{"id":165789,"date":"2025-09-18T16:42:08","date_gmt":"2025-09-18T16:42:08","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/165789\/"},"modified":"2025-09-18T16:42:08","modified_gmt":"2025-09-18T16:42:08","slug":"its-not-a-metoo-movie","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/165789\/","title":{"rendered":"It’s Not a #MeToo Movie"},"content":{"rendered":"

\n\tJulia Roberts<\/a> landed at the Venice Film Festival wrapped up in her director.<\/p>\n

\n\tAs she flashed her famous smile, the iconic star donned a custom white cardigan with Luca Guadagnino\u2019s face emblazoned all over it. The garment fit in more ways than one. Guadagnino, the prolific Italian auteur behind \u201cCall Me by Your Name,\u201d \u201cChallengers\u201d and \u201cQueer,\u201d thrives on making bold statements \u2014 and speaking in declarative ones.<\/p>\n

\n\tDrawn to excess, emotional ex\u00adtremes and lush, decadent photog\u00adraphy, Guadagnino is fueled by passion. So is Roberts, and that\u2019s made her one of our most enduring movie stars \u2014 and inspired their collaboration as cinematic soul\u00ad\u00ad\u00admates. In \u201cAfter the Hunt<\/a>,\u201d Gua\u00ad\u00addag\u00adnino and Roberts team up on one of the most boundary-pushing stories of the year, revolving around a rape accusation on a college campus. In an era when #BelieveWomen has been the defiant stance, \u201cAfter the Hunt\u201d doesn\u2019t necessarily side with the alleged victim.\u00a0<\/p>\n

\n\tIn the film, Roberts plays Alma Olsson, a philosophy professor at Yale who has little in common with the inspiring lecturer she portrayed two decades ago in \u201cMona Lisa Smile.\u201d Cold, isolated and suffering from chronic pain, Alma finds herself in the middle of a scandal when her fa\u00adv\u00adorite student, Maggie (played by Ayo Edebiri<\/a>, the Emmy-winning star of \u201cThe Bear\u201d), accuses another professor, Hank (Andrew Garfield<\/a>), of sexual assault after he walked her home from a party. As Maggie\u2019s complaint plays out \u2014 potentially derailing the careers of multiple fac\u00adulty members \u2014 Alma drifts away from her husband, Frederik (Michael Stuhl\u00ad\u00adbarg), and her friend Kim (Chlo\u00eb Sevigny), a psychiatrist on campus.<\/p>\n

\n\tOn Aug. 30, the day after the film premieres in Venice, Guadagnino and his cast sit down with Variety at Hotel Cipriani \u2014 a landmark that gives such strong \u201cThe White Lotus\u201d vibes that\u00a0Mike White is staying here \u2014 for a group interview. Roberts says that working with Guadagnino on \u201cAfter the Hunt\u201d reminded her of the late director Mike Nichols, with whom she collaborated on \u201cCloser\u201d and \u201cCharlie Wilson\u2019s War.\u201d As she imagines Nichols being able to watch her latest film, she tries not to cry. \u201cI think all the things that drive Luca are things that Mike really would appreciate,\u201d she says. \u201cIt would just be really meaningful. And I think he would also really \u2026\u201d She trails off and looks away.\u00a0<\/p>\n

\t\t\t\"\"<\/p>\n

\t\t\t\t\t\t\tXavi Gordo for Variety<\/p>\n

\n\tCertainly, \u201cAfter the Hunt\u201d is an example of a prestige ensemble drama created for adults, the kind of movie Hollywood rarely makes anymore. The film, which Amazon MGM will release in theaters on Oct. 10 after its North American premiere at the New York Film Festival, divided audiences in Venice from its first moments \u2014 its opening credits, for instance, list the actors in alphabetical order, in a nod to Woody Allen\u2019s movies. At a press conference on the Lido, a journalist labeled the film \u201canti-feminist,\u201d after which Roberts held court, dismantling her argument while smiling ear to ear.<\/p>\n

\n\tAmerica\u2019s sweetheart, it turns out, relishes the opportunity to probe cultural divides. Sitting next to her co-stars in a restaurant booth, Roberts lets loose her famous laugh when Guadagnino volunteers to direct her in \u201cMy Best Friend\u2019s Wedding 2.\u201d (Yes, dear readers, she\u2019s in talks for it.) Roberts tells stories about inviting Guadagnino to her home, where he and his production designer bunked in her 20-year-old twins\u2019 rooms. She was so nervous about meeting Sevigny that her daughter, Hazel, wanting to avoid any awkwardness, fled the room. But there was no reason for jitters: In fact, despite playing one of her most aloof characters yet, the real Roberts starts to tear up when Sevigny talks about admiring her. Maybe it was the jet lag \u2014 or maybe, having worked together in the crucible of a heady, controversy-courting film, these actors really do love each other that much.\u00a0<\/p>\n

