The Brutalist Report - culture
- ‘Horizon: An American Saga — Chapter 1’ Review: Sprawling Yet Thinly Spread, the First Part of Kevin Costner’s Western Epic Feels Like the Set-Up for a TV Miniseries [307d]
- Cannes Goes Apes— for ‘The Substance,’ Demi Moore and Margaret Qualley’s Flesh-Shredding Body Horror, With 11-Minute Standing Ovation [307d]
- ‘The Substance’ Review: Demi Moore and Margaret Qualley in a Visionary Feminist Body-Horror Film That Takes Cosmetic Enhancement to Extremes [307d]
- How to Watch the ‘American Idol’ Season 22 Finale (and Katy Perry’s Farewell) Online Free [307d]
- Sergei Loznitsa’s ‘The Invasion’ Picked Up for France Following Cannes Premiere (EXCLUSIVE) [307d]
- Box Office: ‘Kingdom of the Planet of the Apes’ Hits $237 Million Globally, ‘IF’ Nears $60 Million [307d]
- A24 Closing U.S. Rights Deal on Ruben Ostlund’s ‘The Entertainment System Is Down’ [307d]
- Seattle International Film Festival Awards Top Honors to ‘Sing Sing,’ ‘Gloria!’ [307d]
- This Hack Lets You Use Your Own Wireless Earbuds and Bluetooth Headphones on the Plane [307d]
- Kevin Costner Can’t Hold Back Tears as His Western Epic ‘Horizon’ Earns 7-Minute Cannes Standing Ovation, Promises ‘3 More’ Installments [307d]
- Amazon’s Latest Security Camera Deal Gets You Its Bestselling HD Cam for Under $20 [307d]
- Michel Hazanavicius on His Cannes Competition Film ‘The Most Precious of Cargoes’: ‘It’s About People Who Saved Lives’ (EXCLUSIVE) [307d]
- Urban Sales Racks Up Deals on Animation ‘Into the Wonderwoods’ Ahead of Cannes World Premiere (EXCLUSIVE) [307d]
- ‘My Sunshine’ Review: Hiroshi Okuyama’s Second Feature Traces a Gentle Trajectory Through Changing Seasons [307d]
- Spanish Animation Woos Marché du Film Buyers [307d]
- Sean ‘Diddy’ Combs Apologizes for Allegedly Assaulting Cassie in Video: ‘I Was F—ed Up’ [307d]
- UFO Nabs French Distribution for Directors’ Fortnight Player ‘Gazer’ (EXCLUSIVE) [308d]
- Box Office: John Krasinski’s ‘IF’ Debuts at No. 1 With Soft $35 Million [308d]
- ‘The Substance’ Director Coralie Fargeat on How Her Feminist Body Horror Film With Demi Moore and Margaret Qualley Mirrors #MeToo: ‘We Need a Bigger Revolution’ [308d]
- ‘Limonov: The Ballad’ Review: Ben Whishaw Stars in a Portrait of a Radical That Is All Swagger and No Game [308d]
- A.R. Rahman Unveils Music Documentary ‘Headhunting to Beatboxing’ at Cannes (EXCLUSIVE) [308d]
- ‘The Falling Sky’ Review: The Yanomami People Deliver an Apocalyptic Warning in Scorching Resistance Doc [308d]
- Cynthia Erivo Delivers Powerful Speech About Being ‘Black, Bald-Headed, Pierced and Queer’ [308d]
- Julianne Moore Says It’s ‘Very Exciting’ to See Women ‘Represented Through All Stages of Their Lives’ on Screen [308d]
- Spanish Animation Booms, Still Looks For Improvement [308d]
- ‘Rumours’ Review: Cate Blanchett Gets Lost in Heavy Fog and Hot Air in a Laugh-Out-Loud Political Satire [308d]
- Cate Blanchett’s New Film ‘Rumours’ Is Named After the Fleetwood Mac Album: It Was ‘Creatively Fraught and Everyone Was Sleeping With Each Other, So It Made Sense’ [308d]
- Selena Gomez, Zoe Saldaña and Édgar Ramírez on the Politics of ‘Emilia Perez’: ‘We Don’t Recognize the Country in Which We Live’ [308d]
- Kirill Serebrennikov on Directing Ben Whishaw as a Russian Punk Poet ‘Who Wanted to Start a War Against the Entire World’ in ‘Limonov: The Ballad’ [308d]
- ‘The Falling Sky’ Directors Eryk Rocha and Gabriela Carneiro da Cunha on How The Amazon’s Yanomami Tribe Can Teach ‘White People’ to Dream Collectively [308d]
- Paolo Sorrentino on Making His First ‘Feminine Epic’ With Cannes Film ‘Parthenope’ and Directing Gary Oldman: He’s ‘One of the Top Five Actors in the World’ (EXCLUSIVE) [308d]
- Swiss Films, Visions du Réel Give Voice to the Discriminated at First Cannes Docs Swiss Showcase [308d]
- ‘Nasty’ Serves Up Punchy Portrait of ’70s Tennis Bad Boy Ilie Nastase Who Helped Define Era [308d]
- Selena Gomez, Zoe Saldaña and Karla Sofía Gascón on Crafting Cannes Standout ‘Emilia Pérez’: ‘This Movie Is About the Power of Femininity’ [308d]
- ‘Hamlet’ Starring Riz Ahmed Bought by Focus Features for International Rights (EXCLUSIVE) [308d]
- Mubi Acquires Magnus von Horn’s Chilling Cannes Competition Entry ‘The Girl With the Needle’ (EXCLUSIVE) [308d]
- Films Boutique Sells Mohammad Rasoulof’s ‘The Seed of the Sacred Fig’ to Multiple Territories (EXCLUSIVE) [308d]
- Cannes ACID Opener ‘Kyuka’ Sold to France, Greece and Benelux by Heretic (EXCLUSIVE) [308d]
- ‘Everybody Loves Touda’ Review: Nabil Ayouch’s Feminist Musical Drama Only Really Sings When Its Leading Lady Does [308d]
- Somali Filmmaker Mo Harawe Makes History in Cannes With Intimate Family Drama ‘The Village Next to Paradise’ [308d]
- Frank Grillo Creature Action Thriller ‘Werewolves’ Acquired by Signature for U.K. (EXCLUSIVE) [308d]
- Gullane Unveils Cao Hamburger, Sandra Kogut Films (EXCLUSIVE) [308d]
- Oliver Stone on New Cannes Documentary ‘Lula,’ Donald Trump’s Trials and Money in Politics: ‘Corruption Is a Way of Life’ [308d]
- Latido Takes David Pérez Sañudo’s ‘Sacamantecas’ (EXCLUSIVE) [308d]
- TrustNordisk Boards Marjana Jankovic’s ‘Home’ (EXCLUSIVE) [308d]
- ’Ernest Cole: Lost and Found’ Director Raoul Peck: ‘There Is a Fight to Be Had About the State of the World’ [308d]
- In ‘Blue Sun Palace,’ U.S.-Made Critics Week Charmer, Constance Tsang Reframes the Chinese Immigrant Tale With Empathy – and a Stellar Cast [308d]
- Parallax Studio, Saga Film Studios Form Joint Venture to Distribute Films in the Philippines Starting With Kevin Costner’s ‘Horizon’ (EXCLUSIVE) [308d]
- Dead & Company at Sphere, Night 2: What Was the Same, What Was Different [308d]
- ‘It’s Not Me’ Review: Leos Carax Dreams of Godard in an Imperfect Homage and Self-Reflection [308d]
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