As has become standard in recent years, our annual fall and winter film preview comes with something of an asterisk: it’s (another!) unpredictable time for movies, right down to when we might even expect to see them. With both the WGA and SAG-afra strikes still winding on, everything from production to promotion has been disrupted for many new features, and the entire calendar remains in flux.
And yet, even with those very valid concerns in place, the next three months at the multiplex (and beyond) offer a bounty of exciting new films. We’re talking new films from Martin Scorsese, Pablo Larraín, Sofia Coppola, Todd Haynes, Emerald Fennell, David Fincher, Jonathan Glazer, Taika Waititi, Justine Triet, Wes Anderson, and Yorgos Lanthimos. Jeff Nichols is back, as is Godfrey Reggio and the juicy stars of “Chicken Run.” Festival faves like Christos Nikou, Kristoffer Borgli, and Chloe Domont make a play for further dominance.
And yet, even with those very valid concerns in place, the next three months at the multiplex (and beyond) offer a bounty of exciting new films. We’re talking new films from Martin Scorsese, Pablo Larraín, Sofia Coppola, Todd Haynes, Emerald Fennell, David Fincher, Jonathan Glazer, Taika Waititi, Justine Triet, Wes Anderson, and Yorgos Lanthimos. Jeff Nichols is back, as is Godfrey Reggio and the juicy stars of “Chicken Run.” Festival faves like Christos Nikou, Kristoffer Borgli, and Chloe Domont make a play for further dominance.
- 8/22/2023
- by Kate Erbland
- Indiewire
If there’s one thing we hope that this year’s ‘80s Week package better illuminates, it’s the incredible depth and range on display in the films of the decade. While the iconic movies and stars of the totally radical ‘80s tend to most easily remembered for neon-tinted, big-haired, Tangerine Dream-set turns, consider this: the decade included all-time work from major performers like Meryl Streep, Ossie Davis, Jessica Lange, Robert De Niro, Gena Rowlands, Daniel Day-Lewis, Paul Newman, Jackie Chan, and Whoopi Goldberg.
These are the kind of stars who show up and show out no matter the year, but it’s in the ‘80s in which they all captured the incredible essence of what makes them greats.
But they’re hardly alone on this list, which also includes indelible work from stars like David Byrne, Sandrine Bonaire, Babak Ahmadpour, Seret Scott, Mieko Harada, Ken Ogata, and even Divine...
These are the kind of stars who show up and show out no matter the year, but it’s in the ‘80s in which they all captured the incredible essence of what makes them greats.
But they’re hardly alone on this list, which also includes indelible work from stars like David Byrne, Sandrine Bonaire, Babak Ahmadpour, Seret Scott, Mieko Harada, Ken Ogata, and even Divine...
- 8/16/2023
- by David Ehrlich, Kate Erbland, Ryan Lattanzio and Christian Blauvelt
- Indiewire
Whether or not you agree with Quentin Tarantino’s unsparing assertion that “’80s cinema is, along with the ’50s, the worst era in Hollywood history,” there’s a curiously undeniable truth to his follow-up statement: “Matched only by now! Matched only by the current era.” Revisiting the defining movies of the ’80s from our current perspective at the height of Barbenheimer summer, two things become abundantly clear.
The first is that modern Hollywood would probably need a Barbenheimer every month in order to equal the creative output of a studio system that used to be capable of releasing “Blade Runner” and “The Thing” on the same night as if it were just another Friday. The second is that, in a wide variety of different ways both negative and not, the ’80s provide a perfect match for the movies of our current moment — if not the current moment itself.
Perhaps that...
The first is that modern Hollywood would probably need a Barbenheimer every month in order to equal the creative output of a studio system that used to be capable of releasing “Blade Runner” and “The Thing” on the same night as if it were just another Friday. The second is that, in a wide variety of different ways both negative and not, the ’80s provide a perfect match for the movies of our current moment — if not the current moment itself.
Perhaps that...
- 8/14/2023
- by IndieWire Staff
- Indiewire
The last-minute scramble to share best-of-the-year lists while voters across guilds and other bodies fill out their own ballots means plenty of films will disappear into the ether. That’s especially true of indie films and especially indie films released earlier in the year. While indies like “TÁR,” “Aftersun,” “Bones and All,” “The Inspection,” “Everything Everywhere All at Once,” and “Women Talking” deservedly sit atop the awards conversation and continue to dominate with nominations among blocs like the Independent Spirit and Gothams voters, there are plenty, plenty more that are well worth your time.
Below, IndieWire has rounded up 15 great indies from throughout 2022 that are worth a first or second look, ranging from homegrown American micro-budget movies to documentaries and foreign films released in arthouse theaters and on streaming platforms. Many of these appeared on IndieWire’s list of the Best Films of 2022 So Far published at the year’s halfway point,...