\t\tLet\u2019s start with an important question: Julia, you arrived in Venice wearing a sweater with Luca\u2019s face all over it. How did you end up with that wonderful piece of fashion?\t<\/p>\n

\n\tJulia Roberts: I made that happen. I might have a few more surprises as the tour goes on. I\u2019m currently wearing Chlo\u00eb Sevigny\u2019s underpants. You know, Luca was so excited about coming to Venice, so that was my way of arriving, literally, with Luca on my sleeves.\u00a0<\/p>\n

\t\tAnd Luca, you didn\u2019t know?\u00a0\t<\/p>\n

\n\tLuca Guadagnino: Nope. She sent me a picture in the morning in the boat. I thought, \u201cHow sweet. A beautiful picture.\u201d And then I go, \u201cWhat\u2019s that?\u201d<\/p>\n

\n\tRoberts: \u201cWhat\u2019s that all over?\u201d<\/p>\n

\n\tGuadagnino: I was on set because I\u2019m shooting a movie. I started to laugh. And then an hour later, I started to be bombed by messages.\u00a0<\/p>\n

\n\tRoberts: \u201cHave you seen the sweater? Have you seen the sweater?\u201d<\/p>\n

\n\tGuadagnino: Like probably 200 messages.\u00a0<\/p>\n

\t\tHow did you two meet?\u00a0\t<\/p>\n

\n\tGuadagnino: Truth of the matter is that this movie started with Julia on a couch in a friend\u2019s house. I got a beautiful script from Nora [Garrett, the screenwriter], and I was going to L.A. to shoot a commercial. And then our agent, Bryan Lourd, wanted us to meet. So there was a party, and we sat on a couch as if I knew you forever.<\/p>\n

\n\tRoberts: It was like, \u201cHi, nice to meet you.\u201d And then we literally were sitting like this [she leans forward and looks directly into Guadagnino\u2019s eyes] for two hours.<\/p>\n

\t\tIt was like you were soulmates.\t<\/p>\n

\n\tRoberts: That\u2019s how it felt.\u00a0<\/p>\n

\n\tGuadagnino: Truly.<\/p>\n

\n\tChlo\u00eb Sevigny: I felt that way when I first met him too. [Nods at one of her co-stars.] You did too.<\/p>\n

\n\tAndrew Garfield: I did, yeah.<\/p>\n

\n\tGuadagnino: It\u2019s a complete soulmate \u2014 all of them!\u00a0<\/p>\n

\t\t\t\"\"<\/p>\n

\t\t\t\t\t\t\tXavi Gordo for Variety<\/p>\n

\t\tWhat\u2019s it like to be on the set of a Luca Guadagnino movie?\u00a0\t<\/p>\n

\n\tAyo Edebiri: For me, I felt it was really freeing. I felt free. This is going to sound so strange, but like a type of parenting that I didn\u2019t get. He would ask me, \u201cWhy?\u201d and, like, genuinely be interested in my thoughts and in my reasoning and where I was coming from, and then offer his challenge to that. I couldn\u2019t show up as anything other than my higher self, because that was the standard that he was setting.\u00a0<\/p>\n

\n\tGarfield: Very permissive, very liberated, radical, allowed to follow any impulse, no matter how strange.\u00a0<\/p>\n

\t\tMichael, you\u2019ve worked with Luca on three movies now, starting with \u201cCall Me by Your Name.\u201d What has your experience been like from film to film?\u00a0\t<\/p>\n

\n\tMichael Stuhlbarg: It\u2019s one of those things you long for as an actor \u2014 to find a collaboration with someone you have such the highest possible respect for, so that you can explore your own gifts as well and your own limitations and challenges. It\u2019s all I\u2019ve ever really wanted, and it has provided a singular, perpetually resonating gift for me.\u00a0<\/p>\n

\n\tGuadagnino: I\u2019m the luckiest person that I know.<\/p>\n

\t\tIn this film, do you have answers in your head for who is guilty and who is innocent? \t<\/p>\n

