Features – IndieWire indiewire.com

The Surprisingly Lowkey Ending of ‘Smiling Friends’

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The Mind-Bending ‘Exit 8’ Turns the Subway Into Your Worst Nightmare

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Hope Is Not a Distribution Strategy

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How ‘Parks and Recreation’ Went from Nearly Canceled to Enduring Comedy Classic

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Joe Eszterhas’ Wild Tales, from Writing ‘Basic Instinct’ on Cocaine and Jack Daniels to an Unhinged Visit with Mel Gibson

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What Does Barbie Ferreira Really Want Now? An Indie Film Career, on Her Terms

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Inside ‘Lee Cronin’s The Mummy’: False Rumors, Real Grief, and the Scariest Monster of His Career

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The ‘Ben Solo’ Debacle Forced Steven Soderbergh Into a Pre-‘Sex, Lies, and Videotape’ Mindset

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What ‘The Pitt’ Gets Right (and Wrong) About ‘Pittsburghese’

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We Want Filmmaker Chandler Levack to Be Our New Best Friend — Her ‘Mile End Kicks’ Shows Why

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Every Episode of ‘Euphoria,’ Ranked

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The Director of ‘Blue Heron’ Tried to Understand Her Late Brother for Years — It Led to an Extraordinary Film

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Werner Herzog’s 3D Masterpiece Gets an IMAX Comeback

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Which Studio Will Take the Biggest Victory Lap at This Year’s CinemaCon?

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‘Euphoria,’ and How Angus Cloud’s Death Impacted Season 3

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Bowling Alleys, Premium Formats, More Films: Which Fixes Can Save Movie Theaters?

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The Three Instruments That Lay the Curse in the ‘Something Very Bad Is Going to Happen’ Score

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‘ChaO’ Envisions a Futuristic Mermaid World You’d Want to Visit

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Sam Levinson’s Forgotten Film Debut from 2011 Explains What Really Went Wrong for ‘Euphoria’

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‘James and the Giant Peach’ Is the Most Underrated Animated Classic of the ’90s

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