From August 5 to 15, the 79th Locarno Film Festival moves from new films by Hong Sang-soo and Denis Côté to the nights of Piazza Grande, from the Hollywood blacklist to new sources of financing. The common thread is not a theme imposed on the films, but a concrete question: who decides what gets to reach a screen?
The film about Rupert Murdoch’s acquisition of The Sun will open the Venice Film Festival on September 2, returning to the origins of the relationship between information, audiences and power.
At the Shanghai Film Festival, AI Backlot, iPhone-shot shorts and VR show how China is turning cinema into pure technological production.
Robert Gaudette wins the Runway AI Film Festival with a short film generated by AI: art, labor and cinema enter a new industrial zone.
At Tribeca 2026, Dear Upstairs Neighbors shows a concrete path for AI in cinema: custom-built models, artists in control, and carefully managed workflows.
Peter Weir receives the first AFTRS Lifetime Achievement Award at the Sydney Film Festival: a tribute to a cinema capable of giving shape to mystery without consuming it.
The crushing success of Backrooms and Obsession against Star Wars shows that the new Hollywood will be born from YouTube, AI, microdrama and Big Tech platforms.
Dreams of Violets debuts at the 2026 Tribeca Festival: a live-action film generated with AI, 74-75 minutes long, with a reported budget of $2,000 and plenty of controversy.
Seth Rogen attacks screenwriters who use AI, while many Hollywood workers are training algorithms just to survive.
Darren Aronofsky defends the AI project On This Day… 1776 at Cannes, developed with Primordial Soup ahead of the 250th anniversary of the Declaration of Independence.
