June 12, 2026

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Photographs by GREG WILLIAMS
Interview by GREG WILLIAMS/JANE CROWTHER


She plays a former novice nun in Disclosure Day, and Eve Hewson tells Hollywood Authentic about her belief system for negotiating acting and fame as she takes a London stroll.

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Before she begins two days of UK press for Disclosure Day I meet Eve Hewson at the Corinthia Hotel in London on a blustery day in early June. Like her character in Steven Spielberg’s highly-anticipated latest foray into sci-fi, we are looking to the skies – the British weather is being particularly erratic for our planned stroll over Westminster Bridge to take in one of my favourite views of the capital. In the movie, the Dublin-born actor plays Jane, an ex-novitiate who is caught up in a dangerous race against time when her boyfriend Daniel (Josh O’Connor) steals whistleblower evidence of UAPs and ETs from his top-secret work with the intention of collaborating with fellow defector Hugo (Colman Domingo) to expose the truth to the world. ‘I think the sun’s going to come out,’ Eve says as we pull up outside Big Ben. ‘God is on our side.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

It’s appropriate that she should evoke a higher power given that she plays a religious character wrestling with the theological impact of understanding there may be life outside of humanity in Spielberg’s film. ‘My character asks the more religious questions. What does that mean for faith if aliens, or UAPs, really do exist – what does that mean for religion? What does that mean for God? What does that mean for everything we’ve been told to believe about how the world began?’ Despite its big questions, Disclosure Day is a true Spielberg film, loaded with action, wonder and empathy. It’s a blockbuster event movie, and a huge achievement to add to any actor’s resume. 

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

For the 34-year-old it’s the second time she’s worked with the legendary filmmaker. ‘I worked with him at the beginning of my career on Bridge of Spies when I was 22 and terrified,’ she says as we walk across Westminster Bridge, dodging tourists and London swag sellers. She recounts how their latest project came to her on a ‘random Wednesday’, with her agent asking her to Zoom with the storied director. ‘I Zoomed with him, and then he sent me the script which was hand-delivered – very old-school Hollywood. You feel like you’re in some sort of secret society.

After I read the script I spoke with him again, and pitched him my ideas. And then I had to wait. He was like, “I’m not going to torture you over this, but I’m speaking to other people. I’ll let you know by the end of the week.” I got violently ill from the anxiety, because I just wanted it really badly. I puked a few times, which happens to me when I really care about something.’ Spielberg kept his word and told her he wanted her to co-lead the movie alongside Emily Blunt (as a TV weather reporter with a secret past), O’Connor, Domingo and Colin Firth, as a shadowy government consultant. Firth and Eve share a number of tense scenes which required incredible focus from her, not least because she had a particularly special audience while shooting.

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

‘I always keep the storyline of anything I’m doing secret from friends and family, because it’s more fun for me, and for them when they see it. But that was hard to do the day when Obama came to set, because I had the most bizarre day of my life doing that scene with Colin. It was so complicated and genuinely quite daunting as an actor. And then Obama was there. I did text my family at the end of the day, and say, “I can’t explain to you why this was the weirdest day of my life, but I can’t wait for you to see the movie because I get to say, ‘that was a scene that the former leader of the free world came to visit.”’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Though she’d worked with Spielberg previously, Eve admits to still being ‘terrified’ for round two. ‘This was a huge responsibility and a big role – I wanted to do it well, and I wanted to make him proud. Every day, you just had to come in and give 150%. It was just about stepping up, and taking on those responsibilities, and making sure that you aren’t shit.’ How has she changed as an actor in the time between Bridge of Spies and Disclosure Day? ‘The first time I worked with him, I was just learning what a set was, and what cameras were. It was maybe my third or fourth job. I was very new. When it came to Disclosure Day it was just a completely different experience.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

