Why Was Alexander Skarsgård Dressed In Drag Last Night?

Alexander Skarsgard
Alexander Skarsgård via Wikipedia 


At the San Francisco premiere of The Diary of a Teenage Girl last night, virile vampire Alexander Skarsgård ditched the requisite black or navy suit and donned something much more…fabulous. Serving up her best Farrah Fawcett realness, Skarsgård joined the rest of the cast in dressing in ’70s styles in honor of the movie’s era. Of course, decked out in a gold sequined gown, hoop earrings and hair for the gods, he took it one step further. And we couldn’t be happier.

There’s no info on why exactly Skarsgård decided to tuck, but E! speculates it was in honor of Peaches Christ, a legendary San Francisco drag queen who co-stars as a transvestite in The Diary of a Teenage Girl. Considering the venue, that seems entirely plausible. 

As spectacular as she looks, (no T, no shade) we think her jaw could have been contoured a bit more, and a gown with sleeves would have covered up those masculine guns…she’s not THAT fishy, unfortunately. But we can’t be too hard on a girl’s first time in drag.

Gaze on her sickening look below:




5 Men with Whom Jennifer Lawrence Should Rebound

Photo: Billy Farrell/BFAnyc.com

Jennifer Lawrence is one of the hardest working and down-to-earth actresses in Hollywood, so it’s no question that the mega star can have any man at the snap of her bow-and-arrow-shooting fingertips. After making X Men co-star Nicholas Hoult an ex, man, the blonde beauty was on the hunt for a man that can hit the right note. It wasn’t long before she moved on to Gwyneth’s former man, Chris Martin, but there must have been trouble in para-para-paradise because the two are done.

In light of this news, we’ve put a little list together of who J-Law should hook up with next.

1. Chris Pine: They both star in multi-million dollar blockbusters, they both are extremely good looking, and they both are rumored to be single. These two should join forces and create a rival to reckon with Brad and Angie.
Photo: Joe Schildhorn/BFAnyc.com

2. Joseph Gordon-Levitt: It wouldn’t come to much as a surprise and it wouldn’t be hard on the eyes either. With their talent and humor, these two would make the perfect match.
VANITY FAIR OSCAR PARTY 2014 - Red Carpet Arrivals
Photo: Billy Farrell/BFAnyc.com

3. Prince Harry: When you’ve dated Hollywood royalty the only, way up is actual royalty. Prince Harry of Wales is the missing piece to Jennifer’s puzzle. We know she likes the Brits, having dated Hoult, so it’s basically The Prince and Me but in real life.
Photo: Joe Schildhorn/BFAnyc.com

4. Alexander Skarsgard: The model turned actor has the perfect look for Jennifer. Let’s be honest, the pair would make beautiful babies.
The New Museum and Nuit Blanche New York present Marco Brambilla's Creation (Megaplex) 3D
Photo: Matteo Prandoni/BFAnyc.com

5. Chris Evans: He’s been linked to Kate Bosworth, Emmy Rossum, and even Sandra Bullock. Chris should add Jennifer Lawrence to his list.
Stefano Tonchi, Editor in Chief, W, in partnership with Joanne Crewes, President of Global P&G Prestige, hosts The Ever Changing Face of Beauty, a video installation by Solve Sundsbo, held at New York's Park Avenue Armory
Photo: Billy Farrell/BFAnyc.com

Katy Perry, Kristen Stewart: Seen & Heard at Coachella Weekend 2

Contrary to popular belief, the second weekend of Coachella was not a ghost town. In fact, famous faces turned up in droves to take in the music fest’s final bow and were treated to steadier weather than the first weekend. Speaking of the heat, the desert was scorching with scantily clad celebrities attempting to stay well-ventilated in 100-degree weather. From Emma Roberts in a bikini to Kristen Stewart in microscopic cut-offs to a shirtless Joe Mangianello—if you thought Coachella style was naked before, brace yourself. 


There certainly wasn’t a drought in star couples this weekend, as dynamic duos like Zoe Kravitz and Penn Badgley and Stewart and Robert Pattinson hit the scene without a bodyguard in sight. And while their love was well-documented by the bevy of photogs in the house, there’s no denying that the buzziest of buzz sightings was Katy Perry frolicking from show to show, hand in hand with her new fling (and Ryan Gosling doppelgänger), Robert Ackroyd. The pop star and Florence + the Machine guitarist were heavy on the PDA, proving that Perry has very much moved on from both her former husband Russell Brand and her Chanel boy toy from Paris Fashion Week, model Baptiste Giabiconi. 


