Influencer Culture Skewered in Gia Coppola Film at Venice

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

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.



‘Mufasa’ and ‘Sonic 3’ Rule First Weekend of 2025

Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
TT

‘Mufasa’ and ‘Sonic 3’ Rule First Weekend of 2025

Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)

The Walt Disney Co.’s “Mufasa” claimed the No. 1 spot on the North American box office charts over the first weekend of 2025.

The photorealistic “Lion King” prequel earned $23.8 million in its third weekend, according to studio estimates Sunday. Paramount’s “Sonic the Hedgehog 3,” which has dominated the past two weekends, wasn’t far behind.

“Sonic 3” stayed close with a 3-day estimate of $21.2 million, bringing its total domestic earnings to $187.5 million and helping the overall franchise cross $1 billion worldwide. “Mufasa’s” running total is slightly less, with $169.2 million.

In third place, Focus Features’ “Nosferatu” remake defied the fate of so many of its genre predecessors and fell only 39% in its second weekend. Horror films typically fall sharply after the first weekend and anything less than a 50% decline is notable.

“Nosferatu,” which added 140 screens, claimed $13.2 million in ticket sales, bringing its running total to $69.4 million since its Christmas debut. The film, directed by Robert Eggers, already surpassed its reported production budget of $50 million, though that figure does not account for marketing and promotion expenses).

No new wide releases opened this weekend, leaving the box office top 10 once again to holdovers from previous weeks. Several have been in theaters since Thanksgiving. One of those, “Moana 2,” claimed the No. 4 spot for Disney in its sixth weekend in theaters. The animated sequel earned another $12.4 million, bumping its global total to $960.5 million.

The Bob Dylan biopic “A Complete Unknown,” dipped only slightly in its second weekend, bringing in $8.1 million. With $41.7 million total, it's Searchlight's highest grossing film since Disney acquired the company in 2019.

A24’s drama “Babygirl," which added 49 locations, held steady at $4.5 million.

Another Thanksgiving leftover, “Wicked,” rounded out the top five. Universal’s movie musical was made available to purchase on VOD on Jan. 31, but still earned another $10.2 million from theaters. The movie is up for several awards at Sunday’s Golden Globes, including nominations for Cynthia Erivo, Ariana Grande, best motion picture musical or comedy and “cinematic and box office achievement,” which last year went to “Barbie.”

Also in theaters this weekend was the IMAX re-release of David Fincher’s 4K restoration of “Seven,” which earned just over $1 million from 200 locations.

The 2025 box office year is already off to a better start than 2024, up around 20% from the same weekend last year.