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Movies & TV

‘You Can See Everything’ Review: Nathan Fielder’s Documentary About Elizabeth Holmes Is a Shameless, Fascinating, Reality-TV-Eats-Its-Tale Look at Entitled Duplicity

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‘Ground Floor’ Is a Political Parable Full of Apathy, Absurdity – and Mold (Exclusive Clip and Chat)

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Rob Reiner Wins Posthumous Emmy for ‘The Bear’ Guest Role

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‘Into the Breach’ Review: Star-Studded British Theater Doc Needs More Time to Serve Its Sprawling Subject Matter

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Arte France’s ‘Tax Me (If You Can)’ Sells to Multiple Territories: ‘Getting Rich People to Talk About Money Was Tough,’ Says Director (EXCLUSIVE)

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Nathan Fielder Focuses on Elizabeth Holmes in ‘You Can See Everything’ Documentary Trailer

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Lav Diaz on the Hunt for Truth in ‘An Entry Into the Sadness of a Portuguese Woman,’ Third Chapter of His Acclaimed Hermes Trilogy (EXCLUSIVE)

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Gaza Cinema Academy Launches at Venice Film Festival

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French Drama Series ‘The Red and the Black’: Passion, Power, Political Intrigue and Victor Belmondo’s Anti-Romantic Hero

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Tsai Ming-liang on Venice and San Sebastian Title ‘Dust,’ Slowness as Rebellion and Life With Lee Kang-sheng

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Sri Sri Ravi Shankar’s WFAC, Creativeland Take ‘Krishnavataram’ Global (EXCLUSIVE)

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AI Filmmaking’s Future Debated by Alibaba, Sonilo, PROMPTR Executives at TapNow and Dogme23’s Venice Production Bridge Panel

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Kore-eda Hirokazu on Adapting Fujimoto Tatsuki’s Manga for Venice Competition Film ‘Look Back’

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‘Making Marie Antoinette’ Review: The Late Eleanor Coppola’s Doc on Her Daughter’s Film is Full of Gorgeous Details and Maternal Affection

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Rob Reiner Wins Posthumous Emmy for ‘The Bear’

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Linda Cardellini Wins Emmy for Supporting Actress in a Limited Series for ‘DTF St. Louis’

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David Harbour Wins Emmy for Supporting Actor in Limited Series for ‘DTF: St. Louis’

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Nathan Fielder Drops Weird Trailer for Secret Elizabeth Holmes Doc ‘You Can See Everything’

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Nathan Fielder and Lance Oppenheim’s Elizabeth Holmes Doc Revealed as Telluride’s Surprise Secret Screening

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Tokyo Film Festival Adds Nippon Cinema Now Competition, Crosscut Asia+ Section, New Award Honoring Women in Film

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Hong Sangsoo’s Locarno Winner ‘Nowhere to Lay My Eyes’ Anchors Wave of Sales Deals for Finecut Ahead of Toronto

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‘Widow’s Bay,’ ‘DTF: St. Louis’ and ‘Spider-Noir’ — Despite Its Cancellation — Dominate Creative Arts Emmys Night 2 Winners (FULL LIST)

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Susan Sarandon Says She’s Had “Movies Taken Away” Over Her Support of Palestine

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Andy ‘The Butcher’ Williams, Musician and Wrestler, Dies After Match

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Netflix Bets ‘Ink’ and Its Timely Rupert Murdoch Story Can Win Oscars for Danny Boyle and Guy Pearce

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John Turturro Has Waited 40 Years for an Oscar Nomination. ‘The Only Living Pickpocket in New York’ Makes the Case

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‘La Bola Negra’ Fever Hits Telluride: “Let’s Make the Gayest War Movie Ever”

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‘Woman Unknown’ Review: Some More Problematic Sex — and Its Consequences — by Denmark’s May el-Toukhy

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Macklemore Calls Out ‘Free Palestine’ Onstage, Spurring Petition Demanding He Leave Ed Sheeran Tour

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Telluride: ‘Wild Horse Nine’ Team on Blending Genres, Shooting on Location and John Malkovich’s Oscar Buzz

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‘Agata the Writer’ Review: Mia Wasikowska Plays an Author Adrift and Short of Ideas, in a Sly, Witty Film With Plenty

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Lee Chang-dong’s ‘Possible Love’ Emerges as Venice Film Festival Sensation

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Podcaster Amanda Hirsch Apologizes for ‘Insensitive, Wrong’ Polymarket Lindsay Clancy Sponsored Content: ‘I Should Have Known Better’

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Original ‘Practical Magic’ Star Alexandra Artrip Reacts to “Negativity” Surrounding Sequel Recasting

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‘Possible Love’ Cast Sobs as Lee Chang-dong’s Epic Embraced at Venice With 6-Minute Standing Ovation

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‘The Echo Chamber’ Review: Luca Marinelli, Alicia Vikander and Susan Sarandon Reverberate Through a Smoky, Somber Single-Location Love Story

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Box Office: ‘Spider-Man: Brand New Day’ Remains No. 1 in Sixth Weekend, Nears ‘Avengers: Endgame’ All-Time Domestic Record

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At Telluride Film Festival, Bill Gates Compares Lack of Control Over AI to HAL in ‘2001’: ‘You Could Say “Please Shut Down,” and It Would Say, “OK, I Took That Under Advisement, But…”‘

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Luc Besson Calls Madonna a ‘Phenomenon,’ Admits He’s Developing Another ‘Crazy’ Sci-Fi Story: ‘You Will Need a Ticket — And an Aspirin’

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Venice’s Lone Female Competition Director May el-Toukhy on Gender Gap: “I’ve Never Heard a Female Director Being Called a Genius”

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‘Possible Love’ Review: Korean Master Lee Chang-dong Returns With a Beautifully Mature, Quietly Colossal Relationship Drama

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‘September 5’ Director Tim Fehlbaum Working on a ‘Historical Film’ Set in Berlin as Swiss Filmmakers Take on Challenges and Opportunities of Shooting in English

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Oscars: Iraq Picks ‘No Paradise If You Are Killed by a Woman’ as Best International Feature Contender

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Susan Sarandon Says She’s ‘Still Had Movies Taken Away Recently’ Over Palestine Support: ‘There Are Agencies That Are Telling People Not to Hire Me’

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‘Woman Unknown’ Director May el-Toukhy Talks the Torment of World War II ‘Horizontal Collaborators’ and Venice’s Female Director Snub: ‘It’s a Structural Problem’

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‘From Inside Out – The Architecture of Peter Zumthor’ Review: Wim Wenders’ Latest 3D Documentary Is an Architectural Marvel

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Wim Wenders Clarifies His Stance on Filmmakers’ Role in Politics After Berlin Controversy: ‘We Are the Opposite of Politicians … We Are the Antidote’

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French President Emmanuel Macron Calls for a ‘New Multilateralism’ Across Creative Industries: ‘We Built a Civilization of Images. We Should Not Resign Ourselves to Watching It Deteriorate’

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Wim Wenders on His 14-Year Journey Building Peter Zumthor Doc ‘From Inside Out’

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Are Russian Filmmakers Finally Coming in From the Cold?

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