There’s more: former BlackBook cover star Alexander Skarsgård swung by the SKYY Infusions Coconut Escape Pool Party in a simple black tee and jeans, Rosie Huntington-Whitely graced the fest grounds in a white J Brand shirt, nude bikini top, and Christopher Kane denim shorts. Even Melanie Griffith make an appearance this weekend, pairing a black tee with floral trousers and cat-eye sunnies while smoking cigarettes and downing beer. Rock on.

Photos: Popsugar, Hollywood Life, Red Carpet Fashion, Daily Mirror

Alexander Skarsgård on Exploring ‘The East’ and the Joys of Creative Freedom

Following his initial reading of Zal Batmanglij and Brit Marling’s brilliantly-crafted eco-thriller The East, actor Alexander Skarsgard had a simple message for his agent. "I don’t care what else is coming up out there," Skarsgård said. "I want to work with these people." It wasn’t only a testament to their thought-provoking and thrilling script, it was a reaction to the energy that Zal and Brit possess about their work, a voracious appetite for storytelling and a passion for making films that truly mean something and speak to the world we live in. 

As one of the most sought after and versatile actors in Hollywood today, Skarsgård’s been on everyone’s radar this spring with a slew of films that showcase the poetic nature and striking talent wrapped inside his hulking good looks. So after seeing him as the desolate veteran and husband in Disconnect and the hapless bartender-turned-father-figure in What Maisie Knew, with Batmanglij’s film we’re shown a more exposed side of Skarsgard, as Benji the charismatic leader of anarchist collective The East. 

Telling the story of Sarah, we see Marling as a young ex-FBI agent now working for an elite private intelligence firm who is hired to infiltrate an anarchist collective that is rumored to be attacking big corporate CEOs and forcing them to confront the harm they’ve inflicted on the masses. But in her time spent with the collective known as The East, her beliefs begin to waver as she starts to sympathize with the group’s leaders, growing closer to Benji, and opening her eyes to the wrongdoings that so easily go unnoticed.

