‘The Policeman’: An Update on Vincent Gallo’s Next Film —Now With Extra Plot Twists, and More James Franco

In the ever-unfolding cinematic soap opera that is the career of Vincent Gallo, a new chapter has arrived.

After my last report speculated that Gallo might have ghost-directed “Golden State Killer,” starring James Franco—a film we believed was originally titled “The Policeman”—it turns out the truth is somehow both simpler and more bewildering. According to Gallo, they are two entirely separate films. And yes, somehow, both star James Franco.

“There was no name change,” Gallo insists. “My film is called The Policeman, and The Golden State Killer is a different film. James and I are both in the film. The Policeman is the film I made.

Naturally, this raises a familiar question: did Gallo pull the same maneuver he allegedly did during the production of his unreleased “Promises Written in Water”? That is, did he quietly shoot his own movie within—or possibly around—the shooting of someone else’s?

Gallo says The Policeman is coming out “soon.” His last official release, “The Brown Bunny,” premiered in Cannes competition, so one assumes he’ll attempt a similar path again. Of course, that was 23 years and several controversies ago. These days, Gallo’s industry standing has eroded considerably—and with Franco attached, you’ve got a package many festival programmers might politely label too “challenging” to screen.

Gallo and Franco “Golden State Killer,” and maybe also “The Policeman,” in late 2023, which have been quietly moving through post‑production and could land on screens sometime in 2026. In one, or both films, Franco slips into the role of a detective chasing down a serial killer, while Gallo is set to portray the killer himself.

The real mystery, however, remains: who exactly directed Golden State Killer? The official credit belongs to “Vito Brown,” a name no one in the industry seems able to place. This has fueled speculation that “Vito Brown” could be a pseudonym for Gallo himself—a theory strengthened by his fondness for Brown-adjacent aliases and a long history of cinematic sleight of hand.

Until proven otherwise, we’re left with two films, two Franco characters, possibly no Vito Browns, and the lingering suspicion that Gallo may once again be punking us.