The Brutalist Report - culture
- Alex Gibney on His Paul Simon Film and the Future of Doc Distribution: ‘It Would Be Grim If There Was Just One or Two Streamers and Nothing Else’ [595d]
- ‘American Fiction’ Review: Jeffrey Wright Takes on Narrow Ideas of Black Representation in Sharp Industry Satire [595d]
- ‘A Haunting In Venice’ Review: Kenneth Branagh Brings a Supernatural Dimension to His Hercule Poirot Series [595d]
- Vice President Kamala Harris, Lil Wayne, Common and more Honor Hip-Hop’s 50th Anniversary at Washington D.C. Celebration: Concert Review [595d]
- Shane Atkinson’s Dark Comedy ‘LaRoy’ Wins Top Awards at Deauville Festival [595d]
- Ashton Kutcher and Mila Kunis Apologize for Letters in Support of Danny Masterson: ‘We Support Victims’ [595d]
- Rugby World Cup Livestream: Where to Watch the 2023 Tournament Online [595d]
- Saoirse Ronan Wants to Star in a Comedy Like ‘Bridesmaids’: ‘I Would Love to Do Something Modern and Funny’ [595d]
- A24 Wants to Make ‘Dicks: The Musical’ a Best Song Contender for Megan Thee Stallion — And It Should Be [595d]
- Todd Haynes Teases ‘Sexually Explicit’ Project With Joaquin Phoenix, Talks About New Oscar Contender ‘May December’ (EXCLUSIVE) [595d]
- ‘Society of the Snow’ Review: J.A. Bayona Wrests the Andes Flight Disaster Away From Hollywood [595d]
- Lil Nas X on His Toronto Documentary ‘Long Live Montero’ and ‘Making the Ceiling Unreachable for Where We Can Go as Black Queer People’ (EXCLUSIVE) [595d]
- Chuck Palahniuk on His New Serial Killer Novel and the One Part He Didn’t Like in the ‘Fight Club’ Movie [595d]
- Oscar-Nominated ‘Loving Vincent’ Duo Talk Toronto-Bowing, Hand-Painted Animated Feature ‘The Peasants’ [595d]
- Elliot Page on Improvising a 53-Minute Take for ‘Close to You’ and Finally Being Able to Wear What He Wants on Red Carpets [595d]
- Best Friend Forever Closes Major Deals on Cannes Competition, TIFF Bound ‘Banel & Adama,’ Unveils International Trailer (EXCLUSIVE) [595d]
- Box Office: ‘The Nun II’ Scares Away ‘Equalizer 3’ With $13 Million Opening Day [595d]
- ‘Minx’ Costume Designer on Crafting a 1973 Fantasy Wardrobe, From ‘Porno Watergate’ to Joan Didion [595d]
- Arleen Sorkin Remembered: ‘Modern Family’ Co-Creator Christopher Lloyd Pays Loving Tribute to His ‘Big-Hearted Wife’ [595d]
- Busy Actor Talia Ryder on ‘Dumb Money’ and Keeping Dance as Part of Her Life [595d]
- Canada’s Indigenous Filmmakers Build on Success With More Films and Visibility at Toronto Festival [595d]
- Doc Royalty Alex Gibney, Errol Morris and Raoul Peck Discuss the Importance of Film Festivals [595d]
- DP Ellen Kuras steps Into the Director’s Chair With Kate Winslet-Starrer ’Lee’ [595d]
- ‘Gonzo Girl’ Helmer Patricia Arquette Leads Wave of Actors Turned First-Time Directors [595d]
- Toronto Debut ’Frybread Face and Me’ Tucks Universal Truths Into Native American Tale [595d]
- Showcasing Humans as a Part of the Natural Cycle, Jaione Camborda’s ‘The Rye Horn’ Premieres at Toronto’s Prestigious Platform Program [595d]
- ‘Days of Happiness’ Director Chloé Robichaud on Creating a Modern Conductor for the Big Screen [595d]
- Jessie Buckley, Riz Ahmed, Jeremy Allen White Dig Into Love in the Digital Age in Apple TV+’s ‘Fingernails’ [595d]
- How ‘Shaun of the Dead’ Inspired Finn Wolfhard and Billy Bryk’s Directorial Debut ‘Hell of a Summer’ [595d]
- ‘Dumb Money’ Co-Writer Lauren Schuker Blum: ‘This Movie Is Really About Who Decides Value in a Society’ [595d]
- ‘An Endless Sunday’ Review: Lost Kids Roam the Streets of Rome in Promising Italian Debut [595d]
- British Director Luna Carmoon’s ‘Hoard’ Scores Three Venice Critics’ Week Awards, ‘Malqueridas’ Takes Best Film [596d]
- Tarsem Singh Dhandwar Returns to Big Screen With India-Set Toronto Saga ‘Dear Jassi,’ a ‘Haneke or Gaspar Noé Script Directed by Iranians’ [596d]
- ‘The Teacher’ Director Farah Nabulsi Explains Why Shooting in Palestine Was Crucial [596d]
- ‘Maudie’ Director Aisling Walsh Tackles Musical Liberation With ‘Ethel,’ ‘Unorthodox’s’ Shira Haas to Star [596d]
- Cinema Verité Meets Sci-Fi in Venice Production Bridge Buzz Title ‘Nothing But the Truth About Extraterrestrials’ (EXCLUSIVE) [596d]
- Inspired by ‘Poor Things’ and ‘The Zone of Interest,’ Edward Berger Wants to Bring Film4 Model to Germany [596d]
- BAFTA Folds Children’s Awards Into Main Ceremonies After ‘Consistent Drop in Entries and Engagement’ [596d]
- ‘We Have to Fight,’ Panelists Urge at Women in Film Roundtable at Venice Film Festival (VIDEO) [596d]
- Franz Rogowski Talks ‘Sex and Power’ in ‘Lubo,’ Finding His Confidence As an Actor: ‘I Am on My Way Now’ [596d]
- ‘Dumb Money’ Review: In Craig Gillespie’s Brashly Entertaining Finance Saga, Paul Dano Plays the Nerd Who Led the GameStop ‘Revolution’ [596d]
- Fran Drescher and Joely Fisher Re-elected to Lead SAG-AFTRA as Strike Nears Two-Month Mark [596d]
- ‘Finestkind’ Review: Toby Wallace and Ben Foster Make a Magnetic Pair as Self-Destructive Siblings [596d]
- AMPTP Says Studios Are ‘Aligned’ and Pushes WGA to Respond to Latest Offer [596d]
- Jeffrey Wright Is Pitch Perfect and Oscar-Worthy in Cord Jefferson’s ‘American Fiction’; Possible TIFF Audience Winner? [596d]
- ‘The Convert’ Review: Guy Pearce Is a Remorseful Warrior in Blood-Soaked New Zealand Period Piece [596d]
- Hulu + Live TV Launches Limited-Time Discount, Ahead of Price Increase and Amid Disney-Charter Feud [596d]
- ‘Dumb Money’ Screenwriter Compares Game Stop Stock Scandal to Strikes: ‘It’s Rigged on Wall Street. It’s Rigged in Hollywood’ [596d]
- ‘Minx’ Season 2 Finale: Everyone Is Forced to Define Their Own Success [596d]
- ‘Dumb Money’ Is Smart Enough for the Oscars, With Standout Turns From Paul Dano, Pete Davidson and America Ferrera [596d]
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