Uwe Boll’s film starring Armie Hammer, blocked in Germany and amplified on X, has become the perfect case study for understanding how outrage is distributed today.
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Robert Gaudette discusses A Face Only a Mother Could Love, generative AI, the Runway AI Film Festival, and the future of authorship between image, imperfection, and storytelling.
With Alejandro González Iñárritu’s new film, Tom Cruise seems to step out of the body of the action hero and into the more ambiguous one of the tycoon who causes the disaster and then expects to save us.
Xbox is preparing more than a dozen films and series: from Sea of Thieves to Gears of War, Microsoft is bringing worlds already inhabited by audiences to the screen.
Festivals, tools and independent creators are building their own supply chain around AI cinema, while the old industry protects control, rents and slow decision-making.
Quentin Tarantino and Kylie Minogue are in the cast of Tangled Up in Blue, the new Jamie Adams film shot in Wales with Visor Entertainment.
At the Shanghai Film Festival, AI Backlot, iPhone-shot shorts and VR show how China is turning cinema into pure technological production.
Lilly Wachowski presents The Hunted with a live reading: the political thriller, also produced by Natasha Lyonne, arrives at Dynasty Typewriter.
After the DOJ green light, the Paramount-Warner merger opens new fronts: jobs, archives, the FCC, foreign funds and control over audiovisual memory.
With Synthetic Sincerity, Marc Isaacs uses a fake AI research project to strike at glossy documentary filmmaking: ordinary people disappear, and what remains are avatars and celebrities.
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