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The Ghost in the Machine: Kleber Mendonça Filho Plots 1930s Recife Dive from ‘Pictures of Ghosts’ DNA

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Saint, Camera, Action!: Kaouther Ben Hania Frames a Divine Rebellion in ‘Mimesis’

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Fuller House: Dupieux Lands Kristen Stewart, Woody Harrelson, Emma Mackey, Charlotte Le Bon + Tim & Eric for ‘Full Phil’

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The Little Prince: Hirokazu Kore-eda Returns to ‘Air Doll’ Thematics with ‘Sheep In The Box’

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Caught by the Times: Jia Zhang-ke Begins Production on Contemporary Film this December

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Hlynur Pálmason’s ‘On Land and Sea’ – Everything We Know So Far …

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Rise from the Ashes: Weerasethakul Sets Tilda Swinton for ‘Jengira’s Magnificent Dream’

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2025 Venice Film Festival – Checklist of Our Coverage

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Provincial Pill: Benjamín Naishtat’s to Direct Lali Espósito in Desire & Revenge Filled ‘Glaxo’

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Hired Wheels: David Jonsson & Cooper Hoffman Drive India Donaldson’s ‘The Chaperones’

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Dog Eat Dog Type World: Dominga Sotomayor Set to Direct ‘La Perra’ with Manuela Oyarzún & Selton Mello

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Interview: Lucía Aleñar Iglesias – Forastera

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Allegretto Kreutzer: Léa Seydoux & Catherine Deneuve Seek the Truth in ‘Gentle Monster’

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Exclusive Clips: No Reason to Hide in Emilie Thalund’s ‘Weightless’ (Vægtløs) – 2025 San Sebastián Intl. Film Festival

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2026 Oscars: Is It a Panahi’s ‘It Was Just an Accident’ vs. Ben Hania’s ‘The Voice of Hind Rajab’ Duel?

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2026 Oscars: Critic Darling ‘Sirāt’ is NEON’s Dark Horse Contender in Best Intl. Feature Film Category

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Mission Statement: Denis Côté’s Gets ‘Violence du corps de l’autre’ Ready for 2026

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2026 Oscars: NEON Has Lock on Best Intl. Feature Film Category with Filho’s ‘The Secret Agent’ Repping Brazil

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Another End | Review

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2025 TIFF: Chloé Zhao’s ‘Hamnet’ Wins TIFF People’s Choice Award Paving the Way to Oscar Gold

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