
Katseye on ‘Saturday Night Live’
Lucrecia Martel’s award-winning documentary Our Land, American Agitators and the remastered rerelease of Barbara Kopple’s American Dream bow in limited release starting May 1, celebrated as Labor Day in much of the world. They’re flanked by a mix of wider indies from Damian McCarthy’s Hokum to Andy Serkis’ animated Animal Farm, Renny Harlin’s Deep Water and RZA’s One Spoon Of Chocolate.
Neon’s newest high-end scarefest Hokum launches on 1,850 screens. Adam Scott stars as a horror writer who visits an Irish inn to scatter his parents’ ashes, unaware the property is said to be haunted by a witch. Premiered at SXSW earlier this year to excellent critical response. McCarthy’s Oddity launched at SXSW 2024 and won the Audience Award in the Midnighter Section, going on to gross $1.2 million domestic for IFC Films.
Hokum is Neon’s first release under a partnership with Spooky Pictures, which has a co-production partnership with global studio Image Nation. Additional titles under the deal include Alex Ullom’s 4×4: The Event and Mora, the feature adaptation of Sam Evenson’s viral short film the Neon is developing. The Irish folk tale also marks the latest release under Neon’s ongoing partnership slate with Waypoint’s Cweature Features after Chris Stuckmann’s Shelby Oaks and Osgood Perkins’ Longlegs (the highest grossing indie of 2024 with $75 million domestically) and Keeper. Cweature Features is also attached to Mora.
Scott was at Neon’s CinemaCon presentation in Las Vegas in April talking up the film.
Animal Farm from Angel Studios, Andy Serkis’ animated adaptation of the iconic George Orwell novel, opens wide on 2,600 screens. The starry voice cast includes Seth Rogen, Glenn Close, Kieran Culkin and Woody Harrelson. Screenplay by Nicholas Stoller. A political allegory of farm animals led by Napoleon the pig overthrowing their human overlord to create a society of equality that is ultimately corrupted as the pigs become as tyrannical as the humans they replaced.
Deep Water, Renny Harlin’s shark thriller from Bob Yari’s Magenta Light Studios, debuts on 1,675 screens. Starring Aaron Eckhart and Ben Kingsley and written by Pete Bridges and John Kim, it follows an eclectic group of international passengers whose plane is forced to make an emergency landing in shark-infested waters en route from LA to Shanghai.
Revenge thriller One Spoon Of Chocolate debuts as the first film under RZA’s 36 Cinema Distribution label, powered by Variance Films on 636 screens with a full theatrical window. The Wu-Tang Clan founder’s Kill Bill collaborator and mentor Quentin Tarantino is aboard to present the film, which follows an ex-military convict seeking redemption in a small town. RZA directed, wrote and produced. It will be presented in 35mm for select engagements, including a two-week run at LA’s Vista Theatre. Stars Shameik Moore, Blair Underwood, RJ Cyler, Paris Jackson, Emyri Crutchfield, Michael Harney and Harry Goodwins. Premiered at the 2025 Tribeca Festival.
Casa Grande from Seismic Releasing, ESX Entertainment’s feature version of its Freevee series, opens on 225 screens. Directed by Juan Pablo Arias Munoz, a prodigal daughter rejoins her family at their farm during a difficult time, as her ailing father faces both a terminal diagnosis and mounting pressure from rivals. Stars Lou Diamond Phillips, John Pyper-Ferguson, Madison Lawlor, Christina Moore, Javier Bolaños, Kate Mansi, Daniel Edward Mora, Loren Escandon, Bruce Davison, Shalim Ortiz and Charley Debenedetti. Amazon Freevee’s bilingual series followed the intertwining lives of various families in the farmlands of Northern California.