"He has a lot of poetry in his eyes," says Zal of Skarsgård, who brings Benji to life with a vitality matched by his hidden vulnerability.  "At the end of the film it just made me think about morality," Skarsgård says, "and what is okay about civil disobedience, breaking the law, hurting someone, and how far you’re willing to go." Last week I got the chance to sit down with Skarsgård—for the second time this month— at the Crosby Street Hotel to discuss his unique and wonderful experience working on the feature, the importance of creative exploration as an actor, and bringing Zal and Brit’s vision to life.
How did you first become involved with the film, and what attracted you to the project?
Well, I got involved the good old way. I was sent a script from my agents two years ago on the 4th of July. I was in San Diego with some friends and I read it and was just blown away. I thought it was such a great script—so intelligent and interesting and felt like an old school spy thriller from the 1970’s but relevant and an important issue. It really made me think about these issues. So I called my agents and asked to meet the filmmaker. I’d seen Sound of My Voice and thought it was beautiful, so I drove up to LA and met with Zal and Brit. They just have a phenomenal energy; you get very inspired by them. We met and talked and hung out for an afternoon and I just thought that I would love to work with these people. 
I’ve been enormous admirers of those two for a while now, and feel like not only are they extremely talented but such an important new voice in cinema. As an actor that must be exciting to discover.
Oh, absolutely. I walked out of that meeting and called my agent immediately.  I said, I don’t care what else is coming up out there, I want to work with these people.
How did you jump into helping develop Benji and get to know him?
I was on my way to New York to shoot What Maisie Knew and Disconnect back-to-back, so I met with Zal and Brit a couple of times. And then working on Benji, it was basically over the phone. Zal and I would talk and Brit and I would talk about him and the relationship between Benji and Sarah. It was a great process because they’re so open to the collaborative process of exploring it together, and at no point did I feel like there were egos involved or they were holding onto something because they wrote the script. They were very open to letting me explore and exploring it together and playing around with it—which made it very exciting on set when you have a director who loves to be surprised. 
Do you enjoy this kind of collaborative environment? I imagine that’s refreshing when plenty of directors are more closed off and really just want you to serve their vision.
It’s just more inspiring when you work with someone who makes you feel that there’s a creative freedom, where you’re allowed to follow your instinct. And sometimes that might change and I love those moments when you prepare for a scene and you work on it and you think about it and you have an idea of how the scene will play out and which direction it will go in and I love moments when it doesn’t and something will happen because it’s an interaction between you and the person you’re in the scene with and that energy. You feed off each other in a way and it changes and I love that and being able to go with it and have director that’s applauding behind the camera being like, "Go go go!" Its about creating a safe environment on set where people feel like they’re allowed to make mistakes or go in a direction and just free fall; that’s how you create moments that are interesting and unique because you’re not playing it safe and you’re not trying do exactly what you’re prepared to do. And Zal is definitely one of those directors who is extremely prepared and knows the story and knows the characters, but also loves those moments that happen.
You and Brit had such a phenomenal chemistry together. It must be great working with someone like her whose also written the script so she knows the characters completely inside and out.
But that’s what so interesting about it because Brit wrote it, but it was also like she didn’t write it for herself. She was a writer but then she took it on as an actress and she was also in that process of exploring Sarah and getting to know who she was . We would get together on Sundays and just play around with the scenes and talk about it. We’re very similar in that way, Brit and I. And it’s also a domino effect—you shoot a scene and its different than the way you planned it and that will effect the relationship and that will effect the following scene, so we would sit and play around with it. She also gets very excited when we’d discover things.
With a film like this you can tell that it was a very close set.
Yes, unlike any set I’d ever been on. It was a combination of the material—just such a great script and interesting story—and Zal and Brit’s energy. To have them on set everyday and their enthusiasm, everyone was so effected by that and felt it. Even the people behind the camera, everyone was so intrigued and so involved in doing their job—like telling the story and making this film to a level I’ve never experienced before, where a grip would come up at lunch and be like: "Alex that scene this morning, when Benji said that—what did that mean?" And even give me notes and I would love that. We were all in that together. When we weren’t on set we’d all hang out;  Zal and Brit rented a house and we’d all hang out there and cook and on weekends play around with the scenes.
Have you enjoyed seeing the array of reactions to the film as you’ve taken it around to different festivals?
We’ve had some really great conversations with people, and people get really engaged. What I loved about the script—and I hope we were able to capture that—is that it’s not didactic, it’s not preachy. It’s not about a girl who works for the big bad corporation and then she joins the bearded people out in the woods and she realizes they’re the good guys and it’s a Robin Hood story of her fighting with them.
It’s more complex than that.
Yeah, it has much more depth than that and is more complicated. Even within the group they don’t all agree, which I thought was very interesting and very real. If you look at groups like the Weather Underground, one of the reasons they imploded was that they didn’t all agree. Some of them were willing to go really far and hurt people or kill people for the cause and some weren’t and we wanted to capture that. We also wanted to end the movie with the feeling I got when I read the script, where it didn’t feel like they were shoving an opinion down my throat or propaganda,it felt like at the end of the film it just made me think about morality and what is okay about civil disobedience, breaking the law, hurting someone, and how far you’re willing to go. And to do that and combine that with a movie that’s actually entertaining and fun a great spy thriller with a love story, I think Zal and Brit did a phenomenal job with the script and that’s how I got excited. 
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See a New Set of Photos From Zal Batmanglij’s ‘The East’

Last year, when speaking to writer and actor Brit Marling about Sound of My Voice, we got to talking about the films that have informed us creatively and the longing to expose everyday life in an abstract way. "Like that moment in Three Colors: Blue when she’s dragging her knuckles across that stone wall or in Red when the bubble gum ad becomes like the metaphysical portal into how she nearly dies and meets the love of her life. A fucking bubble gum ad! I love that pairing," she said. "I think our generation has that desire. You see it in music now, too; there’s a kind of earnestness and deep desire for something romantic and honest, but also the possibility for something magical in the mundane. We’re all hoping there’s more to all of this that meets the eye, and I hope that’s true." And with her latest film, The East—which she stars in and co-wrote with the film’s director, the wonderfully talented Zal Batmanglij, they’ve once again have collaborated to create something both thrilling and emotional, relevant to our current generation and questions that plague our society.

Starring Marling, Ellen Page, Alexander Skarsgard, and Patricia Clarkson, The East goes as follows:

Someone is attacking big corporate CEOs and forcing them to consume harmful products they manufacture. An elite private intelligence firm is called into action and contracts ex-FBI agent Sarah Moss to infiltrate a mysterious anarchist collective, The East, suspected to be responsible. Skilled, focused, and bent on success, Sarah goes undercover and dedicates herself to taking down the organization. She soon finds, however, that the closer she gets to the action, the more she sympathizes with the group’s charismatic leaders.