\n\tGarfield: Yeah. I\u2019m very, very clear about what happened.\u00a0<\/p>\n

\n\tEdebiri: I think I also am too. I don\u2019t know if they match up, which I think is right. I think that that\u2019s true to life and to human beings.\u00a0<\/p>\n

\t\tAndrew, what was your thread for Hank? How did you find him? How did you create the ambiguity within him? \u00a0\t<\/p>\n

\n\tGarfield: Gosh, Jesus Christ. \u00a0<\/p>\n

\n\tRoberts: Softball question.\u00a0<\/p>\n

\n\tGarfield: He was hiding from himself, and he was obfuscating his own motivations. And he finds the pleasure in rocking everyone\u2019s boat. I like the idea that he\u2019s a very good professor. I like the idea that he would be an inspiring professor to have, with all his subjectively problematic behavior. I think there\u2019s something of a kind of wildness that he has cultivated in himself. He doesn\u2019t want to be extinguished by what he perceives as an overly intellectual, heady culture. I approached it that way, but the ambiguity is really interesting. \u00a0<\/p>\n

\t\tHow do you play drunk?\u00a0\t<\/p>\n

\n\tGarfield: Oh, you try and act sober. That\u2019s the main thing. No drunk person tries to act drunk. You\u2019re constantly covering up a lack of sobriety.\u00a0<\/p>\n

\t\tThe press has described \u201cAfter the Hunt\u201d as a movie about #MeToo. Do you think that\u2019s a fair description?\t<\/p>\n

\n\tGuadagnino: I think it\u2019s a bit of a lazy way to describe it. It\u2019s a pass\u00e9 way of thinking.\u00a0<\/p>\n

\n\tEdebiri: I think it\u2019s also like saying, \u201c\u2018The Godfather\u2019 is a movie about an Italian wedding.\u201d There\u2019s so much richness happening in the lives of these characters, genuinely, and that boggles my mind.\u00a0<\/p>\n

\t\t\t\"\"<\/p>\n

\t\t\t\t\t\t\tXavi Gordo for Variety<\/p>\n

\t\tLuca, was Amazon MGM ever concerned about the message of this film? \u00a0\t<\/p>\n

\n\tGuadagnino: This was my fourth movie with Amazon. They released \u201cSuspiria,\u201d then \u201cBones and All,\u201d then \u201cChallengers.\u201d We are never in a place where there is a prescription from the studio: \u201cDo this, and we\u2019re going to be happy.\u201d I can promise you that the creation of the movie, and then the campaign to release the movie, has been made with passion.\u00a0<\/p>\n

\n\tRoberts: Also, this was 28 days.<\/p>\n

\n\tGarfield: Crazy.\u00a0<\/p>\n

\n\tGuadagnino: For the record, we were supposed to do it 30. We were two days early. I\u2019m of the Clint Eastwood school.\u00a0<\/p>\n

\t\tSo you don\u2019t do a lot of takes?\u00a0\t<\/p>\n

\n\tGuadagnino: One, maybe two. \u00a0<\/p>\n

\n\tGarfield: Maybe three if you\u2019re really struggling. \u00a0<\/p>\n

\n\tGuadagnino: When they say, \u201cCan I do another one?\u201d I roll my eyes. Only because I think the previous one was fantastic. Why you need another one?\u00a0<\/p>\n

\n\tGarfield: But he rolls his eyes, and then he says, \u201cOf course.\u201d And then sometimes something happens, but most of the time he\u2019s right \u2014 he has it.\u00a0<\/p>\n

\n\tEdebiri: We shot on film, which also added to the sacredness of what we were doing and the urgency. You\u2019re in this moment, like, \u201cOK, I\u2019m acting and we\u2019re going to get it.\u201d\u00a0<\/p>\n

\n\tGarfield: The knowledge that we\u2019re burning money.<\/p>\n

\n\tEdebiri: You can hear it.\u00a0<\/p>\n

\t\tDoes it make you better if you know there won\u2019t be more takes?\u00a0\t<\/p>\n

\n\tGarfield: What is better? For me, it can go one of two ways. You have 1,000 takes, and a lot of them are going to be trash, but you know you\u2019ve left it all on the field. But with one or two takes, you have to get liberated really quick. It puts the screws on you to just be like, \u201cAre you ready? You better be ready, because we\u2019re doing it.\u201d\u00a0<\/p>\n

\t\tYou were filming in London, but the movie is set at Yale. How did you get into the headspace of being elite professors in New Haven?\u00a0\t<\/p>\n

