Cláudio Alves THE PITT is the year’s most nominated program, with 25 ...

We meet the sisters in a dream they share, full of colorful birds locked in cages, before their own actions eventually leave them to be similarly caged in a small apartment by the docks somewhere in ...

Boyle confirms that he's in very good shape, and Ink is one of the best starts to the Venice Film Festival in recent years. Ink premires in US theaters in December and streams on Netflix in January.

McDonagh will not be the last filmmaker arriving here at the Lido with a movie that is quintessentially his creature, "just" another version of his usual work. Nevetheless this one is written and ...

Miriam Hopkins in BECKY SHARP (1935), Janet Gaynor in A STAR IS BORN (1937), and Vivien Leigh in GONE WITH THE WIND (1939) were the first 3 Best Actress nominees from full-color movies. The woes of ...

As the summer stands between us and the awards season to come, Cláudio Alves and Juan Carlos Ojano discuss some of this year’s new Oscar rules, focusing on their beloved Best International Film race.

The second day at Cannes came and went, and the race for festival gold is on. Not just the prizes chosen by Park Chan-woo’s jury, mind you. In a rare move by the programmers, the Main Competition ...

Will the 2026 Cannes Festival have lasting impact on this cinematic year? With the oft-reported absence of major Hollywood outings at the 79th festival, the best we might hope for (for those of us on ...

The actress must have received only one one previous Oscar nomination (they lost) That nomination was 20 or more years ago They are at least 50 years of age at this writing.

TRIVIA: Only the second Best Supporting Actress winner from the horror genre. The first was Ruth Gordon's all time classic performance in Rosemary's Baby (1968) ...

The 98th Academy Awards are almost upon us, so, on this last day before the festivities, let’s put our pundit hats on and try to suss out whom AMPAS has picked. Nine Team Experience writers, including ...

This is a beautifully written and deeply felt reflection on cinema’s ability to survive change. The way you frame Resurrection as both an elegy and a renewal is compelling and oddly reassuring—proof ...