Nine women accuse Jared Leto of sexual impropriety in new report

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Women recount alleged behavior, including flirting with teenagers, as ‘predatory, terrifying and unacceptable’ Multiple women have accused Jared Leto of impropriety, with some calling the 53-year-old actor and musician’s behavior “predatory, terrifying and unacceptable”. In a new report by Air Mail on Saturday, nine women have come forward to accuse Leto of engaging in inappropriate behavior over the years, including flirting with teenagers. Continue reading... from Film | The Guardian https://ift.tt/YP0R8r5 via IFTTT
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This is the year the Oscars found God – but can they keep the faith?

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From Conclave to The Brutalist to A Real Pain, films about religion are unusually well represented at the Academy Awards – some with decidedly unorthodox themes
• Warning: contains spoilers

What Tony Blair’s former spin doctor Alastair Campbell said of New Labour – “We don’t do God” – applies also to the Academy Awards. The secular gong-dispensing rite annually sweeps religion off its proverbial red carpet. The last best picture winner to deal with the subject was 2015’s Spotlight, which hardly proselytised for organised religion – it dramatised the Boston Globe’s investigation into sexual abuse in the Catholic church. You have to go back to 1973 to find a movie with a priestly protagonist that really beguiled the Academy: William Friedkin’s horror movie The Exorcist received 10 Oscar nominations, winning awards for screenplay and sound.

This year, though, may be different. Two leading contenders, The Brutalist (10 nominations) and Conclave (eight), put faith front and centre. And let’s not forget the perversely charming Holocaust road-trip movie, A Real Pain, shortlisted for best original screenplay and best supporting actor, for Kieran Culkin. If not exactly a meditation on Judaism, Jesse Eisenberg’s film is a beguilingly thoughtful musing on Jewish identity from a self-consciously privileged actor-director whose ancestors survived the Holocaust. A Real Pain serves as a reflection on transgenerational trauma and the meaning of religion after Nazi genocide.

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