Entertainment
Russell Brand Found Guilty of One Count of Rape and Three Counts of Sexual Assault
Reading in data-saving mode. Read full article from Variety website.
Published 11/5/2026 8:20:15 AM
Guilty of Rape and Sexual Assault
Russell Brand, the former actor and comedian, was convicted Thursday on three counts of sexual assault and one count of rape in his London criminal trial. He was found not guilty of two other rape charges and a count of attempted indecent assault.
The judge, Mr Justice Bennathan, informed Brand that “obviously a custodial sentence of some length will result” and said it was unlikely he would extend the former comedian’s bail any further.
“You’ve been convicted of a number of offenses, including one of rape,” he said. “My current view is that I therefore have to remand you in custody not least because the temptation to avoid coming back to court to receive that sentence will be overwhelming.”
He allowed both Brand’s legal team and the Crown Prosecution Service a break of 20 minutes before returning to make submissions as to whether bail should be extended. Ultimately, however, the judge denied the application to extend bail and remanded him into custody until Monday, when he will return to receive his sentence. As Brand was taken to the cells, he mouthed “I’m OK” and “I’m good” to his lawyers and gave a thumbs-up sign, according to Sky News.
In the U.K., a rape conviction can result in up to 19 years in prison and potentially even a life sentence, depending on the seriousness of the offense. The maximum sentence for sexual assault is 10 years.
Sky News reported that the Met Police are now investigating further allegations of rape made by two women.
Brand did not visibly react when the verdicts were read out. His wife, Laura Gallacher, rushed out of the courtroom when Brand was taken to the cells to wait before his bail application.
Brand was accused of raping three women at various locations between 1999 and 2009. One of the alleged victims also accused him of sexual assault in addition to oral rape. He was also accused of one count of attempted indecent assault at MTV’s U.K. offices in 2001 and one count of sexual assault in 2009.
The jury was on its third day of deliberations when it reached the verdict, following a three-week trial.
Brand got his start as a comedian on MTV in the U.K. before rising through the ranks of British media to host shows such as “Big Brother” spin-off ” Big Brother’s Big Mouth” on Channel 4 network E4 and his own radio show, “The Russell Brand Show” on BBC Radio 6.
He then broke through in Hollywood after appearing in the 2007 comedy “St Trinian’s” starring Talulah Riley, Juno Temple and Colin Firth, set in a girls’ boarding school. Roles in “Forgetting Sarah Marshall,” “Get Him to the Greek” and “Rock of Ages.” He also voiced a recurring character in the “Despicable Me” franchise, Dr Nefario.
He eventually launched his own podcast and moved into influencing and politics via his YouTube channel.
However his media empire came crashing down in 2023 when The Sunday Times of London and Channel 4 documentary series “Dispatches” published/broadcast a joint investigation into Brand’s allegedly predatory behaviour, in which five women accused Brand of sexual assault and misconduct.
§
Mexico’s beloved Guillermo del Toro descended on the 24thMorelia Film Festival like the rockstar he is, greeted by hordes of shrieking fans that impressed even the most jaded in the crowd.
In town to present the much-anticipated 3D Re-Release of “Pan’s Labyrinth,” he was everywhere all at once, holding a masterclass where tickets were as elusive as a seat at Cannes that went on for nearly three hours and a free-wheeling press conference that extended past its time limit.
It was his third time at the fest, 20 years after his multi-Oscar winning “Pan’s Labyrinth’ first played there and years later with his 2018 best picture Academy Award winner “The Shape of Water.”
Before the presser kicked off, Del Toro, an Honorary Doctorate recipient from the National Autonomous University of Mexico (UNAM), received the Filmoteca UNAM Medal, an honor also bestowed on Alfonso Cuarón, in town to support his son Jonas Cuarón’s opening night film, “Campeón Gabacho,” which he produced.
Alongside Del Toro were festival director Daniela Michel, “Pan’s Labyrinth” producer Bertha Navarro, his then young lead Ivana Baquero and DP Guillermo Navarro, who took home the cinematography Oscar for his stunning work on the anti-fascist fable.
Reflecting on a question posed midway through the press conference about what has stayed the same and what has changed over the 20 years since “Pan’s Labyrinth,” del Toro responded with tears.
“The state of our species and society today goes beyond anything we could have imagined back then. But I recognize the same sadness and despair. It pains me deeply to see one, two, or three generations fail the next. We’re handing down a world in ruins, morally, socially and spiritually fractured, with the very fabric that once allowed us to tell fables and parables falling apart.”
Asked whether he knew beforehand if “Pan’s Labyrinth” would be well received, Del Toro recounted how his collaborations with both Navarros sustained him through all the challenges they faced.
“We embarked on an adventure that was financially horrifying but cinematically beautiful,” he said.
“You never know how a film will be received. We only found out when we screened it for the first time at Cannes. We got that famous standing ovation that lasted more than 22 minutes, and from that moment on, everything changed. It changed our lives.”
