Film News

• ‘Vintage Violence’ Review: Too Much Is Never Enough in Eugene Kotlyarenko’s Overstimulating Crime Comedy 
  Indie Wire
• ‘Your Mother Your Mother Your Mother’ Review: Faith, Family, and Firearms Drive Bassam Tariq’s Intriguingly Strange Action-Drama
  Indie Wire
• ‘Misty Green’ Review: Rosalind Eleazar Stuns in Chris Rock’s Raw but Unfocused Hollywood Character Study
  Indie Wire
• ‘River’ Review: Jane Levy Anchors a Fearlessly Cruel and Visceral Survival Slasher
  Indie Wire
• ‘Purgatory’ Review: This Charming Catholic Coming-of-Age Story Never Quite Ascends
  Indie Wire
• Venice Prizes Elevate John Malkovich, ‘Possible Love,’ and ‘NAZA’ to Oscar Frontrunners
  Indie Wire
• ‘Edward Said: Between Worlds’ Brings an Articulate Palestinian Spokesman Back to Life
  Indie Wire
• Venice Film Festival Reveals 2026 Award Winners: ‘Woman Unknown’ Takes the Golden Lion
  Indie Wire
• Courteney Cox Had a Vision for Her ‘Evil Genius,’ and ‘Friends’ — Surprisingly — Played an Important Role
  Indie Wire
• Tim Blake Nelson on His 12-Year Battle to Make ‘The Life and Deaths of Wilson Shedd’ and Joining ‘Task’ Season 2
  Indie Wire
• Venice Jury President Maggie Gyllenhaal on Her Short ‘Flesh Impact,’ Casting Ellen Burstyn, and AI
  Indie Wire
• ‘Everybody Wants to F*ck Me’ Review: Taron Egerton Does ‘Obsession’ to Every Woman on Earth in Cynical Horror Comedy That Trips Over Its Dick
  Indie Wire