\n\tRoberts: Well, he built Yale in London. They built the entire restaurant, the Indian restaurant, on the backlot.\u00a0<\/p>\n

\n\tGuadagnino: It\u2019s the exact reproduction of Tandoor in New Haven. We got permission to reproduce it.\u00a0<\/p>\n

\n\tSevigny: We also shot in Cambridge.\u00a0<\/p>\n

\n\tGuadagnino: I studied cinema all my life, and I always tried to understand how these good filmmakers that I worship and love had made possible for them to make the movie they made. What is the means of production? How someone can make a movie that is as sophisticated and yet as well done as Mike Nichols? And I think there is a lot of relation between that and the studio and the conversation with the studio. We have been very privileged because our studio, MGM, supported the vision. They were really like, \u201cYeah, go for it.\u201d\u00a0<\/p>\n

\t\t\t\"\"<\/p>\n

\t\t\t\t\tLuca Guadagnino and Julia Roberts on the set of \u201cAfter the Hunt\u201d
\n\t\t\t\t\t\t\tYannis Drakoulidis<\/p>\n

\t\tYou brought up Mike Nichols. Julia, you worked with Mike on \u201cCloser\u201d and \u201cCharlie Wilson\u2019s War.\u201d Did working with Luca on such a meaty role remind you of your collaborations with Mike? \u00a0\t<\/p>\n

\n\tRoberts: It did, really. We\u2019ve talked about it, and at the risk of my fatigue taking over my emotions, I was actually saying to a friend last night, \u201cIt\u2019s a moment like this that I miss Mike the most.\u201d [Stops herself from crying.] I wish that he could see this movie, and that\u2019s all I\u2019m going to say.\u00a0<\/p>\n

\t\tJulia, how did you approach a character like Alma \u2014 and all her different layers? \u00a0\t<\/p>\n

\n\tRoberts: The hardest part for me was not being sympathetic and empathetic. For me as a person, it\u2019s like, \u201cOh, how can I hold her?\u201d And she was not to be held. This was not the time. I have a very hen-like personality; I want to gather, and I want to feed and care. And she\u2019s just the opposite of every instinct I\u2019ve ever had in my life.\u00a0<\/p>\n

\n\tAnd I think there were times where I just found it really exhausting; the mental gymnastics of the way she lives her life is very unfamiliar to me. So having Luca keep me on the right rails at all times. And then, it\u2019s a playground. I don\u2019t mean to single you out, Michael, but I go into these scenes with Michael, and I just turn to Luca and I\u2019m like, \u201cAre you fucking kidding me?\u201d What he\u2019s doing is so unexpected and original, and I\u2019m just watching him. I\u2019m not even in the scene anymore, because it\u2019s so fucking unreal what you\u2019re doing right now.\u00a0<\/p>\n

\n\tStuhlbarg: It goes both ways. I guess the only thing I\u2019d have to offer to that is that what you bring is breathless for all of us. Your gifts are endless, and what you offer \u2014 your love and your magic \u2014 it\u2019s beyond what my workmanship can provide.\u00a0<\/p>\n

\n\tSevigny: Can I say when we left, I needed more Julia. On the plane ride home, I watched, like, three of your movies. I just wanted more!\u00a0<\/p>\n

\t\tWhich three?\u00a0\t<\/p>\n

\n\tSevigny: \u201cNotting Hill,\u201d \u201cMy Best Friend\u2019s Wedding\u201d and I can\u2019t remember the third. But I was like, \u201cI just want more Julia!\u201d<\/p>\n

\n\tRoberts: [Actually tears up.] I am so glad this is being recorded.\u00a0<\/p>\n

\n\tSevigny: I was like, \u201cI\u2019m not ready to say goodbye.\u201d Luckily there\u2019s a whole canon I can go home and keep watching.\u00a0<\/p>\n

\t\tDid it make you feel closer to her?\u00a0\t<\/p>\n

\n\tSevigny: I mean, I felt close to her the first time I met her. But she invited us to her home for rehearsals, and we stayed in her beach house. And she was just very giving and generous.\u00a0<\/p>\n

\n\tGuadagnino: You have to know something about Julia. She\u2019s an incredible cook. She does an amazing salmon, but she also does an incredible banana bread.\u00a0<\/p>\n