As we look over towards the Houses of Parliament, Eve tells me about living in London for three years during the pandemic when she and her friends would walk the streets with a hot toddy and look at the city, what she terms ‘whiskey walks’. Then she landed her role in hit TV show Bad Sisters and stayed longer. ‘And then I moved to LA. I went to the dark side. I didn’t love LA.’ She returned to Dublin where her parents, musician Bono and activist Ali Hewson, are based. She’s said in the past that as a younger artist LA had been tough to negotiate with all the rejection inherent in acting, driving past billboards of projects she didn’t get. ‘Now I’m on them,’ she chuckles, having moved back to Los Angeles. She remains level-headed thanks to a strong group of friends, many of whom are not in the business. ‘I’m a friend kind of chick. My friends mean a lot to me. I’ve had the same friends since I was four years old. Some of them are artists, but a lot of them are social workers, lawyers, working in finance – just not Hollywood people.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

It’s a balance between the business and real life that she’s always had growing up with a dad in U2. ‘It was a weird, strange, Hannah Montana version of my childhood, where we lived in Dublin, I got the train to school every day, I went to a normal school. And then two or three months out of the year, we would go off on tour with my dad, and live this insane rock-star existence. Which is great, because it’s actually quite similar to being an actor. You have your normal life, and then you go away, and you have this otherworldly experience with people. And then you come home, you know?’ She can, she says, ‘smell the bullshit easier’ because of it. ‘The ‘Bad Sisters’ [Sarah Greene, Sharon Horgan, Eva Birthistle and Anne-Marie Duff] call me their cunt compass,’ she laughs. ‘We’re in a group chat that has a foul name, and we all are in there every day still catching up with each other, and telling each other our deepest, darkest secrets.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Like many artists I talk to, Eve says she’s ‘a huge introvert, an introverted extrovert’. ‘I was super-shy when I was a kid, and I used to not say anything. I would sit in the corner, and suck my thumb, put my hood up. As a little kid I cut off my hair, and I made everybody call me Elliott from E.T. which is so on brand. One time, I was brought to meet President Clinton and Hillary Clinton, and apparently I got under the table, and just started growling. I was that shy. And then Hillary got on all fours, and she was all, “Come out, little Eve. Come out.” And I was like, ‘Rarhhhhh!’  I was an interesting kid.’ Acting was an escape because she could disappear. ‘You get to pretend to be somebody else, but you also get to express yourself completely. But it’s like you’re wearing a mask. It’s a safe space. It’s a role play.’ 

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

These days she says her ambition is to be in bed by dusk. ‘I could go to bed at like 6pm. Me and my cat, Luna, a little bit of Bravo – that’s my jam.’ Professionally she’d like to play a vampire, a Hollywood agent, explore comedy and work with Paul Thomas Anderson. ‘If I’ve already done Spielberg – he is my number one. In my first year of college at NYU, I was mad about Paul Thomas Anderson, and I wrote my final paper on him, and handed it to my professor. I was going to meet some friends at the Greenwich Hotel. I came from my professor’s office, and I walked up to the Greenwich Hotel, and who opened the door for me? Paul Thomas Anderson. It was an incredible moment. He doesn’t remember it, but it was like a beautiful sort of nod from the universe that maybe one day I’ll work with him.’ I ask if she believes in nods from the universe?

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

‘I do. You have to. It makes life a lot more fun, you know? When I worked with Spielberg at the beginning of my career, that was like a nod from him, from the God of the movie universe. Then the fact that I’ve come back around full circle at this point of my career, and I’m working with him on this big movie on this big part – it’s the most beautiful story. I like to believe that the parts that I’m getting are the parts that are meant to be. It’s a nice philosophy to have, to be able to survive, otherwise you would be tearing yourself apart with all of the rejection and the close calls. What’s meant for me, will find me. And what’s for you, won’t pass you by.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Not passing her by; Plan B film Isle of Man which she’s currently filming and learning to ride a motorbike for alongside Channing Tatum; and playing a mother of four in Lenny Abrahamson’s Dublin-set period drama, Hillside Drive. ‘Lenny is just such a talent, and I’m so blessed that he asked me to be in this film, it’s a really exceptional role and I think we made something very special.

