Bassam Tariq's Your Mother Your Mother Your Mother stages a revisionist Western in the sprawl of Houston, and its argument is that righteousness and violence cannot share a household without one of them giving way. The setup is stark.…
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John Wilson's feature debut, The History of Concrete, opens on a man who has lost his structure. The HBO series that made him semi-famous is over, the royalty checks have shrunk to under a dollar, and a Writers Guild seminar on how to…
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Na Hong-jin has not made a feature since The Wailing in 2016, and Hope, which NEON opened on 1,560 screens this past Wednesday after a Cannes premiere in May, explains where the decade went. It is the most expensive film ever produced in…
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Joe Swanberg's The Sun Never Sets is built on a gift that is also a trap. Jack (Jake Johnson), a divorced financial advisor in his mid-forties, tells his girlfriend of two years, Wendy (Dakota Fanning), that they should take a break so she…
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Agnieszka Holland read Franz Kafka for decades before she made a film about him, and Franz carries the weight of that reading in a way most literary biopics never attempt. Poland's entry for this year's international feature Oscar,…
Read more →Six filmmakers get $20K each for 60-90 second films; Merrell becomes Official Footwear Partner of the 2027 festival.
$25K completion grants go to Kate Tsang, Chheangkea and Haley Elizabeth Anderson; $15K fellowships to Jessica Kingdon and more.
Fourth cohort spans horror, heists and docs; fellows get funding, mentors and a stipend for the 2027 Boulder festival.
Los Javis' Netflix epic grabs the Oscar bellwether over I Play Rocky and Being Heumann; Theja Rio's Angh gets a direct Oscar path.
May el-Toukhy's postwar Danish thriller wins the Golden Lion as the lone woman-directed film in competition. DAU takes director.
Rebeca Huntt's soccer portrait leads a lineup with Gibney's Musk and Kopple's Union Town, both premiering at Venice first.
Olivia Wilde's Sundance premiere lands one of the festival's biggest deals. We reviewed it last week.
Star-driven Cannes competition entry with Scarlett Johansson, Adam Driver, Miles Teller picked up for North America.
Na Hong-jin's sci-fi follow-up to The Wailing closes a deal months before its competition premiere.
Dylan Meyer's first film as director is a stoner comedy that knows exactly which shelf it belongs on, and spends ninety-nine minutes making sure the shelf knows too. The Wrong Girls puts two broke roommates in possession of an experimental…
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Jane Schoenbrun's third feature invents a 1980s slasher franchise, gives it a dozen sequels and a reputation for misogyny and transphobia, then hands the reboot to a young queer director hired to make the whole thing acceptable again.…
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Kiyoshi Kurosawa has spent three decades letting dread seep through the walls of ordinary rooms, in Cure, in Pulse, in last year's Cloud. The Samurai and the Prisoner, his first period film, adapts Honobu Yonezawa's Naoki Prize-winning…
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Karim Aïnouz's Rosebush Pruning lifts the skeleton of Fists in the Pocket, Marco Bellocchio's 1965 debut about a family consuming itself, and reupholsters it in couture. The screenplay comes from Efthimis Filippou, co-writer of Dogtooth…
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