Jim Caviezel to play Jair Bolsonaro in ‘heroic’ biopic

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Actor, who starred in The Passion of the Christ, will play the disgraced ex-Brazilian president in film written by his one-time secretary of culture Jair Bolsonaro , the former Brazilian president now in prison for plotting a coup, is getting the biopic treatment. Jim Caviezel, who played Jesus in Mel Gibson’s 2004 film The Passion of the Christ, is reportedly filming a “heroic” portrait of the rightwing ex-politician in secret. Dark Horse, directed by Cyrus Nowrasteh and written by Mário Frias, who served as secretary of culture under Bolsonaro, started shooting three months ago in Brazil, where Bolsonaro served as president from 2019 until 2023. He was sentenced to 27 years and three months in prison in September 2025 for leading a criminal conspiracy to stop his leftwing rival, Luiz Inácio Lula da Silva , taking power, though his supporters deny the allegations and have compared the prosecution to the “lawfare” allegedly faced by Donald Trump before he was re-elected. Continue ...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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