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Having shot on the bridge we hurry back to the car to get Eve back to her junket and press responsibilities. ‘All my dreams have come true,’ she smiles, pushing her wind-whipped hair back in place. ‘Being in my underwear in public – it’s my favourite thing!’ It’s also something that might become increasingly difficult to do when Disclosure Day releases and she becomes even more recognisable. ‘I get people recognising me quite a bit, but they’re nice, because they’re fans of something that I’ve done. I haven’t been mauled. I haven’t had it being too much of an invasion of my life. I can still do all the things that I want to do. I never really think ahead in those terms.’ We drive back to the hotel, where she loses a shoe getting out of the car, like a modern Cinderella. ‘Fashion emergency!’ she jokes and leans back in the car before disappearing into the lobby. ‘That was really fast and iconic,’ she says. ‘Fast and iconic. There she is…’


Photographs by GREG WILLIAMS
Interview by GREG WILLIAMS/JANE CROWTHER
Hair by HALLEY BRISKER
Make-up by ALEX BABSKY
Styling by KARLA WELCH
Disclosure Day is in cinemas now

Words by JANE CROWTHER


If Artemis’ recent moon mission has taught us anything, it’s that humans are still capable of wonder at our universe. In a world of bin fire news headlines, war and polarisation, a global community was awed by the possibility and unknown of the endless stars, shared common ground in curiosity of, and appreciation for, the magnitude of our galaxy. Steven Spielberg’s latest foray into sci-fi leans hard into what unites us as a race, rather than what divides us – exploring the possibility of aliens and UAPs through a lens of compassion and empathy, tapping into his ET toolbag more than that of War of the Worlds

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

Based on a story crafted by Spielberg and screenwritten by his longtime collaborator David Koepp (who’s penned genre stablemates Jurassic Park, War of The Worlds and Kingdom of the Crystal Skull for the director), Disclosure Day asks not if other life exists, but rather what happens if we have proof of it. As a spiritual sequel to Close Encounters of the Third Kind, the filmmaker wants to unpack what evidence of not being alone does to humanity; emotionally, politically, theologically.  His tale centres on four key players: maths genius and cyber security expert Daniel (Josh O’Conner) who is on the run with a smoking gun backpack, TV weather reporter Margaret (Emily Blunt), whose morning meeting with a Red Cardinal bird gives her incredible empath powers, whistleblower mastermind Hugo (Colman Domingo) and Daniel’s girlfriend and former novice nun, Jane (Eve Hewson).

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

In a ticking-clock espionage drama, the four are chased as they attempt to reveal the truth of alien life by Big Bad, Scanlon (Colin Firth), the turtleneck-wearing head of WARDEX, a shadowy government consultancy outfit who have kept the public in the dark about visitations from other planets since Roswell in 1947. All have pasts that have shaped their ideology, and will clash during a 48-hour period when the top story on rolling news is the possibility of war with Korea as people panic-buy and faith is tested.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

As an addition to Spielberg’s sci-fi canon, Disclosure Day feels like a director operating at the top of his emotional game and playfully referencing his previous work, tracking clear lines of fascination all the way back to his teenage-made Super 8 movie, Firelight (revisited in The Fabelmans). Some of the lensing and lighting is evocative or ET and Close Encounters, John Williams’ score is deja vu in orchestral soar, there’s a motel called Inn-Di-Ana, Scanlon’s arc recalls Keys from ET, a heart-pounding train sequence is reminiscent of both Duel and Spielberg’s grand obsession with The Greatest Show on Earth

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment
Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

As a storyteller who has dominated most audience members’ cinematic history, that adds to the warmth of this tale, the idea of shared experience and emotional pull. Spielberg has already succeeded in making generations feel for a stranded alien and he creates the same magic trick again, frontloading his picture with top-drawer action and intrigue before walloping with tear-inducing sequences of human cruelty, solidarity, heroism and ultimately, affinity. Aspects of that could be criticised as soft-pedalling the realities of our species’ nature, but this is a film that positions itself firmly within hope, optimism and fellowship – misanthropes may struggle.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

