Straight-up trilogies sleep with the fishes, apparently. Who needs three films when one day, you could potentially have four? That’s the situation we’re now looking at with The Godfather which is, in 2027, actually getting a sequel? A new authorized Godfather novel titled Connie is set to be released in fall 2027. Written by bestselling author Adriana Trigiani, the book has been approved by the estate of Mario Puzo and will center on Connie Corleone, the only daughter of Don Vito Corleone.
Connie was originally played by Talia Shire (Rocky, I Heart Huckabees) in Francis Ford Coppola’s Godfather trilogy, beginning with the 1972 classic. In the films, Connie starts the story as a young woman who’s desperate to escape the violence and the control of her family, finding herself trapped, before she eventually becomes hardened to the criminality of it all and becomes more politically aware.
All of that makes her an interesting choice for the subject of a novel because it’s mostly filled with the men who sit at the head of the table. And on that gender aspect, Random House has acquired the novel, which means that this will also be the first Godfather story told from a woman’s point of view and the first authorized book in the series written by a woman.
Other authorized books have included Mark Winegardner’s The Godfather Returns and The Godfather’s Revenge, along with Ed Falco’s The Family Corleone.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Who Starred in ‘The Godfather’ Movies?
The original movie cast includes Marlon Brando (On the Waterfront, Last Tango in Paris) as Vito Corleone, Al Pacino(Dog Day Afternoon, Heat) as Michael Corleone, James Caan (Misery, Thief) as Sonny Corleone, Robert Duvall(Apocalypse Now, Tender Mercies) as Tom Hagen, Diane Keaton (Annie Hall, Something’s Gotta Give) as Kay Adams, and John Cazale (Dog Day Afternoon, The Deer Hunter) as Fredo Corleone. The Godfather Part II brought back Pacino, Duvall, Keaton, Shire, and Cazale, while also adding Robert De Niro (Taxi Driver, Raging Bull) as young Vito Corleone, Lee Strasberg (Going in Style, …And Justice for All) as Hyman Roth, Michael V. Gazzo (The Conversation, Fear City) as Frankie Pentangeli, G.D. Spradlin (Apocalypse Now, Ed Wood) as Senator Pat Geary, and Marianna Hill (High Plains Drifter, Medium Cool) as Deanna Corleone.
The Godfather Part III once again featured Pacino, Keaton, and Shire, alongside Andy Garcia (Ocean’s Eleven, The Untouchables) as Vincent Mancini, Sofia Coppola (The Virgin Suicides, Lost in Translation) as Mary Corleone, Eli Wallach (The Good, the Bad and the Ugly, The Magnificent Seven) as Don Altobello, Joe Mantegna (Criminal Minds, Searching for Bobby Fischer) as Joey Zasa, Bridget Fonda (Jackie Brown, Single White Female) as Grace Hamilton, George Hamilton (Love at First Bite, The Congressman) as B.J. Harrison, and Raf Vallone (The Italian Job, The Cardinal) as Cardinal Lamberto.