“I think ‘Pan’s Labyrinth’ marked a before and after for me. In terms of creative freedom, possibilities and everything else, I’m where I am today because of that film. But none of it would have been possible without the faith of my immediate family, Bertha and Guillermo.”
Said DP Navarro: “Guillermo and I share the belief that cinematic language is storytelling through images that convey emotion and narrative. ‘Pan’s Labyrinth’ is the ultimate expression of that. The camera is constantly searching, discovering and communicating.”
“It was also an incredibly difficult shoot. We had a limited budget, had to find unconventional solutions and took risks that could easily have failed. But we gambled and we won. Without a doubt, it’s my best film, and I hold that experience close to my heart. I hope new generations will continue to discover and appreciate it. And now, 20 years later, it returns. Olé!”
Producer Navarro, who also backed Del Toro’s career-launching feature debut “Cronos” and his much-lauded “The Devil’s Backbone,” said: “When he gave me the screenplay for ‘Cronos,’ I was absolutely fascinated. Talent shines, and you have to know how to recognize that light. That’s what I saw in Guillermo.”
“It’s been an incredible privilege to have made those three great films with Guillermo. I’ve produced many films throughout my life, but those three hold a much deeper significance for me. They changed my life.”
Baquero concurred: “’Pan’s Labyrinth’ undoubtedly opened doors for me, both into the genre and in my career. We’ve talked this afternoon about how much the film changed our lives, professionally and personally. For me, acting went from being a hobby – I had worked before ‘Pan’s Labyrinth’ – to becoming my profession. Without that film, I might not be here today. It unquestionably marked a turning point in my career.”
Reflecting on its impact on young audiences. Del Toro noted: “There’s an urgency and a fragility and ferocity that coexist in ‘Pan’s Labyrinth.’ And somehow, I think it’s an urgent moment to speak, for the film to speak to a new audience.”
Local politics also crept into the conference, with a journalist asking him what he would say to the young people protesting in his hometown of Guadalajara over its current issues of contaminated water, repression and the alleged kidnapping of protesters on Oct. 11.
He responded:“This morning at my masterclass, I gave young people the floor to speak about these issues. It’s terrifying that something so fundamental should have to be fought for instead of being resolved through basic humanity and responsible leadership.”
“I said it clearly: “Their voices must be heard, and I stand with them 100%. It’s unacceptable that this remains unresolved or that anyone would try to silence them. Speaking out, protesting, and demanding a solution are fundamental rights – anytime, anywhere.”
The Morelia Film Festival began on Oct. 16 and wraps Oct. 25.
§
The Japan IP Market will be back in Cannes next May for a second straight year. The Cannes Film Market and TIFFCOM, the content market of the Tokyo International Film Festival, are again teaming up on the event, and the 2027 edition will run May 14-15.
The return was revealed at TIFFCOM in Tokyo, during a conference on how Japan can forge new international partnerships after its stint as Country of Honor in Cannes. Alexandra Zakharchenko, head of industry programs at the Cannes Film Market, was among the panelists.
“The success of Japan, Country of Honor showed what can happen when a focused national presence creates lasting opportunities for the industry. The Japan IP Market is one of those outcomes: a collaboration that extends beyond a single edition and gives Japanese intellectual properties greater access to international partners,” said Guillaume Esmiol, executive director of the Cannes Film Market. “I’m delighted that we are continuing this work with TIFFCOM to create more opportunities for rights holders to connect with international producers and partners, develop new adaptations and bring their stories to global audiences.”
The Japan IP Market first ran in May 2026, one of the initiatives tied to Japan’s turn as Country of Honor at the Cannes Film Market. It put Japanese rights holders in the same room as industry professionals from abroad via pitches, one-on-one meetings and industry discussions. Kadokawa, Shochiku and Toei Company were among the companies taking part. The speaker lineup included Fujimura Tetsu, executive producer of “One Piece” and founder and CEO of Filosophia, Inc.
“The Japan IP Market is about creating the right conditions for business opportunities between Japanese rights holders and international companies,” said Zakharchenko. “By bringing them together in Cannes, we can help turn growing interest in Japanese content into concrete adaptation deals and acquisitions, while fostering new collaboration opportunities.”
Shiina Yasushi, executive adviser at UNIJAPAN and CEO of TIFFCOM, said the partnership with the Cannes market plays an important role for Japan’s audiovisual industry. He described the Cannes market as the biggest market attached to any film festival in the world. “Meeting the international professionals who gather there and creating together with them is the key to nurturing Japanese IP into global content,” he said.
Ikeda Kaori, managing director of TIFFCOM, said the first edition had shown how keen producers and partners worldwide are on Japanese IP. “Through the continued partnership linking Cannes in May with the Tokyo IP Market in October, we are pleased to offer more professionals the opportunity to meet Japanese rights holders directly and discover the rich diversity of Japanese IP,” she said.
The 2027 roster of companies and the rest of the program will be unveiled in the months ahead.