\n\tRoberts: French toast.\u00a0<\/p>\n

\n\tGuadagnino: Oh, of course. I\u2019m not vegan; I cannot do dairy, just, on the record. I don\u2019t want to be vegan. Don\u2019t say that I\u2019m vegan! The point being that Julia is, like, amazing. She\u2019s a friend, she\u2019s a mother, she cares for people. Spending time with her in their private life is amazing. Being in the house is amazing. Doing things with Julia is amazing, and then she shows up on set. And the day after, she knows every single person in the crew\u2019s name, and it\u2019s not an affectation. She\u2019s actually curious. She wants to know. You knew every single person before I did.\u00a0<\/p>\n

\n\tRoberts: Very hard table to sit at.\u00a0<\/p>\n

\n\tGuadagnino: And I have a last, lovely thing. We went to promote \u201cQueer,\u201d and we went to San Francisco, and Julia hosted a screening for me and Daniel [Craig]. And then she brought me banana bread. We were staying at your house, me and the production designer Stefano Baisi. I was living in Phinn\u2019s room?\u00a0<\/p>\n

\n\tRoberts: You were in Hazel\u2019s room, and he was in Phinn\u2019s room.\u00a0<\/p>\n

\n\tGuadagnino: Yes. And we were sharing their bathroom. And then we left for Italy. And in the morning, there was a banana bread. Two loafs. So I ate one with Stefano, and the second one we took, and we were at the lounge waiting, and the staff of the lounge came to me: \u201cOh, it looks very beautiful.\u201d I said, \u201cTry it.\u201d They came back, \u201cWho did this? This is the most beautiful banana bread.\u201d\u00a0They don\u2019t know it was Julia\u2019s banana bread, but people were starstruck by the banana bread.\u00a0<\/p>\n

\t\t\t\"\"<\/p>\n

\t\t\t\t\tRoberts wearing the sweater in Venice.
\n\t\t\t\t\t\t\tGC Images<\/p>\n

\t\tThat\u2019s true star power. Are you going to franchise this? \u00a0\t<\/p>\n

\n\tGuadagnino: The banana bread? We should.\u00a0<\/p>\n

\n\tEdebiri: You enacted the businessman.\u00a0<\/p>\n

\n\tGarfield: Billion-dollar idea.\u00a0<\/p>\n

\t\tSince we mentioned \u201cMy Best Friend\u2019s Wedding,\u201d there\u2019s been talk of a sequel. Has anyone approached you yet? Or are you not going to be in it?\u00a0 \u00a0\t<\/p>\n

\n\tRoberts: No, they\u2019re talking to me.\u00a0<\/p>\n

\n\tGuadagnino: Can I \u2026\u00a0<\/p>\n

\n\tSevigny: He wants to direct it.\u00a0<\/p>\n

\t\tCan Luca direct it?\t<\/p>\n

\n\tGuadagnino: In a second.\u00a0<\/p>\n

\n\tGarfield: Oh my God, that\u2019s fantastic.\u00a0<\/p>\n

\n\tRoberts: Not to take away from any of the kind things the rest of you are saying, because honestly, my loving cup is so full that it\u2019s running over, as you can see. But I was so excited and intimidated about meeting Chlo\u00eb. And when we were at my house, we\u2019re all sitting around the kitchen table, and Hazel was making herself some lunch, and we\u2019re talking about the material and rehearsing. Allan [Mandelbaum], our producer, he came in, and he goes, \u201cChlo\u00eb should just be here in a couple minutes.\u201d And I look up, and Ayo looks up, and we match eyes. Luca goes, \u201cWhat?\u201d And I go, \u201cI\u2019m scared.\u201d And Ayo goes, \u201cMe too.\u201d And Hazel goes, \u201cI\u2019m leaving.\u201d And then, like a minute later, the doorbell rang, and Hazel goes, \u201cI\u2019m leaving through the garage.\u201d And truly we were so excited and intimidated.\u00a0<\/p>\n

\n\tGarfield: We\u2019re giving you all the best stories.\u00a0<\/p>\n

\t\tChlo\u00eb, can you talk to me about the wig that you wear in the film?\u00a0\t<\/p>\n

\n\tSevigny: Well, Luca likes to fuck with my hair. He likes the transformation. But on this one, he wanted to go even further. Luckily, we pulled it back.\u00a0<\/p>\n

\n\tGuadagnino: They made a prosthetic. Could you be a 78-year-old therapist?\u00a0<\/p>\n