Below, IndieWire has rounded up 15 great indies from throughout 2022 that are worth a first or second look, ranging from homegrown American micro-budget movies to documentaries and foreign films released in arthouse theaters and on streaming platforms. Many of these appeared on IndieWire’s list of the Best Films of 2022 So Far published at the year’s halfway point,...
- 12/30/2022
- by Ryan Lattanzio
- Indiewire
[Editor’s note: This list was originally published on June 30, 2022. It was updated on October 6, 2022 to reflect new inclusions.]
Googly eyes. High-flying fighter jets. Terrifying aliens. Genies in bottles (and beyond). Lovable robots and wild red pandas. Medieval tweens. Meat. Romance. Dancing. Incredibly bad vacations. Farts. Freedom. The first nine months (and change) of 2022 have already gifted film fans with a wide array of incredible cinematic offerings, and there’s still plenty of titles yet to arrive on a screen near you.
Some of our favorite filmmakers have returned to the cinema with fresh visions, including everyone from Kogonada to Andrea Arnold, David Cronenberg to Daniels, Terence Davies to Peter Strickland, Lena Dunham to George Miller. And there have been plenty of new names to admire, too, including Audrey Diwan, Panah Panahi, Mimi Cave, John Patton Ford, Owen Kline, Adamma Ebo, and Jerrod Carmichael, all of whom have bowed debuts that make us feel hopeful for the future of film.
A handful of the films that have already earned...
Googly eyes. High-flying fighter jets. Terrifying aliens. Genies in bottles (and beyond). Lovable robots and wild red pandas. Medieval tweens. Meat. Romance. Dancing. Incredibly bad vacations. Farts. Freedom. The first nine months (and change) of 2022 have already gifted film fans with a wide array of incredible cinematic offerings, and there’s still plenty of titles yet to arrive on a screen near you.
Some of our favorite filmmakers have returned to the cinema with fresh visions, including everyone from Kogonada to Andrea Arnold, David Cronenberg to Daniels, Terence Davies to Peter Strickland, Lena Dunham to George Miller. And there have been plenty of new names to admire, too, including Audrey Diwan, Panah Panahi, Mimi Cave, John Patton Ford, Owen Kline, Adamma Ebo, and Jerrod Carmichael, all of whom have bowed debuts that make us feel hopeful for the future of film.
A handful of the films that have already earned...
- 10/6/2022
- by Kate Erbland and David Ehrlich
- Indiewire
There’s no denying it: the star-packed, film-crammed, totally wild fall movie-going season is back. While the previous two pandemic years have provided plenty of new films across all seasons and tastes, 2022 marks the first time in a long time that our most-anticipated list of films coming out this fall season pushed up to 60 titles.
Even more edifying: the range of films on offer. Of course, this preview includes a number of fall festival premieres and “awards” titles, but we’ve got a range of smaller picks, genuine curiosities, and even the odd remake to get excited about. We’ve got Sundance favorites and Cannes debuts, a donkey with a heart of gold, a pair of highly anticipated superhero movies, and Steven Spielberg revisiting his childhood (again! and we’re all better for it!). The Harvey Weinstein case gets a film, Rosaline gets her due, and a bunch of rich...
Even more edifying: the range of films on offer. Of course, this preview includes a number of fall festival premieres and “awards” titles, but we’ve got a range of smaller picks, genuine curiosities, and even the odd remake to get excited about. We’ve got Sundance favorites and Cannes debuts, a donkey with a heart of gold, a pair of highly anticipated superhero movies, and Steven Spielberg revisiting his childhood (again! and we’re all better for it!). The Harvey Weinstein case gets a film, Rosaline gets her due, and a bunch of rich...
- 8/30/2022
- by Kate Erbland
- Indiewire
Horror was the name of the game at the 2022 Sundance Film Festival, with genre flicks like Nikyatu Jusu’s “Nanny” and Mariama Diallo’s “Master” proving that scary movies are more than capable of competing with the standard festival fare. A cornucopia of those titles premiering in January always means that indie horror fans are in for a treat when the fall rolls around, and this year is no exception.
One of the first big Sundance horror films that fans will get to see this fall is “Speak No Evil,” Christian Tafdrup’s eerie Danish film about a vacation between two families going horribly awry. The movie was a critical darling in Park City and is certain to terrify the general public when it comes out next month.
Per the official synopsis, on a vacation in Tuscany, two families – one Danish, one Dutch – meet and become fast friends. Months later,...
