Mickey Rourke is doubling down on his disgust over a fundraiser that quickly raised more than $100,000 on his behalf, calling it an embarrassing “scam” and a “vicious cruel lie” and promising “severe repercussions to [the] individual who did this very bad thing” to him.

At the same time, the fundraiser — aimed at keeping Rourke in his home when he faced eviction because of almost $60,000 in unpaid rent — has been taken down, with the actor’s name being used now by others to boost their more anonymous efforts.

(A Friday morning search for “Mickey Rourke” on GoFundMe yielded more than a dozen campaigns drafting off the search value of the actor’s high-profile situation but the campaign set up for the “9½ Weeks” actor was nowhere to be found.)

The GoFundMe had been placed on pause last week after more than $100,000 was raised in two days, with Rourke’s manager Kimberly Hines writing, “Thank you so much for your generosity and for standing with Mickey during this time. Your support truly means a great deal to us, and we are grateful for every donation. We remain committed to finding a resolution and are working with Mickey to determine the next steps.”

Rejecting the donations, Rourke called the fundraiser “humiliating” and “really f— embarrassing” in a video posted last week, saying he didn’t need the money.

“I wouldn’t know what a GoFund foundation is in a million years,” said the actor, 73, who was a leading man in the 1980s with movies including “Barfly” and “Angel Heart” and was Oscar-nominated for his work in 2008’s “The Wrestler.” “My life is very simple and I don’t go to outside sources like that.”

He said later in the video that he “would never ask strangers or fans for a nickel. That’s not my style.”

Hines might disagree, as she said she’s the one who has been fronting the money to cover Rourke’s move out of the Beverly Grove house and into a hotel and subsequently into a Koreatown apartment.

Hines’ assistant’s name had been listed as the creator of the fundraiser, with Hines named as the beneficiary. The actor’s manager of nine years told the Hollywood Reporter on Jan. 6 that Rourke knew the origins of the effort, despite saying he did not: She and her assistant had run the idea past his assistant before it was launched, she said, and both teams were OK with it.

“Nobody’s trying to grift Mickey. I want him working. I don’t want him doing a GoFundMe,” Hines told THR. “The good thing about this is that he got four movie offers since yesterday. People are emailing him movie offers now, which is great because nobody’s been calling him for a long time.”

But Rourke was still fretting over it Thursday on Instagram, where he said in a couple of posts that there was still more than $90,000 to be returned to his supporters and promised that his attorney was “doing everything in his power” to make sure people got their “hard earned money” back.

He also thanked some “great” friends who he said reached out after seeing the “scam” that he needed money, including UFC boss Dana White and fighter Bill “Superfoot” Wallace.

Rourke said in his Jan. 6 video, shot while he was staying at a hotel, “I’m grateful for what I have. I’ve got a roof over my head, I’ve got food to eat. … Everything’s OK. Just get your money back, please. I don’t need anybody’s money, and I wouldn’t do it this way. I’ve got too much pride. This ain’t my style.”

Singer Julio Iglesias issued a statement in response to allegations this week that he sexually assaulted two former employees at his homes in the Dominican Republic and the Bahamas.

The Grammy winner, the father of pop singer Enrique Iglesias, on Thursday denied the allegations as “absolutely false” in an Instagram statement posted in Spanish. “I deny having abused, coerced or disrespected any woman,” he said in his missive, which has been translated to English.

“These accusations are absolutely false and cause me great sadness,” he wrote.

“I had never experienced such malice,” the singer, 82, added, according to the Associated Press, “but I still have the strength for people to know the full truth and to defend my dignity against such a serious affront.”

Prosecutors in Spain said they are studying the allegations against Iglesias this week, claims that surfaced in media reports this week. Spanish online paper elDiario.es and Spanish-language television channel Univision Noticias this week published a joint investigation into accusations that Iglesias sexually and physically assaulted the former employees — two women who say they were live-in workers at his homes in the Caribbean — between January and October 2021 amid the COVID-19 pandemic.

Nongovernmental organization Women’s Link Worldwide is representing the two accusers, claiming Iglesias committed “crimes against sexual freedom and indemnity such as sexual harassment” and of “human trafficking for the purpose of forced labor and servitude.”

Spanish officials said they received a formal complaint about the allegations on Jan. 5. The court’s press office said Iglesias could potentially be taken in front of the Madrid-based court, which can try alleged crimes by Spanish citizens while they are abroad, AP reported.

