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Rock Sucks: Backstage at ‘The Vampire Lestat’ and Its Music-Infused New Season
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Every Creator Should Hope Their Stars Love Them Like Ben Kingsley Loves Destin Daniel Cretton and Andrew Guest
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Neon’s Tom Quinn Worries About ‘Lack of Competition’ in a Merged Hollywood
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‘Friday Night Lights’ 20th Reunion: Why Kyle Chandler Turned Down a Movie Sequel, and Why There’s No ‘Rush’ for a Reboot
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A Darren Aronofsky-Produced Short Used Google Veo to Bring Dustin Yellin’s Sculptures to Life
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CBS Can Take ‘The Late Show’ Off Streaming, but I’ll Never Forget Working for Stephen Colbert
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What’s Getting Nominated (and What Should Be Nominated) for Animated Series at the 2026 Emmy Awards
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‘Terrifier’ Director Damien Leone Heads to a Studio for Next Film ‘Tortures of the Damned,’ with Sam Raimi Producing
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‘House of the Dragon’ Season 3 Scorches ATX with Fiery First Footage of the ‘Bloodiest Naval Battle Ever’
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‘Hacks’ Co-Creator Explains Why the Finale’s Surprise Storyline Was Its Logical Conclusion
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‘Strung’ Director Malcolm D. Lee Talks Changes Since the Last Time He Opened ABFF with ‘Girls Trip’
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What Film Production Advantages Can You Only Find in California?
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The Best Films of the 2026 Cannes Film Festival, According to IndieWire’s Critics’ Survey
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‘Bawling, Sobbing, Heaving, Weeping’: Inside the ‘Hacks’ Series Finale Celebration
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Indie Film Needs a Better Operating System
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Watch Industry Leaders Break Down California’s Film Tax Incentives at The American Pavilion
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How ‘Euphoria’ Brought Back Its Origin Story Prologues for Episodes 6 and 7
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‘Enola Holmes 3’ Teaser: Millie Bobby Brown’s Spunky Kid Sister Detective Gets a New Case
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‘The Breadwinner’ Review: Nate Bargatze Leads the Funniest Feature-Length Ad You’ve Seen in a While
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How ‘Marshals’ Creator Spencer Hudnut Made the New ‘Yellowstone’ Entry His Own
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‘Primetime’ Teaser: A24 Debuts Robert Pattinson’s Uncanny Take on Dateline NBC Host Chris Hansen
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‘Backrooms’ Review: Kane Parsons’ Freaky Liminal Horror Is Both Mind-Bending and Brain-Freezing
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Rome’s Cinema in Piazza Is Back, It’s Free, and the Guest List Is Absurd
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‘Obsession’ Did Something at the Box Office That Hasn’t Been Done Since… ‘Sound of Freedom’
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‘One Battle After Another’ to Screen in 35mm for the First Time at Quentin Tarantino’s New Beverly Cinema
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What a Spider Can Teach Cinematographers About Film Noir
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Yahya Abdul-Mateen II Unveils the Secret to ‘Wonder Man’: ‘It Never Starts with the Powers’
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What No One Tells You About Short Films: Practical Advice on Festivals, Visibility, Streaming, and Sales
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Families, Not Fanboys, Drove ‘The Mandalorian and Grogu’ Box Office — and Disney Is Fine with That
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Paul Rudd Talks ‘Power Ballad,’ Staying Curious, and Realizing He Killed Michael Myers
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Creating an Outrageous Character Like ‘Ted’ Required Discipline and Restraint
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Toronto Is Getting Serious About Christopher Nolan Summer
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‘Backrooms’ Director Kane Parsons Had to Choose Between College Apps and an A24 Deal
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The 18 Best Movies We Saw at the 2026 Cannes Film Festival
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Clint Eastwood Gave Luke Grimes His Big Break — with ‘Marshals,’ the Actor Pays Tribute to Eastwood’s ‘Unforgiven’
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The Cannes Awards Reveal Likely 2027 Oscar Contenders
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Cannes Film Festival Jury Reveals Competition Award Winners — Updating Live
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Why ‘Navalny’ Oscar Winner Daniel Roher Moved to Fiction for the Crowdpleasing ‘Tuner’
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Sex, Politics, and ‘Star Wars’: How Disney’s $4 Billion Fandom Turned Socially Radioactive — Opinion
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How to Make a Soundtrack Album for a TV Show
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At Cannes, Filmmakers Explain How They Find Mainstream Funding for Culturally Specific Stories
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‘The Birthday Party’ Review: A Dazzlingly Melancholy Monica Bellucci Powers Léa Mysius’ Predictable but Superbly Directed Home Invasion Thriller
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‘Once Upon a Time in Harlem’: Why William Greaves Didn’t Finish What He Considered His Most Important Film
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Why Director Boots Riley Embraced ‘Jankiness’ and an Indie Spirit to Make ‘I Love Boosters’
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Audiences Expecting an AI Dystopia in ‘Sheep in the Box’ Get Something Much Stranger from Hirokazu Koreeda
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How Do We Adapt to the Age of AI While ‘Protecting the Soul’ of Cinema?
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The American Pavilion Presented by IndieWire Announces Winners of the 2026 Emerging Filmmaker Showcase at Cannes
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How World-Class Filmmaker Andrey Zvyagintsev Came Back to Life for ‘Minotaur’
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Critic’s Notebook: The Best Films at Cannes 2026 Challenged Us to Redraw Our Relationship to Reality
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