Lucrecia Martel’s documentary Our Land (Nuestra Tierra) from Strand Releasing launches at the Film Forum in NYC. Premiered at the 2025 Venice Film Festival, going on to win the top award at the BFI London Film Festival, an award in international competition at Locarno, and a special award from the National Society of Film Critics. The story of Javier Chocobar, a member of the indigenous Chuchagasta community in northwest Argentina’s Tucumán Province, who in 2009 tried to defend himself and his people from being forcibly evicted from their land by a local landowner and two former police officers. The 68-year-old Chocobar was shot and killed. After years of protests, a court case opened in 2018. Features community voices and trial footage. Produced by Rei Pictures, Louverture Films and Piano, in co-production with Pio & Co., Lemming Film, and Snowglobe.
American Agitators, directed and produced by Raymond Telles (The Fight in the Fields) with executive producers John Heffernan and Margo Feinberg, opens at NYC’s Quad Cinema. The Abramorama documentary highlights historic movements led or inspired by labor organizer Fred Ross Sr., exploring how collective action can combat racism, bigotry and injustice. Narrated by playwright and filmmaker Luis Valdez (La Bamba), it features Fred Ross Jr., who carried on his father’s legacy of grassroots activism, civil rights leaders, organizers and advocates.
Janus Films is releasing a new 4K restoration of Barbara Kopple’s Oscar-winning documentary American Dream, timed to May Day and the film’s 35th anniversary, at New York’s IFC Center and another dozen screens nationwide. The 1990 doc follows the explosive 1985–86 labor strike against Hormel Foods in Austin, Minnesota. Fed up with dangerous plant conditions and drastic wage cuts, Austin’s Local P-9 went against the advice of the United Food and Commercial Workers International Union and, with the help of labor activist Ray Rogers, held a nearly yearlong walkout. But as the strike dragged on some workers were desperate to make ends meet and ready to cross the picket line, dividing a community already betrayed by a once progressive company and roiled by blockades, riots, and the intervention of the National Guard.
Janus is also out with 50th anniversary screenings of Kopple’s Harlan County, USA at many of the same venues, also in a new 4K restoration. Both films won Kopple the Best Documentary Feature Oscar and she will be in-person at IFC Center Friday and Saturday presenting both films.
Francesco Sossai’s The Last One For The Road from Music Box Films debuts at Film At Lincoln Center in New York, adding the Laemmle Roya in LA next week. Two middle-aged friends and small time crooks (Sergio Romano and Pierpaolo Capovilla), who swear each drink is their last, cross paths with a shy architecture student (Filippo Scotti) and take him under their wing on a free-flowing bender through the Venetian countryside in a scruffy intergenerational odyssey. Premiered at Cannes.
Kino Lorber opens drama Two Pianos by Arnaud Desplechin at the Angelika in NYC and the Laemmle Royal in LA. After years of self-imposed exile, pianist Mathias (François Civil) returns to France, where his former mentor, Eléna (Charlotte Rampling), has invited him to perform a series of concerts with her in his hometown of Lyon. Once a rising star of the French musical scene and Eléna’s prized pupil. A chance encounter throws Mathias into turmoil and leads him back to his first love, Claude (Nadia Tereszkiewicz). Screened in March at Film At Lincoln Center’s Rendez-Vous with French Cinema.
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At this weekend’s Zurich Summit a group of film financiers were asked by Deadline for their thoughts on the prospects of a U.S. federal film incentive.
Last week, a bipartisan group of lawmakers unveiled the bill for a 20% incentive, which with bonuses could bring the total rebate to 30%. The move has long been called-for by the U.S. industry concerned by the exodus of production overseas.
Alex Walton, former Co-Lead & Partner at WME Independent, told the Summit the move was “hugely positive”: “It’s wild to think there hasn’t been an efficient tax credit in America. It has helped many other countries. Spain is booming because of it now; and all over Europe. It’s going to take some time to be realized and for financial institutions to be able to cash flow it. But you’ve got to believe it will happen within the next three-four years, and then that will see all the foreign tax credits compete harder to maintain their positions.”
A start date is not yet set. The proposed text from last week stated that the credit would apply to qualifying film and TV productions beginning in taxable years after December 31, 2026 (effectively targeting projects starting in 2027). But bills can take years to pass.
