In this Telluride Film Festival capsule review edition we’ve got Joshua Oppenheimer’s golden age musical The End, Jacques Audiard’s Cannes-winning musical Emilia Peréz and Jason... Read More
Other
Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of... Read More
All over the world, with the rise of the alt-right, attempts are being made at a daily pace restrict the access to abortion. The landmark... Read More
Two names come to mind on mention of filmmakers who found their feet in the Greek New Wave Cinema movement; Yorgos Lanthimos and Athina Rachel... Read More
Stranger Eyes by Yeo Siew Hua has already made history as Venice’s first ever Golden Lion contender hailing from Singapore, but it is its stylish... Read More
Aardman’s four-time Academy Award-winning director Nick Park and Emmy Award-nominated director Merlin Crossingham will world premiere Wallace & Gromit: Vengeance Most Fowl at AFI FEST,... Read More
In part one of three sets of capsule reviews from the 2024 Telluride Film Festival, I take a look at Conclave, Nickel Boys and Maria.... Read More
Fresh off its explosive world premiere at the Telluride Film Festival last weekend, the first trailer for Amazon MGM’s Nickel Boys, from Academy Award-nominated director... Read More
At the 51st Telluride Film Festival, Saoirse Ronan became one of the youngest actors to be recognized with the prestigious Silver Medallion, honoring her versatile... Read More
Pierre (Vincent Lindon) is a fifty-something single father who works night shifts for the SNCF (the French railway) as a mechanic/engineer and spends his free... Read More

FINAL 2026 Oscar Predictions: COSTUME DESIGN and PRODUCTION DESIGN
Interview: Joachim Trier and Eskil Vogt on Capturing Memory in ‘Sentimental Value,’ Missing Robert Redford, and the Movies That Make Them Cry
FINAL 2026 Oscar Predictions: MAKEUP and HAIRSTYLING and VISUAL EFFECTS
2026 SXSW Film & TV Festival Lineup: ‘Ready or Not 2,’ ‘I Love Boosters’ and the Return of David E. Kelley
Interview: Paul Mescal on the Creative Freedom of ‘Hamnet’ and Finding Magic and Love with His Co-Stars
‘Sinners’ Leads Guild of Music Supervisors (GMS) Nominations
Denver Film Critics Society (DFCS) Nominations
International Cinematographers Guild (ICG) Nominations for Best Motion Picture Publicity Campaign
2026 SXSW Film & TV Festival Lineup: ‘Ready or Not 2,’ ‘I Love Boosters’ and the Return of David E. Kelley
On the Shelf: ‘Bringing Out the Dead,’ ‘Evil Dead Rise,’ and ‘The Pink Panther’ Films Land on 4K Blu-ray for Week of January 12
FINAL 2026 Oscar Predictions: COSTUME DESIGN and PRODUCTION DESIGN
FINAL 2026 Oscar Predictions: MAKEUP and HAIRSTYLING and VISUAL EFFECTS
FINAL 2026 Oscar Predictions: FILM EDITING and CINEMATOGRAPHY
FINAL 2026 Oscar Predictions: BEST CASTING
FINAL 2026 Oscar Predictions: ANIMATED FEATURE
2026 Oscar Predictions: ANIMATED FEATURE (December)
2026 Oscar Predictions: BEST CASTING (December)
2026 Oscar Predictions: MAKEUP and HAIRSTYLING and VISUAL EFFECTS (December)
2024 Telluride Film Festival Capsule Reviews: ‘The End,’ ‘Emilia Peréz,’ ‘Saturday Night’
Director Watch Podcast Ep. 62 – ‘The New World’ (Terrence Malick, 2005) with Guest Karen Peterson
‘April’ Review: A Timely and Terrifying Abortion Story in Eastern Europe | Venice
‘Harvest’ Review: Transplanting English to Scottish Locales Does No Favors for Athina Rachel Tsangari’s Adapted Historical Tale | Venice
‘Stranger Eyes’ Review: The First Singapore Venice Competition Title is a Well-Crafted Thriller | Venice
Aardman’s ‘Wallace & Gromit: Vengeance Most Fowl’ to World Premiere at 2024 AFI FEST
2024 Telluride Film Festival Capsule Reviews: ‘Conclave,’ Nickel Boys,’ ‘Maria’
First Trailer for ‘Nickel Boys’ Reveals a New American Masterpiece [Trailer]
‘The Outrun’ Review: Saoirse Ronan is Towering in Sensitive Yet Uneven Recovery Drama | Telluride
‘The Quiet Son (Jouer avec le feu)’ Review: We’ve Seen This Vincent Lindon-led French Family Drama Before | Venice
Interview: Joachim Trier and Eskil Vogt on Capturing Memory in ‘Sentimental Value,’ Missing Robert Redford, and the Movies That Make Them Cry