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‘How We Grieve’ Trailer: PBS Doc Series Produced by Rachel Bloom Preps Us for Our Turn in the Urn
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‘The Dreamed Adventure’ Review: Valeska Grisebach’s Second Slow Western Gradually Ebbs Away
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At 24, John Singleton Became the Youngest Director to Be Nominated for an Oscar — and He Only Got Better
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‘Saccharine’ Review: Natalie Erika James’ Gross-Out Body Horror Is Stuffed with Great Effects and Way Too Many Ideas
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Leo Woodall Is Entering His Movie Star Era
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Léa Seydoux Pushes Boundaries Again with Two Shocking Cannes Films — She Could Win the Fest’s Best Actress Prize
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‘Spider-Noir’ Review: Nicolas Cage Slings Peak Strangeness in Amazon’s Slick Spider-Man Spinoff
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Jean Smart’s Deborah Vance Is So Powerful That Bob Mackie Hand-Delivered Her ‘Hacks’ Episode 9 Jumpsuit
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With ‘Clarissa,’ Two Nigerian Brothers Are Forging an Arthouse Alternative to Nollywood
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To Financiers, Films Are No Longer the Product. Relationships with Audiences Are
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Ira Sachs Cast Rami Malek to Sing in ‘The Man I Love’ Without Seeing ‘Bohemian Rhapsody’
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Billy Bob Thornton Relishes His Magic Hour Moment with Ali Larter in the ‘Landman’ Season 2 Finale
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Lawrence Kasdan’s Relationship with One of His Best Friends Yielded One of His Best Movies
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How a Tribe of Cinematographers Shoot ‘Survivor’ — 50 Times Over
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‘Victorian Psycho’ Review: Maika Monroe Scares Up a Very Different Kind of Final Girl
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‘A Man of His Time’ Review: Swann Arlaud Plays a Fly on the Wall to Creeping Fascism
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‘Roma Elastica’ Review: Marion Cotillard Is a Dying Scream Queen in Bertrand Mandico’s Film Industry Pastiche
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Watch Four of the Most Important Film Festival Directors Discuss the Future of the Circuit at Cannes
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‘The Man I Love’ Review: Rami Malek Is a Tortured Actor Dying of AIDS in Ira Sachs’ Minor-Key ’80s New York Love Triangle
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Watch the Team Behind ‘Undertone’ Explain Their $500K Indie Success Story
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Jeff Probst Breaks Down the Wild Legal Contingencies Before ‘Survivor’ Could Pull Off Its Epic Mr. Beast Twist
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This Season, Watercooler TV Fell by the Wayside
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Watch Hulu’s ‘Murdaugh: Death in the Family’ Team Dissect the Art of Building a True Crime Tragedy
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‘Lord of the Flies’ Channels the Magic of Trees — and Also ‘Lone Survivor’
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‘Couture’ Trailer: Angelina Jolie Goes High Fashion (and Higher Drama)
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‘The Boys’ Finale Review: An Annoying Little Sh*t to the End, Mostly for the Better — Spoilers
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‘Maximum Pleasure Guaranteed’ Review: Tatiana Maslany’s Peppy Thriller Asks Why Is It So Hard to Have Fun
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‘The Samurai and the Prisoner’ Review: Kiyoshi Kurosawa’s Samurai Murder-Mystery Needs a Sharper Blade
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‘I See Buildings Fall Like Lightning’ Review: Clio Barnard’s Compelling Portrait of Working-Class Love and Disappointment
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Clockwork Is Cooking: WB Specialized Division Acquires Park Chan-wook’s Next Film with Matthew McConaughey, Austin Butler, and Pedro Pascal
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How the Cast and Crew of ‘Ponies’ Use Good Production Design Like Spies
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The Muschietti Siblings Were Always Destined to Steer Stephen King’s Anti-Fascist ‘It’ Follow-Up
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The Only Legal Problem ‘Game Changer’ Season 8 Has Is with the Latches on Its Giant Fake Lawyer
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‘Satire Gets Old Pretty Quickly’: Tim Heidecker Explains His Plan to Turn InfoWars Into a Comedy Institution That Lasts
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Will ‘The Comeback’ Be as Prescient About AI as It Was Reality TV?
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‘Tuner’ Review: A Revelatory Havana Rose Liu and Miscast Leo Woodall Lead a Pleasurable Romance About a Piano Tuner Turned Safe Cracker
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The Only Palestinian Filmmaker in Cannes’ Official Selection Made His Debut Without a Script — and with a Real Bedouin Family
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‘The Mandalorian and Grogu’ Review: This Supersized Episode Is ‘Star Wars’ at Its Most Generic
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‘Her Private Hell’ Review: More Like Our Public Anguish, Nicolas Winding Refn’s Ghastly Thriller Despises Its Audience
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Miles Teller Opens Up About ‘Paper Tiger,’ Adam Driver, and Losing His Home Before Filming James Gray’s Movie
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‘Strawberries’ Review: The Indignities Faced by Migrant Workers Unfold Through the Eyes of a Brilliant Young Actress
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At the Cannes Film Festival, We Saw the Center of Gravity Shifting
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‘All the Lovers in the Night’ Review: Sensitive and Restrained Kawakami Adaptation Shimmers Upon Inspection
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At The American Pavilion, Cannes Publicists Got Candid About What Actually Does (and Doesn’t) Sell a Movie
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‘Fjord’ Review: Sebastian Stan and Renate Reinsve Are Religious Parents Accused of Child Abuse in Cristian Mungiu’s Gripping Culture War Drama
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‘Ashes’ Director Diego Luna Explains Why He Wants to Tell Immigration Stories Set Outside the United States
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‘Moulin’ Review: László Nemes’ French Resistance Tale Is Prestige Torture Porn
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‘Her Private Hell’ Teaser: Nicolas Winding Refn Returns with Another Neon-Soaked Nightmare
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Pawel Pawlikowski’s Historical Stunner ‘Fatherland’ Is About Far More Than Thomas Mann — It’s About Today’s Own Fissures
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