The march of time claims another casualty. Sack Barrow documents (and laments) the out-dated, but functioning, technology of a family-owned electroplating factory in the weeks around its closure — its old ways now unsustainable in the modern world.
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Sally Woodward Gentle and director Damon Thomas discuss exactly what goes down between Eve and Villanelle.
“Brightburn” beats “Booksmart,” while “Aladdin” and “John Wick 3” thrive: Summer fortunetelling suggests that audiences want the flashy and familiar.
According to subtitle data, this may explain why the final seasons felt markedly different from the earlier ones.
A French paper raises ethical questions about how director Abdellatif Kechiche filmed his critical bomb.
As is becoming the new normal, the top wider specialty release is a documentary, “The Biggest Little Farm.”
Here’s evidence that the writers tried to create a different ending for the HBO series’ finale.
Even if you guess the twist ending, Netflix’s pulpy thriller is still incredibly satisfying.
These Cannes 2019 highlights still need homes. Somebody do something!
Bong Joon-ho’s brilliant family saga captured modern anxieties, but it wasn’t alone.
Netflix has signaled that Africa holds massive untapped potential for their expansion — and even Thierry Fremaux recognizes the continent is about to have a filmmaking explosion.
One scene in “Parasite” features a character mocking a North Korean television presenter, but Bong says not to look too much into it.
Bong Joon-ho is now the first Korean filmmaker to win the Palme d’Or at the Cannes Film Festival.