Matthew McConaughey has starred in multiple rom-coms, but there’s one in particular that he says still makes him money even after 20 years.

In a new interview, the actor said that How to Lose a Guy in 10 Days still brings him money in residuals after all these years.

“How to Lose a Guy in 10 Days is the gift that keeps on giving,” McConaughey said on the Happy Sad Confused podcast. “I think it’s probably my favorite romcom I’ve done.”

He added, “And it still pays the best mailbox money of any film I’ve ever done. By far. By lengths.”

Other romantic comedies McConaughey starred in include The Wedding Planner (2001), Failure to Launch (2006), Fool’s Gold (2008), and Ghosts of Girlfriends Past (2009), among others.

McConaughey said he used to be able to pinpoint the spike in residuals, saying, “When it used to be just DVDs or cable, every March I’d get a big check because Valentine’s Day.”

“But, I mean, look: the movie for me, for that genre, let me just own that genre. How to Lose a Guy in 10 Days … that’s a real anchor in the rom-com genre through time,” he added.

Donald Petrie directed How to Lose a Guy in 10 Days, which is based on the picture book by Michele Alexander and Jennie Long. The screenplay by Kristen Buckley, Brian Regan, and Burr Steers revolves around advertising executive Benjamin Barry (McConaughey), who makes a bet he can make any woman fall in love with him. At the same time, writer Andie Anderson (Kate Hudson) plans to write an article about how to make a man dump you.

In an interview from 2024, McConaughey’s co-star, Kate Hudson, revealed she was open to a sequel, saying on Bravo’s Watch What Happens Live, “All that matters would be the script and if Matthew and I would be into the script. I think we’re both totally open but it’s just never happened.”

Watch Matthew McConaughey’s interview in the video below.

Gayle Rankin (House of the Dragon) has wrapped a lead role in Ashley Wright, an indie also starring Evelyn Grace Kite (Elijah), Weapons Oscar winner Amy Madigan, Golden Globe winner Ed Harris (Westworld), Steven Ogg (The Walking Dead), Michole Brianna White (BMF), and Lily Harris.

Directed by Logan & Noah Miller (Touching Home), Ashley Wright stars Rankin as a homeless mother of two kids trying to scrape out a sense of dignity in a world that is working against her.

Kite plays Ashley’s nine-year-old daughter Peanut, with Madigan as Ashley’s court-appointed attorney, Donna Terry, who advocates for her to retain custody of her children. Ed Harris plays Judge Allen, a sympathetic judge presiding over Ashley’s child custody hearing, while Lily Harris plays Peanut’s court-appointed attorney, Jessica Steiner. This marks the first time the Harris family has appeared together in a feature film.

Recently wrapping production in Los Angeles, Ashley Wright is a very personal project for the Miller brothers, who told us, “The main character is a synthesis of our experience: our father’s twenty years of homelessness and our mother’s struggle with mental illness.”

The friendship and filmmaking collaboration between Harris, Madigan and the Miller Bros. began with a Hail Mary approach in a San Francisco alley on their first film Touching Home — they charmed Harris, but it was the script that sealed his participation in the movie. With Ashley Wright, again the material spoke strongly to Harris and Madigan.

“Great script, great directors, great cast,” Ed Harris said. “Amy, our daughter Lily, and I had a great time working on it. The Miller Brothers are the real deal.”’

The film’s lead, Rankin, commented: “I hadn’t encountered a challenge like Ashley Wright in my career before. She is the most fulfilling character I’ve ever had the opportunity to build. I feel wildly grateful to have been invited into Logan and Noah’s world — and privileged to tell this mother’s story, to reveal the truth of her bravery, and to illuminate the humanity in her that we could all stand to recognize more fully.”

Producers on Ashley Wright are Yolanda Bishop Martin, Katie Hausman, Kennedy Martin and Jackson Beall. Executive producers are David & Lucie Brown and JC Krause.

Most recently seen on House of the Dragon as the enigmatic healer Alys, Rankin is otherwise known for her work in projects like GLOW, The Greatest Showman and The Meyerowitz Stories. She is repped by B-Side Management, UTA, and Goodman, Genow, Schenkman.

Following her Oscar win for Zach Cregger’s Weapons, Madigan has set a slate including Ryan Coogler’s X-Files reboot, the Apple thriller Sponsor, and the Netflix series All the Sinners Bleed. She is repped by Paradigm and Anonymous Content.

Most recently seen starring in Paramount+’s Dutton Ranch and Apple TV’s comedy The Dink, opposite Jake Johnson, Ed Harris is repped by CAA and Ziffren Brittenham.

