Cate Blanchett and Selena Gomez are set to star in Brady Corbet’s next feature, joining Michael Fassbender in what is already shaping up as one of the most ambitious auteur projects after The Brutalist. The film is currently untitled, but early details suggest a sprawling adult drama with a large historical canvas and a bold visual approach.
The project brings together three very different screen presences. Blanchett arrives with decades of prestige cinema and auteur collaborations behind her, Gomez continues to expand her acting profile beyond music and television, and Fassbender adds another major name to a film that is expected to attract strong attention from international buyers and festival circles.
Corbet has previously described the film as an “X-rated” feature, though that should be understood as an early creative description rather than a confirmed final rating. Since the film has not yet been completed or rated, the phrase likely points to an adult, boundary-pushing vision rather than an official classification.
Plot details are being kept under wraps, but the film is expected to span from the 19th century to the present day, with much of the story reportedly focused on the 1970s. That structure suggests another large-scale narrative from Corbet, whose recent work has shown a strong interest in history, architecture, trauma, ambition and the way personal lives are shaped by larger cultural forces.
The film is also expected to be visually ambitious. Corbet has reportedly planned to shoot the project using rare eight-perf 65mm cameras, a format choice that signals a desire for scale, texture and old-school cinematic grandeur. After the formal sweep of The Brutalist, the use of 65mm would further position the new film as a major theatrical and festival-facing work.
The screenplay is also said to be extensive, reportedly running around 200 pages. That would make it even longer on paper than The Brutalist, which itself became known for its epic runtime and novel-like structure. If the new film follows a similar path, audiences may be looking at another dense, chaptered and formally ambitious work from Corbet.
The casting news comes after Blanchett mentioned during a Cannes Film Festival masterclass that she was about to work with Corbet on a film. Variety later reported that Blanchett and Gomez are set to star, with Gomez’s involvement having previously been reported by The InSneider. Andrew Morrison is producing through his Kaplan Morrison banner.
For Blanchett, the project fits naturally into a career defined by risk-taking collaborations with major filmmakers. She has worked with directors such as Martin Scorsese, Guillermo del Toro, David Fincher, Todd Field and Wes Anderson, often moving between mainstream visibility and formally adventurous cinema. A Brady Corbet film, especially one described as adult and historically expansive, sits firmly within that tradition.
Gomez’s involvement is equally notable. While she remains globally known as a music star and television presence, her film work has steadily become more interesting. From Spring Breakers to Jacques Audiard’s Emilia Pérez, she has shown a willingness to move into more challenging screen spaces. Her role in Corbet’s new film could mark another major step in that evolution.
Fassbender’s attachment adds further weight to the project. Known for intense performances in films such as Shame, 12 Years a Slave, Steve Jobs and Macbeth, he brings a screen presence that fits Corbet’s interest in morally complex characters and psychologically charged storytelling.
The project will mark Corbet’s fourth directorial feature after The Childhood of a Leader, Vox Lux and The Brutalist. Across those films, Corbet has built a reputation as a filmmaker interested in power, performance, history and the darker machinery behind public life. His work often carries a sense of scale even when focused on intimate characters.
Expectations for his next film are especially high because of the success of The Brutalist. The film became a major awards-season force, winning three Oscars, including Best Actor for Adrien Brody, Best Cinematography for Lol Crawley and Best Original Score for Daniel Blumberg. It also earned 10 Oscar nominations, turning Corbet into one of the most closely watched American filmmakers of his generation.
That success gives his next project a different level of attention. Before The Brutalist, Corbet was already admired in cinephile and festival circles. After it, his follow-up becomes a major industry event. The combination of Blanchett, Gomez and Fassbender only increases that curiosity.
The “X-rated” description will likely become one of the biggest talking points around the film, but it should not overshadow the larger creative ambition. Corbet appears to be building a film that moves across time, uses large-format cinematography and brings together a cast capable of carrying emotionally and historically complex material.
There is also some confusion online about the film’s title, with certain reports referring to it as The Origin of the World. However, the project has not been officially confirmed under that title in the latest reporting, so it is safer to treat the film as untitled for now.
What is clear is that Corbet is not following The Brutalist with a smaller or safer project. Instead, he appears to be moving toward another formally daring work, one that could test boundaries in content, structure and scale. That ambition is exactly what makes the project stand out in a film landscape often dominated by franchises and familiar IP.
With Blanchett, Gomez and Fassbender attached, the untitled film already has the kind of cast that can generate global attention. Its adult tone, historical sweep and planned 65mm presentation suggest a project designed not only for awards conversation, but also for serious cinephile interest.
For now, much remains unknown, including the full plot, production schedule and release plan. But the early details are enough to make Corbet’s next film one of the most closely watched upcoming auteur projects. After The Brutalist, expectations were always going to be high. With this cast and this scale, they have only grown.
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