Love might be in the air with a forthcoming romantic-comedy indie film.

Production has begun on filmmaker Marie Jamora’s We Could Be in Love, The Hollywood Reporter has learned. Jasmine Curtis-Smith (The Time That Remains), yao (Sinners), Jamie Chung (Copperhead), Lou Diamond Phillips (Gangland), Tamlyn Tomita (Karate Kid Part II) and Airline Inthyrath (aka RuPaul’s Drag Race alum Jujubee) round out the cast for the feature that starts shooting next month on location in New York and Manila, Philippines.

We Could Be in Love centers on Jasmine Aquino (Curtis-Smith), a working-class Filipina American woman who falls for Ambrose Lee (yao), the affluent heir to a Chinese-Filipino dynasty. Their burgeoning relationship leads to challenges involving class divides and deep-seated prejudices.

Jamora, a Filipina director who grew up in Manila, helms the film from a script by Terence Chen (Meet Cute in Manhattan). Producers include Geri Leigh Tiu and Sonca Nguyen for Tiger & Dog Production, alongside Annie Huang. Chen, Thea Jacinto Ugarte and Jon-Adrian “JJ” Velazquez are executive producing. Hannah Kittell is the costume designer, while Dino-Ray Ramos serves as cultural consultant.

“I grew up in the Philippines watching all the Hollywood rom-coms with my mom,” says director Jamora, who has helmed episodes of Queen Sugar and Matlock and is attached to the thriller feature Imprint. “Now that I have the opportunity to direct an Asian-led romantic comedy outside the traditional American studio system, it’s so exciting to lean into the cultural nuance, authenticity and heart that global audiences are craving. Jasmine and yao bring a special combination of warmth, depth and chemistry to their characters. I cannot wait to share our film with the world.”

Adds writer and executive producer Chen, “At its core, We Could Be In Love is a classic, swoon-worthy romance that doesn’t shy away from the real cultural and economic friction points within our communities. We are thrilled to be filming in New York and Manila and capturing the vibrant, modern backdrop of these cities.”

[Warning: This story contains spoilers for the Verity film].

The ending of Verity has fans divided: Did Verity Crawford tell the truth in her manuscript, or was the letter Lowen found at the end of the movie telling the true story?

Like fans of the movie, and Colleen Hoover’s book on which the movie is based, star Anne Hathaway (who plays the titular character in the film), has her own thoughts.

“Letter,” Hathaway tells The Hollywood Reporter when asked if she’s team manuscript or team letter. “The reason that I’m letter, and I know that a lot of people who are team manuscript, they’re like, ‘No, she just wrote the letter to cover her you know what.‘ I’m like, she’s a terrified woman being very, very careful. And this is my thing about the manuscript: There’s a passage where Lowen is describing it, and she’s like, ‘I’ve got to be honest, this book isn’t very good, and it’s really just a lot about sex.’ And she’s just like, ‘I was pretty bored during the next 100 pages,’ but she said how much she was surprised that she liked Verity’s writing, and I think that if Verity really was this no good, villainous, horrible evil murderess that she’s made out to be, don’t you think the book that she would have written about herself would have been excellent?”

She adds: “I don’t know. I don’t trust Lowen. I don’t think Lowen’s well, and I think she sees herself as a victim in all situations, and I definitely don’t trust Jeremy. He goes from zero to crazy angry, real fast.”

Verity follows Lowen Ashleigh (played by Dakota Johnson), a struggling writer hired to finish the bestselling book series of renowned author Verity Crawford after an accident leaves her incapacitated. While working at the Crawford home, Lowen discovers a secret manuscript containing Verity’s apparent autobiographical notes, raising disturbing questions about her past and sending her spiraling over what to believe. Josh Hartnett stars as Verity’s husband Jeremy.

In a separate interview with THR, Hoover admits her own read of what‘s real has shifted. “When I wrote the book and ended it how I ended it, I was in Lowen’s perspective. It was first-person from Lowen, so I was just as confused as she was, and I’ve carried that with me until recently. I had to read it again for the first time after watching the film, and I think the film influenced me. I’ve actually gained a whole new perspective, and I still don’t know.”

Director Michael Showalter isn’t sure where he stands, either. “All the actors have their own version of what they believe is true, and I wanted to honor each of their versions,” he says. “So I’m agnostic.”

Verity hit theaters this Friday and nabbed the top spot on the domestic box office chart, earning $32.6 million from 3,510 North American locations. Its budget was $40 million.

Mohammed Ali Naqvi’s Hanging by a Wire has been chosen as Pakistan’s entry for best international feature film at the 2027 Oscars.

The documentary, the first selected by Pakistan to contend at the Oscars, revisits a dramatic August 2023 cable car emergency in Battagram in northern Pakistan. The film, which bowed at Sundance and is written and produced by Naqvi and Bilal Sami, captures in jaw-dropping detail how six schoolboys on their way to school were left suspended roughly 900 feet above a ravine after a cable snapped.

That set off a rescue effort followed on live TV across Pakistan and around the world. Hanging by a Wire features eyewitness footage, survivor testimony and cinematic reconstructions that include rescue workers.

“What works best in the film, as is often the case with movies such as this, is the stitching together of actual footage from the ordeal, both the fuzzy faraway phone videos and the stomach-plunging drone shots capturing these young men in staggering close-up as they sit precariously in the overturned gondola, waiting desperately for rescue,” The Hollywood Reporter film reviewer Richard Lawson writes in his review.

“The stunning landscape surrounding them — verdant foothills in the foreground, snow-capped Himalayan massifs in the distance — heightens the surreality and loneliness of their experience, tiny figures suspended precariously amid the unforgiving majesty of the world,” he adds.

The film is produced by EverWonder Studio, Universal Pictures Content Group, Mindhouse Productions and 64th Street Media. Dogwoof is handling a theatrical release in the U.K., Abramorama will release the film in the U.S. A Paramount+ streaming release is set for Oct. 28, 2026.