Peter Farrelly's biographical comedy "I Play Rocky" and the Channing Tatum vehicle "Josephine" will anchor the Zurich Film Festival's gala slate this September and October, signaling the festival's pivot toward major studio prestige and star power for its 2024 edition.
The Zurich Film Festival runs September 9 through October 10, and Farrelly's "I Play Rocky" marks a significant shift for the director known for raunchy comedies like "There's Something About Mary" and "Dumb and Dumber." The film stars Anthony Ippolito as Sylvester Stallone, with supporting roles from Matt Dillon and Stephan James. The European premiere placement underscores Zurich's ambitions to compete with Venice and Berlin for high-profile unveilings. Farrelly has spent recent years chasing awards legitimacy, most notably directing "Green Book," which won Best Picture at the 2019 Oscars. "I Play Rocky" appears to continue that trajectory, trading lowbrow gags for character-driven narrative about the making of Stallone's 1976 knockout.
"Josephine" pairs Channing Tatum and Gemma Chan in what appears to be a prestige biographical or romantic drama. Tatum has built serious dramatic credibility over the past three years, earning indie film respect through projects like "The Lost City" and selective studio work. Chan, fresh from "Crazy Rich Asians" and MCU appearances, represents the contemporary A-list blend of franchise cache and critical ambition. The film's director remains unconfirmed in this announcement, though the gala positioning suggests major studio backing and awards season positioning.
The gala announcement reflects how major European festivals now function as launchpads for English-language films targeting North American distribution. Zurich historically positioned itself as more art-house and experimental than Venice or Berlin, but the inclusion of Farrelly and Tatum signals a strategic recalibration. These are films built for multiplexes and streaming platforms, not retrospectives and experimental cinema showcases.
Zurich's timing matters. The festival arrives early in the fall festival circuit, right before Venice and Berlin dominate September coverage. By securing Farrelly and a Tatum picture in its opening gala slate, Zurich establishes itself as a necessary stop for industry buyers and press before the Venice maelstrom.
The Farrelly film particularly interests the industry. His Oscar win for "Green Book" proved he could navigate prestige territory while maintaining commercial appeal. "I Play Rocky" enters a crowded biographical comedy space populated by projects like "Weird: The Al Yankovic Story" and past works like "Weird Science" and "License to Kill." The subject matter, Stallone's legend, offers substantial built-in interest. Ippolito carries significant burden as a younger actor tasked with embodying an icon.
"Josephine" signals Tatum's continued partnership with prestige platforms. He's proven bankable in mid-budget drama and romance. Chan brings international recognition and critical credibility. The pairing suggests a glossy, character-driven story designed to appeal to female-skewing adult audiences, a demographic that studios still struggle to reach effectively post-pandemic.
These gala selections reveal what Zurich believes audiences want: directorial rehabilitation (Farrelly), star power (Tatum and Chan), and films that bridge commercial appeal with festival prestige. It's a calculated strategy that acknowledges the festival's evolving role in the global premiere calendar.