Brothers Logan & Noah Miller previously collaborated with Ed Harris on the indies Touching Home and Sweetwater. Additional credits for the duo as writers include White Boy Rick and G20. They are repped by CAA, Canopy Media Partners, and Frankfurt Kurnit Klein & Selz.

Kite is repped by Osbrink, East Coast Talent Agency, and Brave Artists Management; Ogg by Buchwald, The Way, and Ethos Entertainment; White by SMS Talent and Silver J Management; and Lily Harris by KTM Artist Group.

A Ukrainian queer couple face challenges unimaginable for most Western LGBTQI+ folk in I Rarely Wake Up Dreaming, a nuanced, finely lined drama that premiered in Locarno’s main competition. Produced by Tom Tykwer and Uwe Schott, this represents a second feature collaboration, after Grand Jeté, for married couple Anna Melikova, a Ukrainian writer, and German director Isabelle Stever, who were inspired by friends’ experiences back in Ukraine after the Russian invasion of 2022.

Dreaming explores what happens when 21st-century gender fluidity collides with the more rigid identity categories enforced by the state in a time of war. The core dramatic dilemma is thrust on fully transitioned trans man Oleh (Markus Bright), who suddenly faces military conscription along with the majority of Ukraine’s cis male population. Or, to paraphrase two cis female soldiers who turn Oleh back at the border, if he wants to be a man then he’ll have to fight for his country.

This horrifies his wife Olya (Tania Myronyshena), who wants them to emigrate to the safety of the EU as soon as possible, even if that means Oleh transitioning back to a female presentation. The film succeeds not only as an examination of the extraordinary quandary facing the couple but also simply as a compelling wartime drama featuring excellent performances from the two leads, who are, like most of the cast, non-professional actors. The film will cross continents next for the 64th edition of the New York Film Festival.

Smartly, Melikova’s script and Stever’s direction don’t obviously take either side, a neutrality that’s embedded even in the way Stever sets up the film’s opening scene, a flash-forward to a massive argument between the couple, observed as if by a neighbor through a window. Oleh has just received a conscription notice and seems inclined to report for service; Olya lets rip with what sounds like years of frustration, pointing out that she also didn’t sign up to be in a heterosexual relationship in the first place (evidently, the two were a lesbian couple before Oleh transitioned), and once again Oleh has made a decision without consulting her.

With the stakes thus established, the action rolls back to a happier time. On New Year’s Eve, 2021, Olya and Oleh are partying with other queer friends in a club, seemingly without a care in the world. During a phone call to Olya’s parents, she reveals that she’s getting married to a guy, an indirect way of proposing to her lover, who joyfully accepts.

A subsequent sex scene, discreetly shot but still pretty steamy, establishes the intense physical bond between the couple but also gives the film a chance to show that while Oleh has had top surgery, he’s not had visible bottom surgery like phalloplasty and metoidioplasty. Indeed, later in the film when the couple try to cross the border, Oleh reaches as if to unbutton his trousers in order to show the aforementioned female soldiers that he’s biologically female. They don’t care. What gender he has on his passport is the only thing that matters to the Ukrainian state.

In fact, thanks to regular testosterone injections, his natural height and the way his body has reacted to the “t”, he presents quite convincingly as male, with a hairy chest and a deep voice. In fact, as the film goes on, it’s implied that Olya’s parents — or at least her conventional Russophone mother Maryna (Iryna Mak) — think Oleh is a cis man, albeit one with some “effeminate” habits like not eating meat. (Maryna thinks vegetarianism is fine for women but men are healthier on a carnivore diet.)

Ultimately, however, the lifestyle differences between queer people like Olya and Oleh and straights like their extended family and neighbors end up mattering less than their shared identity as Ukrainians. As the movie goes on, and the invasion which was expected to be over after a few days drags into months and years, the horror of war solidifies the couple’s commitment both to each other and the country. They take in a young woman, a neighbor of Olya’s parents, who was brutalized in an unspecified way in her hometown of Bucha while they were away staying on the other side of the country, alluding to an actual atrocity in that municipality.

Snatches of real newscasts and YouTube videos provide a steady update on where the conflict has gotten as time passes, and even reveal that the options may not be so black and white for Oleh. It turns out there is a squadron in the army specifically for queer Ukrainians, for example, showing that being trans in the armed forces might not be as frightening as the couple first assumed.

And there sure isn’t an equivalent unit in the Russian Army under that country’s hideously homophobic regime, while the American armed forces are currently being forced by the Trump administration to push out trans and queer people from the enlisted population, while also cutting back on people of color and women in the higher ranks. If nothing else, this film could help bolster financial and military support for Ukraine in the EU and North America at a time when they’re badly in need of fresh funds and arms.