Features – IndieWire indiewire.com

Italy’s 1990s Answer to ‘Cruising’? The Forgotten Giallo ‘The Final Stop’

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The ‘Project Hail Mary’ Score Sounds Like the Whole Universe

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Kiyoshi Kurosawa’s ‘Chime’ Started as an NFT — It’s Now 2026’s Creepiest Movie You Can Only See in Theaters

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For Casting ‘Company Retreat,’ the Secret Sauce Is More Than Just Improv

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How the FCC Could Quietly Smother Network TV — Without Ever ‘Banning’ Free Speech

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David Zaslav Cashed Out — and Revealed the New Hollywood Dream

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The ‘Project Hail Mary’ Sound Design Crafted a New Language for Rocky

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The 1980s’ ‘Indiana Jonesploitation’ Movies Show How Imitation Can Become Its Own Art Form

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Amanda Peet Hadn’t Starred in a Movie for a Decade — Until a Fellow Actor Wrote Her an Irresistible Role

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Row K on the Brink: What Triggered the New Indie Film Distributor’s Allegedly Sudden Money Troubles?

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The ‘Detective Hole’ TV Series Rights the Big Wrongs the Beloved Scandi Cop Endured with ‘The Snowman’

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Radio Silence, Ranked: Where Does ‘Ready or Not 2’ Stack Up Against the Directing Duo’s Other Movies?

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Say Goodbye to Awards Season with a Rewatch of David Cronenberg’s Deeply Bleak ‘Maps to the Stars’

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‘Project Hail Mary’ Directors Phil Lord and Christopher Miller on Film’s Conclusion: ‘No Way Are We Going to F**king Change This Ending’

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Where Jessie Buckley, Michael B. Jordan, Amy Madigan, and More Oscar Winners Are Headed Next

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Thierry Frémaux on Why ‘Today, We Never Trust Images We See’ — but We Can Trust the Lumière Brothers and ‘Apocalypse Now’

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Why Self-Proclaimed Comedy ‘Snob’ D’Arcy Carden Only Says Yes to the Good Stuff

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A Too Early Look at the 2027 Best Animated Feature Oscars Race

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The Hardest Scene to Craft in ‘Ready or Not 2: Here I Come’ Didn’t Involve Any Blood at All

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Another ‘The Count of Monte Cristo’ Adaptation Butchers the Literary Classic Into Bore

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