At Cannes, Peter Jackson receives the honorary Palme d’Or from Elijah Wood and defends AI as a tool: but Gollum reopens the problem of the digital actor.
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Films, filmmakers and moving images explored through memory, style, industry and imagination. From classic cinema to contemporary visions, stories and the cultures that shape them.
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Q’orianka Kilcher accuses James Cameron and Disney of using her face for Neytiri in Avatar: for Hollywood, the Indigenous face has become an asset.
Scarlett Johansson enters Ari Aster’s unstable territory. The project is titled Scapegoat, it will be written and directed by the filmmaker behind Hereditary and Midsommar, and it will arrive under
A lost version of Gremlins has been found in Los Angeles: Joe Dante’s rough cut reveals deleted scenes, extra chaos and new monstrosities.
Roger Avary, Oscar winner for the screenplay of Pulp Fiction and director of The Rules of Attraction, has chosen anything but an easy target: Paradise Lost, John Milton’s 1667 poem
Andrew Garfield will play Sam Altman in Artificial, Luca Guadagnino’s film about the OpenAI crisis: Silicon Valley, artificial intelligence and power.
Alex Proyas relaunches Heaven at the Marché du Film with Ex Machina Studios and K5: a sci-fi satire about the digital afterlife, produced with an AI pipeline.
At Canva Create, Jon M. Chu talks about creative struggle, reveals a key detail from “Wicked: For Good,” and revives the “Crazy Rich Asians” musical.
Paramount announced at CinemaCon that Top Gun 3 is in development, with the script already well underway. Cruise and Bruckheimer are reunited, but his return on screen remains uncertain.
The trailer for As Deep as the Grave brings Val Kilmer back to the screen with AI: family consent, a central role, and a new case for Hollywood. The trailer
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