One of the first big Sundance horror films that fans will get to see this fall is “Speak No Evil,” Christian Tafdrup’s eerie Danish film about a vacation between two families going horribly awry. The movie was a critical darling in Park City and is certain to terrify the general public when it comes out next month.
Per the official synopsis, on a vacation in Tuscany, two families – one Danish, one Dutch – meet and become fast friends. Months later,...
- 8/17/2022
- by Christian Zilko
- Indiewire
If the ‘90s were a boom time for DIY iconoclasts, Hollywood mavericks, and emerging national cinemas, none of the decade’s narrative films would be so fondly remembered today if not for the actors who brought them to life. Even the era’s best documentary or documentary-like features — such as Hirokazu Kore-eda’s “After Life” and Abbas Kiarostami’s “Close-Up,” both of which placed in the top 10 on IndieWire’s list of the decade’s best films — boast unscripted performances that resonate with the same raw power as anything that Meryl Streep or Robert De Niro were doing at the time.
If the impulse to honor the decade’s most indelible performances is easy to understand, the task of choosing among them proved virtually impossible. What started as a fool’s errand soon found us tilting at windmills as we decided to limit our list to just 25 choices, thus...
If the impulse to honor the decade’s most indelible performances is easy to understand, the task of choosing among them proved virtually impossible. What started as a fool’s errand soon found us tilting at windmills as we decided to limit our list to just 25 choices, thus...
- 8/17/2022
- by David Ehrlich, Kate Erbland and Christian Blauvelt
- Indiewire
The film scores of the 1990s were as rich and varied as the films themselves, as the decade saw — well, heard — established masters peak (John Williams) or push themselves in new directions (Philip Glass), bold outsiders bring new genres into the narrow conversation of what movie music “should be”, and singular iconoclasts revolutionize how that music is recorded (remember the time when Neil Young just improvised the entire score for “Dead Man” by watching a rough cut in his studio?).
Women like Rachel Portman and Deborah Wiseman continued to make headway in a field from which they’ve long been excluded, while some of the most essential composers of the 21st century (Carter Burwell) began to hit their stride and point towards an even brighter future. Hell, even “Stop! Or My Mom Will Shoot” had Alan Silvestri going absolutely nuts over the soundtrack.
Here are our picks for the 25 best movie scores of the ’90s.
Women like Rachel Portman and Deborah Wiseman continued to make headway in a field from which they’ve long been excluded, while some of the most essential composers of the 21st century (Carter Burwell) began to hit their stride and point towards an even brighter future. Hell, even “Stop! Or My Mom Will Shoot” had Alan Silvestri going absolutely nuts over the soundtrack.
Here are our picks for the 25 best movie scores of the ’90s.
- 8/16/2022
- by David Ehrlich, Christian Blauvelt and Leila Latif
- Indiewire
As if. While the ‘90s may still be linked with a wide variety of dubious holdovers — including curious slang, questionable fashion choices, and sinister political agendas — many of the decade’s cultural contributions have cast an outsized shadow on the first stretch of the 21st century. Nowhere is that phenomenon more obvious or explicable than it is at the movies.
The ’90s began with a revolt against the kind of bland Hollywood product that people might kill to see in theaters today, creaking open a small window of time in which a more commercially viable American independent cinema began seeping into mainstream fare. Young and exciting directors, many of whom are now major auteurs and perennial IndieWire favorites, were given the resources to make multiple films — some of them on massive scales. Meanwhile, the industry establishment responded to the sudden influx of new talent by entrusting its biggest tentpoles to...
The ’90s began with a revolt against the kind of bland Hollywood product that people might kill to see in theaters today, creaking open a small window of time in which a more commercially viable American independent cinema began seeping into mainstream fare. Young and exciting directors, many of whom are now major auteurs and perennial IndieWire favorites, were given the resources to make multiple films — some of them on massive scales. Meanwhile, the industry establishment responded to the sudden influx of new talent by entrusting its biggest tentpoles to...
- 8/15/2022
- by David Ehrlich, Kate Erbland and Eric Kohn
- Indiewire
Welcome to the return of Intermission, a spin-off podcast from The Film Stage Show. Led by yours truly, Michael Snydel, I invite a guest to discuss an arthouse, foreign, or experimental film of their choice.
For the thirteenth episode, I talked to Susannah Gruder, a New York-based film critic with bylines at outlets including Reverse Shot, Bright Wall/Dark Room, Indiewire, Mubi Notebook, and Hyperallergic. On today’s episode, we talked about George Sluizer’s 1988 French/Dutch existential procedural, The Vanishing (available on the Criterion Channel). An adaptation of Tim Krabbé’s The Golden Egg, the film’s premise is familiar: A couple is on vacation (Gene Bervoets and Johanna ter Steege), they stop at a crowded rest stop, and one of them seems to disappear into thin air. But while Sluizer’s sleek but collected approach nods to mind game masters like Alfred Hitchcock and suggests the forensic obsessions of latter-day crime thrillers,...
