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A24’s ‘Elden Ring’ Film Adaptation from Alex Garland Will Go IMAX-Big in 2028

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‘Euphoria’ Built a Giant Leg in the Desert for Season 3’s Silver Slipper Strip Club

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The 65mm Show to Watch Is ‘Beef’ Season 2

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Nathalie Baye, Known for Iconic Roles in ‘Catch Me If You Can,’ ‘Day for Night,’ and More, Dead at 77

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‘Euphoria’: Sam Levinson on Season 3’s Western Connection and Why They Shot on 65mm Film Stock

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When 4/20 Lands on a Monday, You Have to Watch Gregg Araki’s ‘Smiley Face’ — OR ELSE!

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‘Roommates’ Review: Sadie Sandler Navigates the Highs and Lows of Freshman Year in Chandler Levack’s Formulaic Netflix Comedy

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Jeremy O. Harris on Juggling Theater, ‘Erupcja,’ and Why He Became a Producer

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Warner Bros.’ Future Slate, Disney’s ‘Infinity Vision,’ Dirty Sodas, and More Lingering Thoughts from CinemaCon

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David Lowery Turned a Creative Crisis and Late-Night Doubt Into ‘Mother Mary,’ His Most Complex Movie Yet

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‘Mad Bills to Pay’ Director Joel Alfonso Vargas Knows He’s Living an Indie Film ‘Cinderella Story’

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How the ‘Blue Heron’ Editor Turned the Director’s Childhood Into One of 2026’s Best Films

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‘Lorne’ Review: Morgan Neville’s Lightweight Documentary Sees Lorne Michaels as the Last True Guardian of Show Business as We Know It

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ATX TV Festival Sets Lineup for Inaugural Indie TV Pilot Competition, Adds Indie-Focused Programming

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Why ‘Beef’ Season 2 Star Charles Melton Keeps Betting on Bold Filmmakers

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You Oughta Know, ‘The Pitt’ Finale’s Karaoke Credits Scene Is a Gift for the Fans

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‘The Pitt’ Season 2 Finale Is Open to Interpretation — So Long as You Watch Through the Credits

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‘The Dog Stars’ Trailer: Jacob Elordi and His Dog Survive Post-Apocalyptic Colorado in Ridley Scott’s Latest

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‘Avengers: Doomsday’ Steals the Show at Disney’s CinemaCon, but Don’t Forget ‘The Dog Stars’ and ‘Wild Horse Nine’

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No More Blockbusters Near You? Try Browsing VHS Tapes in a Video Game

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