In May, the Cannes Film Festival injects a jolt of international cinema into year ahead, and expectations are even greater than usual this time around. In 2022, Cannes was the starting point for everything from future commercial hits “Top Gun: Maverick” and “Elvis” to arthouse successes like “Decision to Leave” and “Eo.” With less pandemic-era stagnation on productions, there are more newly finished (or almost finished) Cannes hopefuls in the mix than anytime in recent memory.
Some of the bigger ones have been widely reported: We already know that Martin Scorsese’s sprawling Osage Nation crime drama “Killers of the Flower Moon” will bring the revered director back to the festival with Leonardo DiCaprio and Robert De Niro in tow, while “Indiana Jones and the Dial of Destiny” is poised to premiere in an out-of-competition slot 15 years after the last entry did the same thing. There’s also a lot of...
Some of the bigger ones have been widely reported: We already know that Martin Scorsese’s sprawling Osage Nation crime drama “Killers of the Flower Moon” will bring the revered director back to the festival with Leonardo DiCaprio and Robert De Niro in tow, while “Indiana Jones and the Dial of Destiny” is poised to premiere in an out-of-competition slot 15 years after the last entry did the same thing. There’s also a lot of...
- 3/23/2023
- by Eric Kohn
- Indiewire
When looking through a given year’s best movies and shows, it’s helpful for a writer to find connections among the prominent picks. Perhaps this was a year where studio fare stood tall, or indie darlings broke big. Maybe 2022 saw an uptick in stories about burgeoning fascism or very good donkeys. Heck, even taking note of broader trends — like the potential resurgence of theatrical motion pictures or the possible end of streaming content boom — can give a list a sense of purpose or clarity.
But when it comes to our picks for the best LGBTQ movies and shows in 2022, what’s refreshing to notice is the lack of commonalities. Comedies like “Bros” and “Fire Island” were given major release platforms courtesy of Universal and Searchlight, respectively. Dramatic fare like “Benediction” and “The Inspection” rode festival buzz and critical praise to leave their mark. This year’s top awards contenders are queer,...
But when it comes to our picks for the best LGBTQ movies and shows in 2022, what’s refreshing to notice is the lack of commonalities. Comedies like “Bros” and “Fire Island” were given major release platforms courtesy of Universal and Searchlight, respectively. Dramatic fare like “Benediction” and “The Inspection” rode festival buzz and critical praise to leave their mark. This year’s top awards contenders are queer,...
- 12/15/2022
- by Ben Travers and Jude Dry
- Indiewire
“You must, in fact, stand before the public and God and obliterate yourself.” So suggests Cate Blanchett’s Lydia Tár, in one of the great and most thematically controversial scenes of “TÁR,” about how performers and practitioners of the arts should set aside their identities in service of a greater good: the Art Itself, in spite of the artist themselves.
Things for an artist of Lydia Tár’s standing certainly don’t turn out so well in her favor, sure, and while we don’t necessarily endorse her statement, it could be applied to this year’s best performers onscreen — they stand before a certain public (the movie- or TV-going audience) and they obliterate themselves (in the hope of a performance good enough to move people).
Each year of exceptional film and television brings another batch of indelible performances, many of which become synonymous with the movie or series itself.
Things for an artist of Lydia Tár’s standing certainly don’t turn out so well in her favor, sure, and while we don’t necessarily endorse her statement, it could be applied to this year’s best performers onscreen — they stand before a certain public (the movie- or TV-going audience) and they obliterate themselves (in the hope of a performance good enough to move people).
Each year of exceptional film and television brings another batch of indelible performances, many of which become synonymous with the movie or series itself.
- 12/6/2022
- by Ryan Lattanzio and Proma Khosla
- Indiewire
One of the biggest surprises of Mindy Kaling and Lang Fisher’s “Never Have I Ever” is the voice of legendary tennis player John McEnroe, who narrates the coming-of-age series. But no matter how surprised you were to hear his voice on the show, the tennis star was even more surprised to be asked to narrate it in the first place.
“Who would’ve thought that would be the sort of psychologist or uncle or advisor to an 18- or 17-year-old Indian American girl going through high school,” McEnroe said in a recent interview with Entertainment Tonight. “So I got to credit Mindy Kaling.”
The decision to cast McEnroe in her semi-autobiographical series was a nostalgic one for Kaling, who grew up in a tennis-loving household.
“It turned out her father was a big tennis fan and must’ve talked about me a lot when she was growing up,” he said....
“Who would’ve thought that would be the sort of psychologist or uncle or advisor to an 18- or 17-year-old Indian American girl going through high school,” McEnroe said in a recent interview with Entertainment Tonight. “So I got to credit Mindy Kaling.”
The decision to cast McEnroe in her semi-autobiographical series was a nostalgic one for Kaling, who grew up in a tennis-loving household.
“It turned out her father was a big tennis fan and must’ve talked about me a lot when she was growing up,” he said....
- 8/28/2022
- by Christian Zilko
- 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
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