Andrea Scarso, Managing Partner at prolific financier IPR.VC, whose credits include Marty Supreme and Materialists, agreed that a U.S. incentive would be “positive” but also cautioned against rising production costs: “It remains to be seen whether the prices and budgets are also going up by the same amount, which is something that happens in some foreign territories when they increase the amount of tax credit or soft money. It’s always a balance. But overall, I think it’s good news.”
Sarah Schweitzman, Co-Head CAA Media Finance, noted: “What’s important is that when you look at some of the international markets, you realize that we’re making movies there because of a tax incentive situation and I think if we’re able to federalize a tax incentive program in the U.S. it’s going to create many more jobs and invigorate crews, which is something we absolutely need in the U.S.”
A recent Motion Picture Association study claimed that a federal film tax credit could increase U.S. production spending by $125BN and add more than 143,000 jobs by 2035.
You can read more about the bill here.
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Hot on the heels of his Golden Eye award ceremony on Saturday night, John Turturro entertained another crowd at a Zurich Film Festival masterclass on Sunday.
The Emmy-winning U.S. star has been recognized for his performance in Noah Segan’s The Only Living Pickpocket in New York, a project that is already garnering awards buzz. In the film, Turturro plays Harry, a seasoned pickpocket whose carefully controlled life is thrown into turmoil when a job goes wrong, setting off a tense chain of events that unfolds over the course of 36 hours.
In a career-spanning conversation with Deadline‘s Melanie Goodfellow — the actor’s shining Golden Eye trophy neatly nestled between them — Turturro discussed growing up in an immigrant household, his decades-long friendship with Spike Lee, and the transition from acting to filmmaking.
Turturro, who has steadily become one of the industry’s most formidable actors yet to put “Oscar nominee” on his resume, was asked about joining the best actor race this year with the Sundance success The Only Living Pickpocket in New York. “I never really have gone the whole hog with it,” he responded about the upcoming awards campaign. “But now I’m the lead in the film, so I’m going to support the film because I love the film.”
He explained that being pulled into awards conversations is “helpful to help you do the next thing.” Turturro continued: “Is it nice to be acknowledged? Great, but that’s not why you do it. […] Just because a film is really popular doesn’t mean it will have staying power, but it’s nice to be in the conversation. I don’t look upon myself as being a competitive person. I’m competitive with myself,” he added. “I want to get the most out of what I can do, but it’s not sports!”
However, he admitted to feeling surprised by the positive critic reaction out of Sundance. “Finally,” he thought, “I’m in something that people will see… My job is I like to try to improve, and I feel like being an actor is one of the few things you can improve in. You may not be able to run as fast as you did when you were younger, but I have a lot of life experience, and as you get older, you accumulate that, and you can distill things in a way that you couldn’t do when you were young, because you didn’t really experience all those things. And now I’ve experienced life, death, loss, being a parent, being married — what it is to really love someone versus falling in love. That’s a huge difference,” he giggled.
Turturro regaled attendees with stories about his impressive stage career. He naturally came on to two major TV performances of his in the last decade: HBO’s The Night Of and Apple’s Severance.
He coyly confirmed a return for his character, Irving Bailiff, in season three of the Emmy-winning Severance with Adam Scott. “Yeah,” he (eventually) told the room. “As long as they give me interesting things to do, then I’m interested.” He swiftly took the opportunity to gush over friend and colleague Christopher Walken, whose character, Burt Goodman, began a romance with Turturro’s Irving in season one. “‘Who’s going to be my love interest?’” Turturro asked before joining the show. “And they were like, ‘All these younger guys.’ I said, ‘Well no, I’ve worked with Chris Walken,’ and I said, ‘I want Chris, because I love Chris.’ And I don’t have to act that I love him because I love him.”
Though Walken “didn’t understand a lot of the show,” Turturro was able to guide him through their authentic, real-life friendship. “I said, ‘Don’t worry about it. You just look at me.’ We have so much fun because I directed him like three times, and we’ve acted, and we’ve worked together a lot. And he’s a wonderful theater actor, and people obviously think he plays only strange [characters] but he can do a lot of different things. He’s also very sensitive, but he has a childlike joy in his work, and when that happens, anything is possible.”
