competed in the Horizons section for up-and-coming talent, where “Mainstream” is also making its debut.

The film stars Hawke as Frankie, a Los Angeles bartender whose YouTube video of a charismatic nobody, played by Andrew Garfield, becomes an internet sensation. The film explores the underbelly of influencer culture and the constant need to get attention from strangers on social media.

“It asks the question about whether or not it’s possible to make art while you’re still trying to get attention and look for likes,” said Hawke, currently getting her own attention for her role on the Netflix series “Stranger Things." Hawke said her instinctive answer is no, but allows that Garfield’s final performance in which his persona unravels online certainly counts as art.

Coppola said she was inspired to make the film by “A Face in the Crowd,” the 1957 film starring Andy Griffith about a drifter who becomes a radio and television sensation. “Mainstream” is essentially a redux and variation.

“The morals for me are that all that glitters is not gold, and community and connection is really important,” Coppola said.

The festival, the first major in-person cinema showcase after COVID-19 locked down the film industry, wraps up on Sept. 12. In addition to the Horizons competition, 18 films are competing for the Golden Lion in the main selection.



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."