The Madrid-born singer rose to popularity in the late 1960s and is one of the world’s most successful music artists. He has sold more than 300 million records in more than a dozen languages and garnered numerous Grammy nominations for his work, according to AP. A seven-time nominee, Iglesias won his first Grammy award in 1998, with his “Un Hombre Solo” winning the Latin Pop Performance prize.

Iglesias concluded his social media statement by thanking followers for their support.

The Associated Press contributed to this report.

Now in their early 70s, Jean-Pierre and Luc Dardenne have spent their filmmaking careers worrying about the fate of those much younger and less fortunate. Starting with the Belgian brothers’ 1996 breakthrough “La Promesse,” about a teenager learning to stand up to his cruel father, their body of work is unmatched in its depiction of young people struggling in the face of poverty or family neglect. Although perhaps not as vaunted now as they were during their stellar run in the late 1990s and early 2000s — when the spare dramas “Rosetta” and “L’Enfant” both won the Palme d’Or at Cannes — the Dardennes’ clear-eyed but compassionate portraits remain unique items to be treasured.

Their latest, “Young Mothers,” isn’t one of their greatest, but at this point, the brothers largely are competing against their own high standards. And they continue to experiment with their well-established narrative approach, here focusing on an ensemble rather than their usual emphasis on a troubled central figure. But as always, these writers-directors present an unvarnished look at life on the margins, following a group of adolescent mothers, some of them single. The Dardennes may be getting older, but their concern for society’s most fragile hasn’t receded with age.

The film centers around a shelter in Liège, the Dardennes’ hometown, as their handheld camera observes five teen moms. The characters may live together, but their situations are far from similar. One of the women, Perla (Lucie Laruelle), had planned on getting an abortion, but because she became convinced that her boyfriend Robin (Gunter Duret) loved her, she decided the keep the child. Now that she’s caring for the infant, however, he’s itching to bolt. Julie (Elsa Houben) wants to beat her drug addiction before she can feel secure in her relationship with her baby and her partner Dylan (Jef Jacobs), who had his own battles with substance abuse. And then there’s the pregnant Jessica (Babette Verbeek), determined to track down the woman who gave her up for adoption, seeking some understanding as to why, to her mind, she was abandoned.

Starting out as documentarians, the Dardenne brothers have long fashioned their social-realist narratives as stripped-down affairs, eschewing music scores and shooting the scenes in long takes with a minimum of fuss. But with “Young Mothers,” the filmmakers pare back the desperate stakes that often pervade their movies. (Sometimes in the past, a nerve-racking chase sequence would sneak its way into the script.) In their place is a more reflective, though no less engaged tone as these characters, and others, seek financial and emotional stability.

The Dardennes are masters of making ordinary lives momentous, not by investing them with inflated significance but, rather, by detailing how wrenching everyday existence feels when you’re fighting to survive, especially when operating outside the law. The women of “Young Mothers” pursue objectives that don’t necessarily lend themselves to high tension. And yet their goals — getting clean, finding a couple to adopt a newborn — are just as fraught.

Perhaps inevitably, this ensemble piece works best in its cumulative impact. With only limited time for each storyline, “Young Mothers” surveys a cross-section of ills haunting these mothers. Some problems are societal — lack of money or positive role models, the easy access to drugs — while others are endemic to the women’s age, at which insecurity and immaturity can be crippling. The protagonists tend to blur a bit, their collective hopes and dreams proving more compelling than any specific thread.

Which is not to say the performances are undistinguished. In her first significant film role, Laruelle sharply conveys Perla’s fragile mental state as she gradually accepts that her boyfriend has ghosted her. Meanwhile, Verbeek essays a familiar Dardennes type — the defiantly unsympathetic character in peril — as Jessica stubbornly forces her way into her mystery mom’s orbit, demanding answers she thinks might give her closure. It’s a grippingly blunt portrayal that Verbeek slyly undercuts by hinting at the vulnerability guiding her dogged quest. (When Jessica finally hears her mother’s explanation, it’s delivered with an offhandedness that’s all the more cutting.)

Despite their clear affection for these women, the Dardenne brothers never sugarcoat their characters’ unenviable circumstance or latch onto phony bromides to alleviate our anxiety. And yet “Young Mothers” contains its share of sweetness and light. Beyond celebrating resilience, the film also pays tribute to the social services Belgium provides for at-risk mothers, offering a safety net and sense of community for people with nowhere else to turn. You come to care about the flawed but painfully real protagonists in a Dardennes film, nervous about what will happen to them after the credits roll. In “Young Mothers,” that concern intensifies because it’s twofold, both for the mothers and for the next generation they’re bringing into this uncertain world.