The Joan of Arc INSANITY: Salma Hayek Joins Anya Taylor-Joy’s Cult-Driven “Volcanic Prophecy” Epic—Is This The Billionaire Wife’s Escape From The Kering Empire?!

By Anthony Thomas 12/13/2025

THE CULT EPIC CHAOS: Hayek’s Bizarre New Role

Hollywood is reeling from the shocking details of a secret film currently shooting in Greece and Bulgaria, a project so bizarre and star-studded it sounds like a hostage crisis at a highly exclusive gala! The film, a “loosely inspired” Joan of Arc epic directed by Romain Gavras and written with Succession’s Will Arbery, has recruited an unprecedentedly chaotic cast, including Salma Hayek, Charli XCX making her acting debut, Chris Evans, and Anya Taylor-Joy as the title character.

TMZ is exposing the sheer madness! The plot centers on Taylor-Joy as a “zealous spirit driven by a volcanic prophecy only she can hear,” who hijacks a glamorous charity gala and takes hostages, forcing them on a terrifying journey. Hayek’s involvement in this surreal, “on a mission to save the world from a fiery reckoning” epic is the most suspicious element. Why would the wife of the $. billion Kering CEO risk her image on a genre-defying, high-art psychological thriller?

THE KERING ESCAPE ROUTE: Fleeing The Billionaire Duties

Hayek’s participation in such an artistically aggressive project is a significant departure from her typical blockbuster roles. This suggests a calculated escape route from the relentless corporate duties of being Salma Hayek Pinault.

For years, Hayek’s career choices have been scrutinized for how they align with the interests of her husband, François-Henri Pinault, head of the luxury empire Kering. This Gavras film—with its themes of prophecy, zealous spirits, and a militia of “mystical disciples”—is a deliberate break from that corporate image. Hayek is essentially using high-art cinema to declare her creative independence and shed the suffocating image of the corporate queen.

THE HOSTAGE HORROR: Evans’ Desperate Redemption

The film’s plot confirms the high-stakes, chaotic nature of the project. The hostages include Mike Tyler (Chris Evans), described as a “beleaguered movie star desperate for redemption,” and Bracken (Vincent Cassel), “the world’s richest man.”

The film’s focus on a rich man being taken hostage by a zealot is a direct, cynical critique of the hyper-wealthy—the very class Hayek belongs to! The casting of Chris Evans as a disgraced star looking for redemption is also a massive, fascinating detail, hinting that the film will brutally critique the current state of Hollywood celebrity. Hayek’s decision to associate with this level of controversy is truly shocking.

THE CHARLI XCX GAMBLE: A Debut Disaster?

Adding to the chaos is the casting of singer Charli XCX in her transition into acting. While the film also features other familiar faces like rapper Yung Lean and Emily in Paris star Jeremy O. Harris, Charli’s debut is the biggest risk.

This casting decision further destabilizes the project. While Charli XCX is a “fan-favorite singer,” a surreal, multi-million dollar Joan of Arc epic is a massive gamble for a first-time actor. It proves that Gavras is prioritizing controversial, unexpected casting over safe bets, reinforcing the idea that this project is designed to generate chaos and conversation, not just critical acclaim.

THE PRODUCER POWER SHIFT: Evans And Taylor-Joy’s Control

Anya Taylor-Joy and Chris Evans aren’t just starring in the film; they are also serving as executive producers of the project. This means they have deep creative and financial control.

The stars are clearly invested in steering this chaotic ship. Their dual roles suggest they are determined to protect the film’s singular, “volcanic prophecy” vision. The hierarchy on set is fascinating: the stars are the bosses, and Hayek, despite her own fame, is merely joining their high-powered creative circle.

THE CLIFFHANGER: What Is The Prophecy?

Salma Hayek’s decision to join this bizarre, high-art epic is her boldest move in years, setting her up for a career far removed from the safe confines of her billionaire marriage.

The final question is: What role does Hayek play in the “volcanic prophecy” that drives Joan? Does she play one of the “mystical disciples” or a figure from the doomed, glamorous charity gala? And will this intense filming schedule in Greece and Bulgaria finally force Hayek to openly acknowledge the deep-seated artistic dissatisfaction she feels with her life as a corporate queen? We are betting the suppressed character descriptions are far more revealing than anyone suspects.

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