Ukraine has been present at this year’s festival in ways that should inspire the global film industry — for business and humanitarian reasons alike.
Should it always take a year for festival highlights to reach more audiences? The recent comedy festival suggests an alternative solution.
As The Weeknd boots Amy Seimetz from his HBO show, should good filmmakers be wary of TV? The answer requires a careful risk-benefit analysis, and a business model.
With its renewed focus on “right-sized budgets,” Netflix could tighten its belt and help the film community all at once.
Among the 47 films announced for Cannes this year, only four are American. Filmmakers could address this disconnect by going global.
Jim Carrey says he’s done with acting after “Sonic 2,” but are name actors getting the right material sent their way?
Disney’s Onyx Collective and WarnerMedia OneFifty helped small movies win big. That’s exciting news for the independent sector.
While the Coen brothers are no longer a pair, directing duos are on the rise. But so are complications and controversy.
With controversial developments around new bosses at Cannes and Directors’ Fortnight, the festival faces major questions about its next chapter.
SXSW: Even Mark Duplass admits that “nobody really cares about the film stuff” — but microbudget filmmakers are still finding solutions.
The last three Ukrainian Oscar submissions barely received U.S. distribution, but they made their country’s circumstances clearer than any CNN report.
Peele has made original movies on studio dime ever since his debut. Why don’t studios do this more often?
