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Variety

After Taylor Frankie Paul’s ‘Bachelorette’ Scandal, ‘The Secret Lives of Mormon Wives’ Just Isn’t Fun Anymore

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‘Le Faux Soir’ Review: Fake News Tells the Truth in an Earnest, Slow-Paced Period Piece

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Streaming Prices Continue to Balloon: Is ‘Streamflation’ at a Breaking Point?

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‘Like ‘Amores Perros,’ I Hope My Film Will Also Transcend Time in Some Way,’ Says Gael García Bernal of His Third Directorial Outing, ‘Hombre al Agua’

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Stephanie Ahn’s Seven-Year Road to ‘Bedford Park’: ‘You Never Know What Can Make Your Film Better’

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Jimmy Kimmel in Talks to Renew Late-Night Show at ABC

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‘Point Break’ TV Series Greenlit at AMC, Canal+

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‘Sheriff Country’ Sets Backdoor Pilot for Medical Spinoff Starring ‘Schitt’s Creek’ Actor Noah Reid

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‘Dolly Parton International Airport’ Moves Closer to Becoming a Reality, as Nashville Airport Board Votes Unanimously for Name Change

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Maria Bartiromo Says ‘More to Come’ in First Comments After Shock Fox News Exit: ‘I Am So Grateful for the Outpouring of Love’

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‘Long Day’s Journey Into Night’ Film With Jessica Lange and Ed Harris Lands Quiver Distribution Deal

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Robert Pattinson Is Having His Best Year Ever With ‘Primetime,’ ‘The Drama,’ ‘The Odyssey’ and ‘Dune 3.’ Will the Oscars Recognize Him?

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‘Hombre al Agua’ Review: Gael García Bernal Directs and Stars in a Sputtering, Screwball-y Dramedy About One Man’s Identity Crisis

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Italian Director Tommaso Usberti’s Toxic Masculinity Drama ‘Before the War’ Scores Top Venice Critics’ Week Prize

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Ella Rubin, Sarah Sherman, Marcello Hernandez and More Rock Out at Chanel’s NYFW Party

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New James Bond Movie: First Draft of the Script Is Done, Says Steven Knight

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How Stunt Expert and ‘Runner’ Director Scott Waugh Pulled Off Explosive Set Pieces With Alan Ritchson: ‘Find the Heart’ and Create ‘A Beautiful Spectacle’

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Never Mind the IP, Here’s How Original Ideas Dominated This Year’s Emmy Races

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‘One Minute to Midnight’ Review: A Stellar Cast Deliver Interesting but Overly Preachy Disquisitions on the Changing Nature of Male-Female Relations

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Alexandra Pechman‘s TIFF Drama ‘Magazine’ Takes a Nostalgic Look at New York’s Last Gasp Before the Digital Age

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‘SNL U.K.’ Cast on Wanting ‘Bigger Swings and Some Sex Sketches’ in Season 2, Bloody Backstage Mishaps and if Jack Shep’s Princess Diana Will Return

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‘A Bit of Light’ Review: A Life-Affirming Drama About a Suicidal Iranian Doctor

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Venice Days Winners: Argentinian Director Maria Aparicio’s ‘Sadness Sometimes, Sometimes Rebellion’ Claims Top Prize

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How Variety Covered 9/11 Attack and Its Aftermath 25 Years Ago

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‘Uptown Prep and Downtown Weirdness’ Meld in J. Crew and Ekhaus Latta’s New Limited-Edition Collection

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Box Office: ‘Practical Magic 2’ Makes $4.7 Million in Previews

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Filmax Takes Javier Giner’s Feature Debut ‘This Solitude’ (EXCLUSIVE)

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David Turpin’s TIFF Premiere ‘Ancestors’ Revisits the AIDS Crisis Through Love, Found Family and Movie Stars: ‘I Think a Lot of People of My Generation Feel This Absence of Our Elders’

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TIFF Premiere ‘Julián’ Finds Joy, Identity and Family in a Colorful Animated World

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Water Crisis Documentary ‘Every Living Thing’ Sets Toronto Market Debut, Adds VIBE as Strategic Partner (EXCLUSIVE)

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French WWII Blockbuster ‘De Gaulle’ Lands U.S. Distribution With Samuel Goldwyn Films (EXCLUSIVE)

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‘Ransom Canyon’ Canceled After Two Seasons at Netflix

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Lilly Wachowski on Her New Studio Anarchists United, the Black Power Origins of ‘The Matrix’ and How ‘Harry Potter’ Fans Are ‘Supporting Trans Genocide’

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Kazakh Horror Sequel ‘Dastur: Teris Bata’ Boards Fearfolks for World Sales (EXCLUSIVE)

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Hans Petter Moland Talks ‘Epic Love Story’ That Defined the Nation as Norway’s Oscar Submission ‘Growth of the Soil’ Debuts Trailer: ‘It Resonates with All of Us’ (EXCLUSIVE)

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Toronto Premiere of ‘Le Faux Soir’ Crowns Great Year for Walloon Cinema, Built on Belgian Region’s Creative Freedom, Can Do Attitude

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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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