And with the film’s release later this month, we’ve already seen a trailer for the feature, as well as stills and posters. But now we get an even closer look at the film with a new set of photos—both on set and from the film—as well as a new featurette. The East is a fantastic second feature for Batmanglij and shows how truly talented he and Marling are at creating an enlightening and engaging narrative.

So if you haven’t been keeping up with the film, see HERE, HERE, and HERE for more on The East and catch it when it hits theaters May 31st.








Alexander Skarsgård and Onata Aprile Talk Growing Close With Their New Film ‘What Maisie Knew’

Although the world first fell in love with Alexander Skarsgård as the dark lord of the undead, Eric Northman, in True Blood, the Swedish actor has transcended his hulking television status in the last few years to become one of Hollywood’s most sought after and talented actors. In 2011, he played the doting husband to Kirsten Dunst’s Justine in Lars von Trier’s doomsday ballet Melancholia, as well as the violent role of Charlie in Rod Lurie’s remake of Sam Peckinpah’s Straw Dogs. And in the last few months alone, I’ve watched Skarsgård deliver vastly different and nuanced performances as an emotionally cut-ff veteran in Henry-Alex Rubin’s Disconnect, an impassioned anarchist in Zal Batmanglij’s The East, and most recently the role of Lincoln in David Siegel and Scott McGehee’s family drama What Maisie Knew.

Based on Henry James’ late 19th-century novel, the film adaptation stars Skarsgård as a bartender and musician who marries Susanna (played by Julianne Moore), a singer whom, along with her ex-husband Beale (played by Steve Coogan) neglects to take proper care of their six-year-old daughter Maisie (played by Onata Aprile). In the wake of their selfishness and egotistical concerns, Lincoln assumes the role of father-figure towards the young girl, alongside the help of her nanny Margo. It’s a heartbreaking film that centers on Maisie, a wise and absolutely adorable child caught in the middle of a bitter custody battle. But it’s the chemistry between Skarsgard and Aprile that shines the brightest in the film—their relationship dynamic and heartwarming, an magical touch of wonder between a man in over his head, and a lost child. 

Last week, I sat down with Skarsgård and Aprile at one of the film’s various roundtables to talk about what attracted him to the script, Aprile’s youthful exuberance, and their instant connection.