\n\tRoberts: I thought it was amazing. \u00a0<\/p>\n

\n\tGuadagnino: And it was amazing.\u00a0<\/p>\n

\n\tSevigny: I couldn\u2019t move my face. I couldn\u2019t express. I couldn\u2019t act. I looked like a cross between Al Pacino and \u2026 I don\u2019t know.<\/p>\n

\t\tAnd you would have done the whole movie in full prosthetics?\u00a0\t<\/p>\n

\n\tGuadagnino: Yes. But the good news about making tests is that you test and you say, \u201cyes,\u201d \u201cno,\u201d \u201cmaybe.\u201d We tried.\u00a0<\/p>\n

\n\tSevigny: But Luca works with the same costume designer and hair and makeup team. That\u2019s where it all begins.\u00a0<\/p>\n

\n\tGuadagnino: Should we talk about Fernanda? \u00a0<\/p>\n

\n\tRoberts: Yes, the hair and makeup team that Luca has are unparalleled. They\u2019re like butterflies. You don\u2019t even know what they\u2019re doing, and suddenly your job is half done. When Luca was first talking to me about Fernanda [Perez] and Massimo [Gattabrusi], we had this conversation \u2014 and at this point, our relationship hadn\u2019t had so much as a hiccup. We get off the phone, and I called Bryan and I said, \u201cI have hair and makeup, and I don\u2019t want to upset Luca.\u201d And then he called you, and you called me and said, \u201cWhoever you want.\u201d Turns out my hair and makeup had scheduling conflicts, and then I had no one. I was like, \u201cI was just kidding. I want your hair and makeup.\u201d\u00a0<\/p>\n

\n\tGuadagnino: It\u2019s about companionship and partnership. I met Fernanda in 1995 when I was 24 and we did a short film together, and never parted ways since then.\u00a0<\/p>\n

\t\tLuca, is Chlo\u00eb going to be in your new take on \u201cAmerican Psycho\u201d? She was in the original, after all.\t<\/p>\n

\n\tGuadagnino: I don\u2019t talk about \u201cAmerican Psycho.\u201d\u00a0<\/p>\n

\n\tSevigny: I pitched that I should play the same part.<\/p>\n

\n\tGuadagnino: The answer is if the movie happens, for sure.\u00a0<\/p>\n

\t\tGoing back to \u201cAfter the Hunt,\u201d were you surprised yesterday at the press conference when a journalist interpreted the movie as \u201canti-feminist\u201d? What did you make of that?\u00a0\t<\/p>\n

\n\tRoberts: I made a meal of it. \u00a0<\/p>\n

\n\tEdebiri: I thought you answered it very well.\u00a0<\/p>\n

\n\tRoberts: I mean, everybody\u2019s going to have their own opinion. That\u2019s what\u2019s so great about it.\u00a0<\/p>\n

\n\tGuadagnino: Can I say something? Two things: One, a movie with these sublimely powerful female characters, how can that be described as anti-feminist? The second thing I want to say: Historically, feminism, as we know, has gone from places in the world and affirmed amazing forward thinking through history, but also created many different waves of feminism.\u00a0<\/p>\n

\n\tBut what I\u2019m trying to say is the idea that something is anti-feminist is a bit generic, and also is so devoid of the pleasure of watching the movie, because look at the fucking movie and enjoy the story of these people. Don\u2019t think about a generic thing that doesn\u2019t exist, historically, socially, philosophically. So it\u2019s a lazy question. \u00a0<\/p>\n

\n\tRoberts: No, Luca \u2026 [She laughs.]\u00a0<\/p>\n

\n\tEdebiri: But I do think the women who are portraying these women are deeply intelligent and deeply empowered. When I sit at this table and I look at Chlo\u00eb and I look at Julia, these are not just girls who are like, \u201cYeah, do whatever you want.\u201d That framing takes away our agency as well, and it takes away nuance, and I don\u2019t think that that\u2019s fair to any of us.<\/p>\n

\n\tRoberts: I love you.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"Julia Roberts landed at the Venice Film Festival wrapped up in her director. As she flashed her famous…\n","protected":false},"author":2,"featured_media":165790,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[76444,25252,66029,88,32177],"class_list":{"0":"post-165789","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-after-the-hunt","9":"tag-andrew-garfield","10":"tag-ayo-edebiri","11":"tag-entertainment","12":"tag-julia-roberts"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/165789","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/comments?post=165789"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/165789\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media\/165790"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media?parent=165789"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/categories?post=165789"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/tags?post=165789"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}