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The real story behind “Backrooms” and Issa Rae's “Screen Time” is compression — the craft of concentrating audience attention into a window short enough to make something feel essential.
"Backrooms" and "Obsession" are likely to kick off a rush of studios trying to sign prominent creators, but artists should be wary of what the system is really offering.
As Hollywood retrenches, Cannes and Cannes Lions increasingly reflect the same industry-wide question: where audiences, capital, and cultural influence are moving next.
The tentative agreement reached between the guild and the studios closes some key loopholes in AI protections for likeness while keeping the door open for future conversation.
The festival markets may be declining, but data shows festival audiences growing. For festivals ready to adapt, that's great news for filmmakers: It's where the real opportunity lies.
If Greta Gerwig’s “Narnia” is a critical and commercial success upon its IMAX release, all recent history indicates Oscar nominations are bound to follow, regardless of what month the film comes out.
A weekly digest that captures the best of our Top of the Line coverage.
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