The characters you often play, are very self-assured and confident figures, but in this we see a more vulnerable side of you. Lincoln slouches and coasts through life in a way that feel like a strong contrast to the roles you usually take on.
Alexander Skarsgård: Well, a character like Derek in Disconnect, he’s broken—there was no swagger there. He was broken because of what he went through, and with Lincoln, it wasn’t about that. It’s not that he was a broken man, he’s just not super confident or very driven and ambitious. I see him as someone who is very genuine and talented and sweet but he doesn’t take care of himself, and he doesn’t really care. But there’s something that happens when he meets Maisie. It’s weird what happens, how he, out of kindness, marries Julianne’s character. They barely know each other and I don’t know a lot of people who would marry someone in a situation like that. But he does and then she’s not there for her kid. For the first time in his life he’s forced to take care of someone. He’s never done that before, even himself. He falls in love with this little kid and he doesn’t get why her parents aren’t there for her and how you can neglect someone so wonderful.
Did you compare and contrast between Henry James’ work and the modern script?
I read the novel many years ago and it felt, even then, very relevant. It’s Victorian England but something a lot of people can relate to and a lot of kids go through that. This is obviously a very different story and I feel like Sir Claude in the novel is a bit different than Lincoln, but the theme and the tone is very similar. It’s, in a way, a battle of two ego—two people so intent on destroying each other that they forget about what’s important. And it’s not that they don’t love their kid, they’re just so busy fighting each other that they neglect their child.
How did you go about building Lincoln’s character?
I wanted someone who definitely couldn’t be bothered. He doesn’t really care about appearance and all that stuff. Susanna is someone who is very successful and I wanted Lincoln to be kind of the polar opposite, someone whose not driven like her but very talented. You don’t see that in the film, but I imagine he’s a great guitarist. I definitely have friends that are very talented like that but just not driven,  and I wanted to capture that.
What was it about the film that made you want to be a part of it?
I thought it was a great, great script. Onata wasn’t attached when I got involved but it was obviously very important to find the right Maisie because it’s all about her in every single scene of the film. So I felt there were great directors and a great script from a great novel; then you’ve got Juilanne Moore, one of the greatest actresses we have, Steve Coogan who—I grew up in Europe and he’s a very famous comedian over there—is just absolutely brilliant. But that said, it doesn’t really matter if you don’t have the right Miasie; it’s her journey, we’re all there to just serve that. So we talked a lot about that with the directors and then saw a couple of young actresses, but there was just no doubt once I saw her. If you watch 30 seconds of the film you’ll just get it.
Onata, how many times have you seen the film and how do you feel when you watch it?
Onata Aprile:
Well, I saw it three or two times. I think the film is really sad but at the same time, you kind of feel sorry for Maisie. 
That’s how I felt too. How was working with Steve Coogan, who is really funny and when we spoke to the directors said he would often changed the dialogue and improvise. When he’d do that, was it difficult to go along with him? 
OA: Sometimes.
AS: I’d say Onata was always very aware of the story and the character and was very open to to change. She’s very much in the moment and present, which made it very organic.
What was the most difficult part about playing Maisie?
I don’t know.
AS: Long days were hard. It’s tough when you get tired and stuff have to act, right? But you did a really good job with that.
What was the most fun about it?
Do you want to be in another movie?
Yes I do.
This movie tackles a larger social issue of kids that are left without the care of a main guardian. What do you think about that effect on these children?
It’s easy for them to get lost; we’re so egocentric and so focused on ourselves. I’ve seen this with friends, where it’s an ugly divorce and they’re so focused on that custody battle, it becomes so personal and so ugly. And it can go on for years and you can forget that there are children there and they become almost like pawns in it. But that’s what I think is beautiful about the film: it’s not that they don’t love their children, it’s not lack of love, it’s just that the focus is on themselves. It’s about two egos, and I see a lot of that today, where for very selfish reasons people do that.
In a short period of time you have Disconnect, Maisie, and The East all being released. The characters you’re playing are all extremely different, so is that something you look for when you’re reading scripts? Is the script the most important thing for you at first or is it the director and their vision of what it could be that reels you in?
It’s a combination. It’s about getting excited. But to get to that place, you need a lot of ingredients: a great script, a director you’re excited to work with, and the character. You need a a character you feel challenged by and you need to feel that there’s a potential to grow or learn something. I need to feel like it’s going to be an interesting creative process—sitting down for the first time with the script and saying, okay who is Lincoln or Derek or Benji. If I sit down and have all the answers or feel like I’ve played this character ten times before, where I know exactly how to play it, I’m not going to have fun. If I have all the answers, why spend four months on it? So that’s always what I’m looking for; there’s got to be that mystery there or I won’t have fun and I don’t think the audience will have fun either.
What are you most looking forward to about the upcoming season of True Blood?
Eric is very busy this season. For the first time the humans can actually fight back; they find a way to be a real threat. So Eric’s very busy.
Like the character of Maisie, you grew up with a father who was a successful performer and always working. How was being a child in that sort of environment?
When I was a kid, my dad was a stage actor in Sweden, so he wasn’t traveling the world working on big international films. But he did repertoire theater which meant he rehearsed one play during the day and then performed at night. So it was a busy schedule and he was basically at the theater for sixteen hours a day. I grew up hanging out backstage a lot, if I wanted to be with my dad I had to be backstage because he was always there. It’s tough, but at the same time, what greater place to run around as a kid than at a theater with fake noses and wigs and a lot of very interesting creative people? And being back there when he was working with Bergman—not that I knew who Bergman was at the time—but it’s pretty cool looking back.
The most wonderful part of the film was definitely the connection between you and Onata. Did you spend time together before shooting or was it something that happened immediately on set?
It happened naturally. But you’re right, it’s so important; without that there’s no film. So I was nervous about it. I was in LA and Onata was in New York and I was like, I really hope the chemistry’s there because she was six then and with someone that age it has to be real, you can’t fake it. But then we got together at David’s house and it was pretty instant. I felt it after three seconds. I was like, we’re fine.

