Film News

• Why ‘Navalny’ Oscar Winner Daniel Roher Moved to Fiction for the Crowdpleasing ‘Tuner’
  Indie Wire
• Cannes 2026 Movies Sold So Far: Netflix Acquires ‘Gentle Monster’ Starring Léa Seydoux
  Indie Wire
• Sex, Politics, and ‘Star Wars’: How Disney’s $4 Billion Fandom Turned Socially Radioactive — Opinion
  Indie Wire
• How to Make a Soundtrack Album for a TV Show
  Indie Wire
• At Cannes, Filmmakers Explain How They Find Mainstream Funding for Culturally Specific Stories
  Indie Wire
• ‘The Birthday Party’ Review: A Dazzlingly Melancholy Monica Bellucci Powers Léa Mysius’ Predictable but Superbly Directed Home Invasion Thriller
  Indie Wire
• ‘Once Upon a Time in Harlem’: Why William Greaves Didn’t Finish What He Considered His Most Important Film
  Indie Wire
• Why Director Boots Riley Embraced ‘Jankiness’ and an Indie Spirit to Make ‘I Love Boosters’
  Indie Wire
• Who Will Win the Cannes Film Festival Palme d’Or?
  Indie Wire
• Audiences Expecting an AI Dystopia in ‘Sheep in the Box’ Get Something Much Stranger from Hirokazu Koreeda
  Indie Wire
• How Do We Adapt to the Age of AI While ‘Protecting the Soul’ of Cinema?
  Indie Wire
• The American Pavilion Presented by IndieWire Announces Winners of the 2026 Emerging Filmmaker Showcase at Cannes
  Indie Wire