Turturro received a round of applause when discussing the HBO crime drama The Night Of, which ran for one season in 2016 and co-starred Riz Ahmed. It would later win five Emmys, and Turturro was nominated for his role as the eczema-stricken defense lawyer John Stone. “The Night Of is something I’m very proud of,” said Turturro on Sunday. “It was originally a BBC thing, which I actually never watched because I didn’t want to be influenced.”
He even confirmed that he actually wanted to do another season of it. “But they couldn’t agree on what the story would be,” revealed the actor. “But I loved doing it. It was one of those great experiences in my life.”
Turturro’s career spans four decades, having worked with acclaimed directors such as Spike Lee, the Coen brothers, Martin Scorsese, Robert Redford, Robert De Niro, Nanni Moretti and Pedro Almodóvar.
He first gained international recognition through his collaborations with Lee, appearing in Do the Right Thing and Jungle Fever. With Joel and Ethan Coen, he acted in Miller’s Crossing, Barton Fink, O Brother, Where Art Thou? and The Big Lebowksi, in which Turturro created the iconic Jesus Quintana. For his lead performance in Barton Fink, he won best actor at the 1991 Cannes Film Festival, an experience that Turturro reflected on at his Zurich masterclass. He even confessed to feeling like he lands “more normal” roles in Europe than across the Atlantic, and said he has turned down scripts “again and again” that involve his character being violent towards women.
At his Zurich Golden Eye ceremony Saturday night, Turturro collected the award and quoted Italian novelist Cesare Pavese. “[He] once said that the only great thing in life is to begin. I still consider myself a beginner in many ways,” said the star. “I’m very fortunate. I wanted to make a living doing something that interested me and to do interesting work — to share that with an audience, [and that] wouldn’t diminish their intelligence at the same time,” he laughed. “I consider this an encouragement to continue.”
Turturro joins 2026 Zurich honorees Julianne Moore and Tom Hiddleston. The 22nd edition runs Sept. 24-Oct. 4.
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Following the Knicks’ big win at Madison Square Garden, Jalen Brunson took the stage at 30 Rockefeller Center for his Saturday Night Live hosting debut.
On Saturday’s Season 52 premiere, the NBA Finals 2026 MVP showed off some comedic chops in an otherwise business-as-usual episode of the NBC sketch comedy show, which featured Katseye as its musical guest.
Introducing new cast members Grace Reiter and Saidah Belo-Osagie, Katseye returned to a parody season of The Debut: Dream Academy to crown a new girl group. The quartet also performed in a mini music video with the awkward group of ladies, also featuring Jane Wickline and Veronika Slowikowska.
The next sketch was a support group featuring Brunson as one of several men whose spouses were grinded on at Usher and Chris Brown’s The R&B Tour.
“When I spent $1,200 on that meet-and-greet, I never expected her to actually greet his meat,” said Brunson as the other group members comforted him.

Katseye on ‘Saturday Night Live’

Jeremy Culhane and Jalen Brunson in ‘Saturday Night Live’

Jalen Brunson, Jeremy Culhane and Ben Marshall on ‘Saturday Night Live’
Brunson also starred in the parody sketch High School Musical: The New Generation as an athletically gifted new student who hilariously keeps dunking on the new Troy Bolton stand-in (Jeremy Culhane) and steals his girlfriend (Slowikowska).
As Shark Tank judge Daymond John, Brunson asked if the invention Respectacles, a pair of glasses that sounds an alarm when the wearer looks at breasts, “works for ass.” The inventors’ (Culhane and Ben Marshall) presentation keeps getting interrupted as they check out Lori Greiner.
Saturday Night Live kicked off its 52nd season this weekend on NBC with host Brunson and musical guest Katseye. The season continues with guest hosts Dakota Johnson, Shane Gillis and Inde Navarrette, along with musical guests Turnstile, Rosalía and Gracie Abrams.
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