Watch a Thrilling New Trailer for Zal Batmanglij’s ‘The East’

Last week, we talked about the need for films that not only show us where we’re at as a society and where we’re going, but how it feels. Alongside that, came new stills for Zal Batmanglij’s upcoming eco-thriller The East, a film that speaks to the confounding nature of our generation with a voice that’s refreshing and unique. Brimming with kinetic energy and emotion Batmanglij’s sophomore feature was co-written with Brit Marling, the two exploring similar territory as their first film Sound of My Voice—investigation of identity, the allure of charismatic leaders, and questions of personal belief—but now tackling those questions on a larger scale. And with The East, Batmanglij has proven himself a filmmaker to be excited about, whose career feels important to our current independent cinematic climate with the desire to tell authentic stories that reflect what it means to exist in today. 

And with The East, we follow Marling as Sarah, a young ex-FBI agent now working for an elite private intelligence firm who is hired to infiltrate an anarchist collective that is rumored to be attacking big corporate CEOs and forcing them to come in contact with the harm they’ve inflicted on the masses. But in her time spent with the collective known as The East, her beliefs begin to waver as she starts to sympathize with the group’s leaders and opens her eyes to the wrong doings that so easily go unnoticed.

When I interviewed Marling last year, we spoke about the type of films we both enjoy and the films she intends to write, saying: 
 I think cinema can get at the ineffable and the metaphysical in a way that’s very special. If a play is 80 percent auditory and 20 percent visual, cinema is the reverse. There are moments in film that can get to a place beyond words. Literally things that cannot be described by language—language is too limited. I think that we’re always interested in those kind of endings, trying to arrive at a place after 90 minutes of storytelling just for one breathless moment where the film is articulating something that you’ve always wanted to say but there haven’t been words for. 
And with The East, we’re left in that breathlessness, questioning our own beliefs and struggling to understand just which way we should turn. So with that, today we get a new trailer for the feature that highlights the drama and thrill of the story but also exposes the emotional side of their journey, with brilliant performances by Marling, Alexander Skarsgard, Ellen Page, Shiloh Fernandez, and many more. Take a look below.

Go Deeper Inside ‘The East’ With More Stills From Zal Batmanglij’s New Dramatic Thriller

Now more than ever, we need films that speak to where we’re at and where we’re going, exposing now only how it is, but how it feels. As culture assimilates to what’s happening in our society, the art and entertainment we consume shouldn’t be purely escapism to dull our anxiety, but a reflection of what it’s like to exist in a time when no one quite knows where to hang their beliefs. "I feel tremendously lucky to be a filmmaker in this decade but it’s also daunting because nobody knows what the fuck is going on. We live in a strange, strange time," said director Zal Batmanglij, whose new film The East speaks the discontent of our generation and how we’re dealing with the issues that permeate our society. But rather than haranguing you, The East invites you in with its intriguing thrill yet feels and feels as immediate as it does emotionally stirring.

In Batmanglij’s sophomore effort, we follow Sarah (played by Brit Marling who also co-wrote the film), a young ex-FBI agent now working for an elite private intelligence firm who is hired to infiltrate an anarchist collective that is rumored to be attacking big corporate CEOs and forcing them to come in contact with the harm they’ve inflicted on the masses. But in her time spent with the collective known as The East, her beliefs begin to waver as she starts to sympathize with the group’s leaders and opens her eyes to the wrong doings that so easily go unnoticed.

And thanks to HitFix, we now have a new batch of stills from the film that give us a deeper look at the cast, which features Alexander Skarsgard, Ellen Page, and Shiloh Fernandez. Take a look below and get excited for The East when it hits theater May 31st.





See Marc Jacobs, Alexander Skarsgard, & More in New Stills from Henry-Alex Rubin’s ‘Disconnect’

So far, this has been a good year for epic dramas set against a large-scale story of one moment or one decision’s impact on an entire group of people. And with Henry-Alex Rubin’s follow-up to the Academy Award-winning documentary Murderball, the director’s first narrative feature, Disconnect is sweeping story about the dangers and psychological impact of the Internet age.

Told through multiple interwoven story lines, the films stars Jason Bateman, Alexander Skarsgard, Hope Davis, Max Thieriot, Paula Patton, Frank Grillo, Andrea Riseborough, and Marc Jacobs in an intensely emotional and riveting drama. Covering everything from online identity theft to vicious bullying and sexual exploitation, Disconnect is scored by brilliant composer Max Richter—who knows how to heighten just about any moment to its utmost potential.

And today, a new clip from the film has been released, showing Marc Jacobs as the house leader of a group of young kids entwined in a very seedy, sexual world. The stills for the film also give us a look at Bateman, Skarsgard, Thieriot, and Riseborough who all take on their roles with intensity in the film that debuts this weekend.

Take a look below.