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Variety

Catherine Deneuve on Playing a ‘Punk Fairy Godmother’ in Léa Domenach’s Venice-Bound ‘A Man’s Skin,’ a Feminist Medieval Musical (EXCLUSIVE)

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‘Rojo’ Director Benjamín Naishtat on Awaited Toronto, San Sebastián Title ‘Glaxo,’ the Impunity of Power and Connecting via Genre

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Thailand Bets on Film Tourism to Turn Movie Locations Into Travel Destinations

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Venice Film Festival Takeaways: Malkovich Storms the Oscar Race, Political Movies Dominate Buzz and More

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Global Africa Hub at TIFF Market Seeks to Boost Visibility — and Deals — for African Filmmakers in Toronto: ‘It’s Our Moment’

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‘In Alaska’ Producer Tyler Hagan Wins CMPA’s Feature Producer Indiescreen Award at Toronto Film Festival

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New Zealand Set to Unveil Tri-Nation Indigenous Co-Production Initiative at Toronto (EXCLUSIVE)

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Def Leppard Documentary ‘Long Live Def Leppard’ Coming to Theaters in 2027 From Bleecker Street’s Crosswalk

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9/11 News Broadcasts: How the ‘Today’ Show, NY1, Fox News and More Covered the Attacks in Real Time

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Worldwide Sales Heat Up for Creature Feature ‘Pacific’ (EXCLUSIVE)

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‘Krux’ Director Tony Vahl Combines Practical Magic With Post-WWII Taboo: ‘A Belief Can Help You – or It Can Destroy You”

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Le Havre Rendez-Vous Takeaways: Local Players Navigating Rough Waters, Public Broadcasters Still Buying, Animation Studios Adapting

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‘Everybody Wants to F— Me’ Director on Poking Satirical Fun at Performative, Arthouse-Loving Nice Guys and Casting Taron Egerton to Play One

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‘The Stunt Driver’ Helmer Michael Dowse on Working With Jay Baruchel, Building a Ramp and a Rocket Car: ‘It Wasn’t for the Faint of Heart’

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Taika Waititi, ‘Navalny,’ ‘Hind Rajab’ Producer Odessa Rae Board ‘A Bit of Light’ as Executive Producers Ahead of Venice Premiere (EXCLUSIVE)

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‘Viva Carmen’ Reveals Clip Featuring Singer Silvia Pérez Cruz – and Brand New Song – Ahead of North American Premiere at TIFF (EXCLUSIVE)

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British Comedy Is Back: How the U.K.’s Funny Business Is Rallying Thanks to ‘SNL U.K.’ and ‘Mock the Week’

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Venice Final Cut Winner Machérie Ekwa Bahango on ‘Madi Makambu’ and Why She Wants Congo to Be Seen: ‘We’re a Great Nation That Needs to Write Its Own History’

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France, South Korea Take Center Stage as Global Film and TV Leaders Confront Industry Upheaval at Lumiere Summit: ‘Culture Itself Is Becoming a Driver of Growth’

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Oscars: Singapore Selects Anthony Chen’s ‘We Are All Strangers’ for International Feature Race

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Charli xcx Announces U.K. and Europe ‘Music, Fashion, Film’ Tour Dates, With Audrey Hobert Opening

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San Sebastian Competition Title ‘Border’ Boards Reel Suspects for Global Sales (EXCLUSIVE)

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J. M. Stelly’s Anatomica Films Taps Black Mandala for Global Sales on Horror Trio (EXCLUSIVE)

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Na Hong-Jin, Lav Diaz, Bertrand Mandico, Rintaro Headline Busan Master Class Lineup

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Jimmy Kimmel’s Pulled TV Interview With James Talarico Drops on YouTube as Texas Senate Candidate Says: ‘They’re Worried We’re Going to Win This Race’

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CBS Files Motion to Dismiss Former ‘Matlock’ Writer’s Lawsuit Alleging Racist, Sexist Comments: ‘We Stand Firmly Behind Our Producers’ (EXCLUSIVE)

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TIFF Opens With Siân Heder’s Crowd-Pleasing ‘Being Heumann’ — and Apple Has Its Next Oscar Contender

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‘Being Heumann’ Review: Siân Heder’s First Film Since ‘CODA’ Is a Bold and Stirring Dramatization of the Protest That Launched the Disabled-Rights Revolution

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Oscar Predictions 2027: Telluride Reshapes the Best Picture Race as TIFF Lines Up Its Crowd-Pleasers

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‘Burgundy’ Review: An Attractive, Light-Bodied Wine Doc With a Good Nose but No Legs

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‘Stuffed’ Review: Jodie Comer and Harry Melling Sing the Body Eccentric in an Odd, and Oddly Touching, Taxidermy Musical

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