Key to that emotional register are Spielberg’s players – strongest among them, Blunt and Domingo, who may be on the awards train as well the one hurtling through Maryland in that high-octane action segment. Domingo emanates empathy and elegance as a melodious missionary, intent on providing clarity to the world while also understanding the terror inherent in that. Blunt, so often sidelined in roles as a wife/girlfriend, finally gets her big moment as a powerful woman fighting darkness through communication. Those getting the stories out in the newsroom (a key scene was filmed at NBC’s news studios in Rockefeller Plaza using real TV  journalists) also adds heft and messaging about the importance of impartial reportage and truth seeking in a world of ‘alternative facts’ and partisan coverage. It’s a film that believes in our ability to be better and –  in entertaining us with what-ifs – asks us if we can be.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

Words by JANE CROWTHER
Images courtesy of UNIVERSAL PICTURES/AMBLIN ENTERTAINMENT
Disclosure Day is in cinemas now

Words by JANE CROWTHER


Twenty years after aspiring journalist Andy Sachs (Anne Hathaway) finally earned the grudging respect of Runway magazine maven – and thinly disguised Anna Wintour avatar – Miranda Priestly (Meryl Streep) via frenemy and tough love shenanigans with assistant Emily (Emily Blunt) and stylist Nigel (Stanley Tucci), the quartet returns. Of course. In the light of Maverick suiting up again and the SATC girls stepping back into their Manolos, legacy sequels and nostalgia-core is big business (Dirty Dancing revisit incoming). The question of whether beloved characters should be exhumed is moot, it’s whether the 2.0 can stand on its own feet as something more than mere fan service, with plenty of cocklewarming callbacks.

Anne Hathaway, Emily Blunt, Kenneth Branagh, Meryl Streep, Simone Ashley, Stanley Tucci
Macall Polay

Devil 2 manages the trick, but only just. In 2026 Andy is a serious award-winning journalist who’s just been made redundant as her paper downsizes, and returns to the Runway offices as features editor after Miranda suffers near-cancellation for her accidental promotion of sweat shops. Nigel is still consigliere to Miranda, Emily is now the head of Dior. There’s a new assistant, Amari, who schools Miranda in what she can’t say during her withering put-downs (Simone Ashley) and a plot that revolves around Andy having to prove her worth to Miranda again as publishing becomes irrelevant in a world of social media. There’s fashion, Diet Coke placement, celebrity cameos (Donatella Versace and Gaga working better than others) plus an awkward romantic sub-plot and a Justin Theroux turn that both feel surplus to requirement. 

Anne Hathaway, Emily Blunt, Kenneth Branagh, Meryl Streep, Simone Ashley, Stanley Tucci
Macall Polay
Anne Hathaway, Emily Blunt, Kenneth Branagh, Meryl Streep, Simone Ashley, Stanley Tucci
Macall Polay

It’s hitting all the right notes of the original (female empowerment, OTT fashion, a nice nod to cerulean) and Streep does get to flex that calm delivery and imperious stare while MVP Blunt brings her excellent comedic timing (biggest laugh is her Italian gag with Versace). But the story situates Miranda as a victim from the start and diminishes her bite, which was a huge part of the deliciousness of the first film. Though she has more fashion, she has fewer words; leaving Andy and Emily to spat in a corporate takeover narrative that doesn’t feel high stakes enough. 

Anne Hathaway, Emily Blunt, Kenneth Branagh, Meryl Streep, Simone Ashley, Stanley Tucci
Macall Polay

Though the denouement of the characters is placed very firmly in this decade and current media landscape, it feels non-essential to non-fans – the pleasure to be found in seeing ‘Spring Florals’ as the theme of the Runway Ball at the Met, understanding why one should never go upstairs in Miranda’s brownstone, the significance of soup in the canteen and the return of a revamped lumpy blue sweater. And Milan looks glam for a third-reel romp. It’s all perfectly entertaining, without being, as Miranda would say, groundbreaking.

