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Best of the Week: BAFTAs, Berlinale, Why ‘The Revenant’ May Win Best Picture, the Box Office Triumph of ‘Deadpool,’ More

Feb 20, 2016 9:00 am

The Allure of Conspiracy Theories: On Oliver Stone’s ‘JFK’ and Hulu’s ‘11.22.63’

Arthouse Audit: National Audiences Sample Michael Moore’s ‘Where to Invade Next,’ Avoid Oscar-Nominated ‘A War’

Berlin Film Festival: Michael Grandage and John Logan Talk ‘Genius’

Berlin Review: Emily Dickinson Biopic ‘A Quiet Passion’ Fails to Stir

Berlin Review: ‘Fire at Sea’ Offers a Superb Snapshot of the Refugee Crisis

Berlin Review: In ‘L’Avenir,’ Isabelle Huppert Takes Stock of Her Life

Berlin Review: ‘Strike a Pose’ Revisits the Complicated World of Madonna

Berlin Review: Thomas Vinterberg’s ‘The Commune’ Packs an Emotional Punch

Berlin Review: The U.S. Is Knee-Deep In Cyber-Terrorism in Alex Gibney’s ‘Zero Days’

Cohen Media Group Adds Ex-Film Comment Editor to Team

Fox Searchlight Production Head Claudia Lewis to Step Down in May

Harper Lee, Author of ‘To Kill a Mockingbird,’ Dead at 89

How Quentin Tarantino and Oscar Frontrunner Ennio Morricone Came Together on ‘The Hateful Eight’ Score

How ‘The New Yorker Presents’ Got Made for Amazon Streaming

How They Did the Oscar-Nominated Makeup, Hair, and Sound for ‘The Revenant’

How They Made the Percussive Sound and Score for Oscar Nominee ‘Sicario’

How They Transformed Surprise Oscar Nominee ‘The 100-Year-Old Man Who Climbed Out the Window and Disappeared’

Inside the BAFTA Awards

Jessica Chastain Explains Why She Started ‘Freckle,’ Her Production Company

Listen to Atticus Ross’ Badass ‘Triple 9’ EP Right This Second (EXCLUSIVE)

Meet the Director of BAFTA-Winning Jordanian Oscar Entry ‘Theeb’

Online Ticketseller Fandango Acquires Digital Movie Brands Flixster and Rotten Tomatoes

Oscars: Evaluating the Best Sound Contenders

‘The Revenant’ Oscar Contender Jacqueline West Creates Scholarship for Native American Youth (EXCLUSIVE)

Review: In Engrossing, Essential ‘The Black Panthers: Vanguard of the Revolution,’ Past Is Prologue

Screen Talk: Does ‘The Revenant’ Have What It Takes to Win Best Picture?

Top 10 Takeaways: How R-Rated Marvel Action Comedy ‘Deadpool’ Rewrote February Box Office History

Why Director George Miller Could Still Beat A.G. Iñárritu at the Oscars for ‘Mad Max: Fury Road’

Why Iñárritu’s ‘The Revenant’ Will Likely Win Best Picture

Women Activists Rocked Sundance, Celebrating a Sea Change

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‘Portlandia’ Star Carrie Brownstein on How ‘Six Feet Under’ Inspired Her To Take Risks on TV — Turn It On Podcast

Also: The story behind her favorite “Portlandia” episode of all time, “The Story of Toni and Candace,” and whether she and Fred Armisen will ever revisit the show.

Emmys: Will ‘Handmaid’s Tale’ Triumph Over ‘Game of Thrones,’ and ‘Atlanta’ Over ‘Mrs. Maisel’? — Screen Talk Emmy Edition

Episode 13: The outstanding drama, comedy, and limited series Emmy races may appear to have their frontrunners, but surprises are possible at next month’s ceremony.

Oscar Season is Imminent, But Don’t Forget About These Smaller Films — IndieWire’s Movie Podcast

There are many exciting movies around the corner, but we already have much to celebrate.

‘The Handmaid’s Tale’ Producer Bruce Miller On How the ‘ER’ Pilot Changed the Way He Writes — Turn It On Podcast

The Emmy-nominated showrunner discusses how 1994’s two-hour “ER” premiere “24 Hours” changed TV. Plus: His favorite “The Handmaid’s Tale” episode.

Criterion’s ‘The Tree of Life’ Is Not a Director’s Cut, but a New Movie From Terrence Malick

Malick says that the new, 188-minute edit of his 2011 drama starring Brad Pitt is another version altogether.

Spike Lee’s Longtime Editor: ‘BlacKkKlansman’ Was His Quickest Cut Since ‘Do the Right Thing’

Barry Alexander Brown tells IndieWire about the pair's long-time working relationship, the important lesson he took from “Malcolm X,” and discovering that the actual David Duke was in Charlottesville.

‘Madeline’s Madeline’: Why the Dreamy Movie’s Surreal Imagery Took Six Years and Many Experiments to Get Right

How the melding of Josephine Decker and Ashley Connor’s bold visions and experimental backgrounds resulted in one of the year’s most visually astounding films.

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