For the thirteenth episode, I talked to Susannah Gruder, a New York-based film critic with bylines at outlets including Reverse Shot, Bright Wall/Dark Room, Indiewire, Mubi Notebook, and Hyperallergic. On today’s episode, we talked about George Sluizer’s 1988 French/Dutch existential procedural, The Vanishing (available on the Criterion Channel). An adaptation of Tim Krabbé’s The Golden Egg, the film’s premise is familiar: A couple is on vacation (Gene Bervoets and Johanna ter Steege), they stop at a crowded rest stop, and one of them seems to disappear into thin air. But while Sluizer’s sleek but collected approach nods to mind game masters like Alfred Hitchcock and suggests the forensic obsessions of latter-day crime thrillers,...
- 8/2/2022
- by Michael Snydel
- The Film Stage
Arriving on the cusp of the most barren summer movie season in recent memory — not to mention five days after the release of the 11th movie in the “Harry Potter” franchise, and two weeks before the 28th installment of the Marvel Cinematic Universe — this year’s edition of New Directors/New Films wouldn’t have to be particularly rich or rejuvenating in order to provide New York cinephiles with a much-needed oasis in dry times. These days, the name of the festival itself sounds almost nostalgic. And yet, the programming team (evenly split between representatives from Film at Lincoln Center and The Museum of Modern Art) seems to have taken those circumstances as a direct challenge.
Comprising 26 features and 11 shorts from over 20 different countries — including some of the most exciting breakouts from Berlin, Cannes, Rotterdam, and Sundance, in addition to one very special world premiere that hits a lot closer...
Comprising 26 features and 11 shorts from over 20 different countries — including some of the most exciting breakouts from Berlin, Cannes, Rotterdam, and Sundance, in addition to one very special world premiere that hits a lot closer...
- 4/19/2022
- by David Ehrlich and Kate Erbland
- Indiewire
With 92 features to watch, the Academy’s International Feature Film Committee, drawn from various branch members willing to watch an assigned slate of 12 films, selected a shortlist of 15. Any voter who watches all 15 can pick the final five.
What will they be? We hazard an educated guess based on festival awards, critics’ groups, and other anecdotal gleanings of Academy favorites. These films are among the year’s best. Check them out in all their glory in theaters if you can; some won’t be available at home for a few more weeks. (Read: How to Watch the 2022 Oscar Contenders at Home.)
Festival heavyweights include major Cannes standouts like Austria’s “Great Freedom,” Mexico’s “Prayers for the Stolen,” Asghar Farhadi’s “A Hero,” Jonas Poher Rasmussen’s animated documentary “Flee,” and Ryusuke Hamaguchi’s three-hour meditation on Chekhov, “Drive My Car,” which is gaining so much acclaim that people are...
What will they be? We hazard an educated guess based on festival awards, critics’ groups, and other anecdotal gleanings of Academy favorites. These films are among the year’s best. Check them out in all their glory in theaters if you can; some won’t be available at home for a few more weeks. (Read: How to Watch the 2022 Oscar Contenders at Home.)
Festival heavyweights include major Cannes standouts like Austria’s “Great Freedom,” Mexico’s “Prayers for the Stolen,” Asghar Farhadi’s “A Hero,” Jonas Poher Rasmussen’s animated documentary “Flee,” and Ryusuke Hamaguchi’s three-hour meditation on Chekhov, “Drive My Car,” which is gaining so much acclaim that people are...
- 1/25/2022
- by Anne Thompson, Eric Kohn and David Ehrlich
- Thompson on Hollywood
Above: In the Same Breath Browsing through the gargantuan output of reviews, dispatches, and reports coming in from Sundance, the festival’s 2021 edition is widely praised as a logistical and curatorial success. Shortened to seven days compared to the usual ten, its films premiered on a bespoke digital platform and in a handful of selected hubs in Utah and other US states—a hybrid approach that worked smoothly, and made up for the social-cultural intangibles lost in the online format. As Eric Kohn notes at IndieWire, the new virtual hangout spaces set up for post-screening discussions helped make sure “#Sundance felt like Sundance,” while the edition’s slimmer lineup also gave more breathing room to smaller, more intriguing titles. If those went on to enjoy “the proverbial big-stage treatment,” A.A. Dowd contends in his roundup at the A.V. Club, it was largely because “they weren’t competing with the more polished,...
- 2/10/2021
- MUBI
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