Anne Hathaway, Emily Blunt, Kenneth Branagh, Meryl Streep, Simone Ashley, Stanley Tucci
Macall Polay

Words by JANE CROWTHER
Pictures courtesy of 20th Century Studios
The Devil Wears Prada 2 is in cinemas now

September 4, 2025

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine
Venice Dispatch Ticket
Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

Photographs by GREG WILLIAMS
Words by JANE CROWTHER


Though Benny Safdie’s Venice hit The Smashing Machine centres on the experience of real-life UFC champ Mark Kerr, the key to the story – according to the actor portraying him, Dwayne Johnson – is the relationship between Mark and his girlfriend, Dawn Staples, played with a perma-tan and acrylic nails by Emily Blunt. The bond between Johnson and Blunt is also integral to the project. It was clear to see as Greg Williams joined the duo and Safdie for a pre-premiere toast at the St. Regis before riding across the Venice lagoon to debut their work at the festival. In the Grande Salle, the film was received with a fifteen-minute standing ovation and praise for both leads’ performances.

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine
Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

Having become ‘best friends’ while making the action-adventure Jungle Cruise, the two actors discussed next projects, with Blunt encouraging Johnson to follow his heart and ambition in breaking out of blockbusters. When they began to work on Kerr’s biopic, Blunt admits she found Johnson’s physical and emotional transformation ‘spooky’. ‘It was one of the most extraordinary things watching him disappear completely,’ she told the press on the Lido earlier in the day. Blunt’s metamorphosis was equally impressive as she spent time with her real-life counterpart. ‘I got to know Dawn well and she was very generous with her story with me,’ Blunt said. ‘There was a deep profound love and devotion they had for each other amidst an impossible environment.’

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

Safdie explained the process he went through with both actors to achieve the level of authenticity he was looking for. ‘Dwayne, Emily and I kept thoughts like, ‘What is it like to really be Mark Kerr? What is it like to really be Dawn Staples?’ We wanted to empathise with these characters in a way that felt like our own feelings. I ended up calling this a kind of Radical Empathy. First, because empathy should be cool, and second, because I wanted this movie to exist as a memory for everyone who watches it.’

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

The film will surely live in the memory of voting bodies come awards season – with Blunt entering the conversation again for another perfectly essayed performance.

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

Photographs by GREG WILLIAMS
Words by JANE CROWTHER

The Smashing Machine premiered at the Venice Film Festival
Released in cinemas 3 October
Read our review here
Emily wears Tamara Ralph gown with Tiffany & Co. jewellery

September 3, 2025

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine
Venice Dispatch ticket
Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

Photographs by GREG WILLIAMS
Words by JANE CROWTHER


The transformation of Dwayne Johnson into UFC champ Mark Kerr isn’t just in performance – though that’s revelatory with Johnson’s best dramatic work to date. It’s also about evolving as an actor and public figure. As he arrived at the Venice Film Festival to premiere The Smashing Machine, which he also produced, he told journalists that he’d wanted to take on a role like this for some time and that he and his director, Benny Safdie, and co-star, Emily Blunt had discussed the process for a while. Blunt, he said, had encouraged him to make the leap to such a challenging role.

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

“The three of us have talked for a very long time about, when you’re in Hollywood — as we all know, it had become about box office,’ the star of Fast & Furious, Jumanji and Moana said. ‘And you chase the box office, and the box office can be very loud and it can become very resounding and it can push you into a category and into a corner. This is your lane and this is what you do and this is what Hollywood wants you to do.”

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine
Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

‘I looked around a few years ago and I started to think, you know, am I living my dream or am I living other people’s dreams? You come to that recognition and I think you can either fall in line — ‘Well, it’s status quo, things are good, I don’t want to rock the boat’ — or go, I want to live my dreams now and do what I wanna do and tap into the stuff that I want to tap into, and have a place finally to put all this stuff that I’ve experienced in the past that I’ve shied away from.’

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

In the A24 film Johnson charts a three year period in Kerr’s career when he was fighting an addiction to painkillers, defining the now-huge UFC world and riding a rocky road with his girlfriend, Dawn (played by his Jungle Cruise co-star and friend, Blunt). He shows a vulnerability audiences haven’t seen from the actor before in a performance that already has awards heat. Johson brought the real Kerr to the festival with him and told the press that the process of playing the fighter had changed his life. And he thinks that the film will offer something to audiences too – not just athletes and sportspeople. ‘It’s not about the wins or the losses … it’s also a film about what happens when winning becomes the enemy. And I think we can all relate to that pressure.’

Benny Safdie, Dwayne Johnson, Emily Blunt, Ryan Bader, The Smashing Machine

Winning might be something Johnson has to get comfortable with as we head into awards season given the glowing reviews he’s received out of the festival. The star was greeted rapturiously by crowds on the premiere red carpet after he travelled there with Greg Williams – and the film received a 15 minute ovation, reducing the actor to tears. ‘I’ve been scared to go deep and go intense and go raw until now, until I’ve had this opportunity,’ Johnson admitted. Facing the fear looks like it was worth it – it’s a knockout turn.


The Smashing Machine premiered at the Venice Film Festival and is in cinemas 3 October
Dwayne Johnson wears Prada and Chopard

Words by JANE CROWTHER


Have we ever seen Dwayne Johnson cry on-screen? Having made a career as a comedy and action ace, Johnson gets uncharacteristically vulnerable in his first dramatic indie role, the moments where he breaks and sobs as far away from his cultivated ‘Rock’ persona as the face prosthetics genius Kazu Hiro gives him to play real-life UFC champ, Mark Kerr. It’s a welcome gear change; beefed up and raw, without a raised eyebrow in sight, it could be the role that takes him all the way to Oscar night.

Benny Safdie, Dwayne Johnson, Emily Blunt, Mark Kerr, Ryan Bader, The Smashing Machine
Cheryl Dunn/A24

Written and directed by Benny Safdie, the film follows free-style wrestler Kerr during three tumultuous years when his involvement in the sport was pioneering and shaping the UFC behemoth we know today, and when his personal life was a challenge. We meet him in 1997 as an undefeated fighter with an addiction to painkillers, and a relationship with his girlfriend, Dawn (Emily Blunt) as punishing as anything in the ring. From the off, Safdie and Johnson zone in on Kerr as a gentle giant; he’s a beast when the bell rings but also asks after injured opponents, talks sweetly to kids and grannies, asks for the window shade on flights to be opened so he can appreciate the sunset and likes to prune cacti. Rage is reserved for interactions with Dawn, who knows how to push his buttons to the point of ripping doors off hinges. Though the love between them is clear – beautifully played within the real-life friendship and familiarity of Blunt and Johnson – neither the drugs or the romance are productive. That’s evident to Kerr’s bestie, Mark Coleman (MMA fighter, Ryan Bader) who trains his friend and is another sweet man in a cage-fighter body. As Kerr negotiates his first loss, the rules and pay of the UFC, rehab and police run-ins, he learns how personal experience informs the sport and the teaching moment in not being invincible.

It’s the classic arc of a sports movie and one we’ve seen many times before – with Safdie even popping a Rocky beanie hat on Johnson and giving him steps to run up during a training montage – but the wins are not necessarily about reinventing the wheel. The pleasure here is in watching Johnson disappear inside another person, impressively unrecognisable in a wig and prosthetic nose/brows, his heart on his sweaty sleeve. Blunt is equally delightful as the perma-tanned Dawn, bringing a brightness to the brittle as a woman who wants neither the drug-dulled sweetheart who collapses nor the snippy, sober killjoy she gets after rehab. Safdie also chooses to bring the real-life Kerr into proceedings, giving him his due in a third reel segment that tracks him as he cheerfully does his grocery shop, a curiously moving moment. A standard biopic then, but one that awards bodies will likely reward. Voters love transformation from a performer and Johnson provides that not only in his physically immense muscle mass but also in his decisive reinvention as an actor. That the story mirrors elements of his own hard-scrabble background and fist-bought success can only add to the narrative.

Benny Safdie, Dwayne Johnson, Emily Blunt, Mark Kerr, Ryan Bader, The Smashing Machine
A24

Words by JANE CROWTHER
Photographs courtesy of A24
The Smashing Machine premiered at the 82nd Venice Film Festival and is in cinemas now